★★ Directed by: Rakesh Jaitly Film Review by: Julian Gaskell This is a pleasant enough instrumental chill out trip pop track and a pleasant enough video of a young girl’s day out on a train with her camera to take pictures of a suburban oasis during lockdown, but that's about it. The YouTube video is called Dusk and the track is listed as hZA – Pebbles. If hZA is the artist then the track must be Pebbles but the video is called Dusk. So if this was a music video collaboration I’m wondering how much collaboration there was between the musician and the videographer as there is way more dusk than pebbles in it. The music track itself is a 2 minutes 44 seconds sample of the same loop, over and over again with little to no variation. It is a trance like beat that is relaxing enough and ideal for a 3 hour meditation in a floatation tank but has very little range or variety to keep you interested. The video is very sweet in its own ordinary way. A girl takes the train from London to find a suburban oasis during lockdown as presumed by her mask and being the only one on the train. We see lots of train shots to begin with, the view from the train window, the view inside the train, the close ups of the girl on the train. Then similarly we see her walking when she gets off the train, we see her walking along the residential streets and we see her walking along residential alleyways. She eventually gets her camera out to take a picture of some leaves and she is now by a stream, then a park and then she walks into a field that appears out of nowhere like a giant suburban oasis. It’s a very ordinary chillout track and a very ordinary day out home video, escaping the built up neighbourhoods to find some nature. The shots are of simple urban scenes and simple open spaces which are all a bit too ordinary for a music video. The video and song are both easy viewing, calming and relaxing, but before the 3 minutes are up it's all over and you are left wondering where the rest of the video has gone. The video ends on its first really creative shot in the last frame, begging the question why wasn't more done in this experimental way and not just in the visuals but the music too. The final frame stands out as one of the sole creative shots more in keeping with the music style, leaving you thinking it should have been all shot like this to make this ordinary day trip, an extraordinary lockdown trip.

★★★ Directed by: Dylan Kelly Written by: Dylan Kelly Starring: CJ Zisa, Natalie Wilson Film Review by: Jason Knight The dark web is the part of the World Wide Web that can only be accessed utilizing particular software and it allows users and website operators to remain untraceable and anonymous. Because of this, it is used for illegal activities, such as the purchasing of illegal drugs and guns. And one disturbed man is using it for his own sinister, inhuman purposes. A longhaired, bearded man (Zisa) is outside his house, smoking a cigarette. He then goes inside his garage, which is filled with tools and there is a woman (Wilson) in there, tied to a chair and blindfolded. He films himself torturing people and uploads the recording on the dark web. This short psychological thriller takes the viewer into the mind of a deranged individual. He shows no remorse for his actions and does it because he wants to. Zisa delivers a chilling performance as a lonely individual, whose motivation appears to be the enjoyment of torture and sadism. He feels no remorse and will not stop his sickening actions. The music sounds frightening. It creates feelings of danger and dread, which suits the atmosphere very well. The film also uses interesting sound techniques. A loud bang is heard as a hammer strikes a person, highlighting the serious devastation of the action. There is also a very short montage, consisting of fast cutting, accompanied by loud noises. The shots show a woman in peril and the disturbing, loud noises emphasizes the terrible event taking place. The brief voice-over provided by the culprit sheds some light on his motives. He is basically running a sickening business through the dark web, uploading his clips of torture for people to view. Dark Web is not just a thriller, it raises awareness about the existence of the dark web and how bad people can take advantage of that for their own illicit objectives. #JasonKnight

★★★ Directed by #SimonStone Written by #MoiraBuffini Starring #CareyMulligan #RalphFiennes Film Review by Hope Madden Indiana Jones made archeology look thrilling and dangerous. Director Simon Stone’s The Dig makes it look positively British. Back in 1938, as England sat on the precipice of WWII, an informally trained excavator named Basil Brown unearthed an ancient Saxon ship in a mound around back of the widowed Edith Pretty’s land. Journalist/novelist John Preston’s aunt Margaret Piggott was part of the larger archeological crew at Sutton Hoo that would mine the site for its cultural riches. Many years later, Preston would mine that story for a novel. Refined and marked by the proper restraint of the English, Moira Buffini’s adaptation of the source material remains keenly interested in the difference between what we unearth and what we leave buried. Stone’s film shadows two romances and the emotions they choose to excavate as well as those they do not. Brown and Pretty are played by Ralph Fiennes and Carey Mulligan, respectively. Fiennes finds a sweetly vulnerable center to Brown’s guarded stoicism. Meanwhile Mulligan reminds us again of her limitless range, playing essentially the opposite character of her bitingly brilliant Cassandra in Promising Young Woman. Watching the gentle dance these two impressive talents engage in as their characters come to understand one another is hypnotic. There’s rarely an excuse to miss the opportunity to see either Mulligan or Fiennes act, and their delicate chemistry here is gorgeous. Stone flavors his film and this relationship with notes of longing and melancholy that balance the overall theme of discovery. And then a sudden development—the arrival of Basil’s amiable and thoroughly loyal wife May (Monica Dolan, irresistible)—does more to sever their tale than complicate it. This odd second act shift – just when we’ve really begun to invest in the primary relationship – turns Mulligan and Fiennes into supporting players in their own movie. Johnny Flynn and Lily James take it from here, he the attentive young RAF man in waiting and she the spunky archeologist/unsatisfied newlywed. Both actors are solid, as is the entire and sizable ensemble of support, but the film feels out of sorts the moment the youngsters arrive. It’s a lopsidedness The Dig never quite recovers from. Of course, had Mulligan and Fiennes not shone quite so brightly, it may not have been a problem at all. #HopeMadden

★★★ Directed by: #TomasoAramini & #RafqfuadYarahmadi Written by: #TomasoAramini Starring: #ArrigoCavallina, #EnricoFenzi, #ArmandoLanza, #DafneLanza Documentary Review by Taryll Baker The story of a man from Verona countryside who devoted his life and political experience to his communist ideals until he challenged NATO. At the front of any documentary should be an interesting figure or period of time. For The Lost Shoes, it’s Armando Lanza. Once an alter boy, quickly turned politics hungry idealist, Lanza’s eventful life is broken up into many sections focusing on the rise and “fall” of his time as a revolutionary through the sympathetic lens of directors Tomaso Aramini and Rafqfuad Yarahmadi. The Lost Shoes is a bit of an information overhaul, which isn’t necessarily a bad thing, but when the pacing isn’t exactly consistent across the board it can bring the dreaded feeling of boredom. Lanza’s life is interesting, though. This exploration of his beginnings in The Red Brigades, to his internal growth as an individual, finally reflecting on his experiences, feels hefty and full of wisdom. Lanza is the interviewee but also takes lead as the interviewer in many sections of this sparsely entertaining documentary, which allows him the chance to be more vulnerable with his insights and learnings. I will mention how great the music by Eugenio Vatta is. Scoring a documentary, especially one with this much heavy content, is no easy task. Yet Vatta’s droning ambience (later accompanied by beautiful wind instruments) only amplifies on the archival footage’s outrageous and violent nature, creating quite a visceral experience that almost makes the documentary engaging. Perhaps it’s me, but the delivery of important information is presented in a way that made it difficult for me to properly feel taught, at least for the first forty or so minutes. Thankfully the film does pick up from around the hour mark, and the structure of information being thrown at you feels more juicy, you can let it soak in. Though the directors try to paint Lanza as someone to sympathise with, it’s not easy to do so. He was involved in a grisly organisation which did terrible things, so although he seems like a gentle, caring person, there’s that underlying darkness beneath. That’s not to say he hasn’t learned from his experience, or hasn’t changed — he seems to have, certainly — it’s just difficult for the viewer to find a connection. The Lost Shoes is a mixed bag of intriguing and tedious discussion, that holds some good moments amongst some less so. It’s an intriguing watch, I’ll give it that. Watch the trailer for The Lost Shoes below. #TaryllBaker

★★★★ Directed by: Mark Grabianowski Written by: Mark Grabianowski Starring: Sheila Dionne, Alicia Blasingame, Garrett Botts Film Review by: Jason Knight A bad man is being held captive in a basement by a woman who holds a very serious grudge against him. This short murder-revenge thriller begins with normality. A middle-aged woman (Dionne) is sitting at a table inside her home, playing cards. She then goes downstairs, to the basement, and it is revealed that there is a man (Botts) there, blindfolded and tied to a chair. She has captured him because he is responsible for the death of a loved one. Meanwhile, her daughter Susan (Blasingame) informs her that she plans to sell the house her mother lives in in the very near future. The main subject here is crime-and-punishment. The film explores the devastating effects the captive's terrible act have had on the woman and asks the question: what should she do now? Should she let him go? Turn him in to the police? Take the law into her own hands? The narrative is rather intriguing and keeps the viewer in suspense as they wonder how the situation is going to turn out. As the main protagonist, Dionne delivers an exceptional performance. Her character is a decent person, who had the misfortune of losing a loved one due to murder and is now seeking justice. Although she has gone as far as to hold the culprit captive inside her house, she is unsure where to go from there. Dionne portrays the emotional struggles her character is going through very convincingly. Blasingame does a great job as the daughter who cares deeply about her mum and Botts is believable as the terrified criminal. The film includes well constructed montage sequences that make effective use of fast cutting. The atmospheric music adds value and the soundtrack consists of wonderful classical music. Bound takes a look at a woman's tormented soul. It explores themes of loss, hatred, family and how far a person is willing to go for justice. With outstanding acting by Dionne and an interesting plot, this achievement is worthy of a lot of praise and recognition. #JasonKnight Trailer:

★ Directed by: #AntonyDeGennaro Written by: #AntonyDeGennaro, #JPDeGennaro, #JimHobson, #KellyRiutta Starring: #ClaytonBallard, #LarryLaverty, #HeatherHorrocks Film Review by: Emily Davison A theatrical make-up artist witnesses the murder of his city’s mayor and becomes unwillingly caught up in a conspiracy scheme led by a supernatural cult, in this flawed crime horror feature film. IMThem (2020), directed by Antony DeGennaro, a Seattle-based director and producer, follows David Hayess (Clayton Ballard) who is content with his work as a make-up artist, until his casual lifestyle is stripped away when he is framed for the death of his city’s mayor and forced to go on the run, only to become involved in an even bigger conspiracy – vampires exist! Think Hot Fuzz (2007), featuring an ordinary, everyday guy caught up in a mysterious plot involving death and violence, but instead of religion, it’s the supernatural which resides. Unfortunately, this film lacks any of the charm, fun or visual flair to engage with its unconventional, if slightly intriguing, premise. The stylistic vision of the movie is mostly unclear, which, combined with a confusing and unfocused narrative, creates a sense of disconnect and it is often difficult to interpret what DeGennaro’s intentions were. Despite this, the film does incorporate some potent disturbing imagery due to the horror/supernatural subject matter, with jarring camera angles and desaturated filters creating effectively chilling moments where actors peer directly at the viewers during what appears to be normal conversations. However, the disjointed and lacklustre plot with barely developed characters results in a film which feels rather unfocused in its execution. Perhaps the sense of too much going on with little focus is the result of too many co-writers working on the project. DeGennaro orchestrates many homages to classic cinematic horror tropes, such as quick editing and cuts, as well as harsh lighting underneath the perpetrator’s face, unfortunately leading to probable unintentional moments of humour in an otherwise dreary plot. Clayton Ballard’s lead has very little to work with and sadly leaves a lot to be desired and the same can be said for many of the stars. The film has an ensemble cast of many characters and the majority of the dialogue is usually flat and expositional; whether intentional or not, is difficult to decipher in the confusing plotting. On the brighter side, the film’s musical score, arranged by Spacecraft 11, is certainly one of the stronger elements it has to offer. The soundtrack is energetic and exciting during chase sequences when David attempts to evade capture by cult, as well as eerie and anticipatory with harsh, sudden crescendos of sounds which effectively build suspense. As with the filmmaking techniques, the score utilises recognisable horror sound design tropes with high screeches of strings played in places where death and violence are present. It marks a fond reminder and affectionate call back to influential horror classics like Psycho (1960) and are welcome additions to the film. Although IMThem does have its merits, they are too few and far between to redeem this ambiguous, lacklustre feature. The film certainly evokes elements of intrigue with its unique premise and valiant attempts at creating disturbing imagery and an effective score, yet the contrived plot and stilted performances let this particular vampire fest down. #EmilyDavison IMThem (2020) Film Trailer:

★★ Directed by: #AnnaPanova Starring: #RyanHurd, #ChristopherClay Short Film Review by: Corey Bulloch We have all had nightmares, ranging from childish to terrifying, and for some, the nightmares don't seem to end when we wake up. Epiales, named from the Greek personified spirit of nightmares examines the experiences of sleep paralysis and “encounters” with shadowy figures. Director Anna Panova treats the theory behind the sleep paralysis demons with respect and insight with two interviews, one of a photographer Christopher Clay having these nightmares and one with an expert Ryan Hurd explaining possible origins for the condition. Panova does not have these two subjects interact, Epiales operates as a portrait documentary of two viewpoints rather than an in-depth examination of Clay’s ailment. There lies the fault with Epiales, while Panova, a student filmmaker who is likely following project guidelines, she can’t make the short runtime leave a strong impact. The audience learns of sleep paralysis, its subconscious and spiritual connections as well as techniques to potential ward off these incidents. It lacks a personal touch, both subjects speak of the subject matter but we don’t experience it, not that the audience is suffering from a lack of faith. No sense of terror, or helplessness from Panova’s storytelling just cultural contexts with references to Greek myth and horror literature. Though Panova and camera operator Serena Smith deliver some amiable cinematography with B-roll recreations of sleep paralysis imagery. Along with landscape nature shots, giving an almost gothic feel from the tree lines. It is an interesting subject portrayed in an uninteresting approach, it doesn’t need to be The Exorcist but it does need depth. It’s a film wanting to explore the machinations of an individuals subconscious and why it would manifest into a waking terror. Yet the imagery is a majority of talking-head interviews and cutaways to books and nature. Panova’s direction allows both Hurd’s and Clay’s stories to guide the film but she doesn’t do anything to expand into her own voice and make this film her own. Even with Christopher Clay’s contributions, Epiales lacks an emotional connection, the audience can retain this information but that’s about it. #CoreyBulloch #shortfilm #documentaryshort

★★★ Directed by #KouroshAhari Written by #KouroshAhari #MiladJarmooz Starring #ShahabHosseini #NioushaNoor Film Review by George Wolf Come on, it’s been forty years, can’t we get a new haunted hotel flick without you screaming bloody redrum? That’s fair, but what if the new take unveils a slow shower curtain reveal and turns to a golden oldie for creepy soundtrack effect? Oh. Well then the film’s going to have to work even harder to avoid the dustbin of shameless Shining wannabees. The Night does just that, and ultimately manages to find its own voice with a goosebump-inducing tale of a frantic family’s sleepless night away from home. Babak (Shahab Hosseini) and Neda (Niousha Noor) are an Iranian couple living in the U.S. They have a new daughter, who is pretty well-behaved during their game night with some friends. Neda’s not happy that Babak knocked back a few shots during the evening, so when the GPS starts acting crazy on the drive home and the baby is fussing, Neda suggests they find the nearest hotel and start fresh in the morning. But from the moment the clerk at the Hotel Normandie (George Maguire – perfectly weird) greets Babak with tales of all the death he’s seen in his life, things ain’t right. They get worse. Director/co writer Kourosh Ahari proves adept at spooky atmospherics, with long, not-quite-Kubrick hallways around many turns and unsettling, not-exactly Serling paintings hanging about. Things go bump, voices carry and wandering souls appear, with Hosseini (The Salesman, A Separation) and Noor proving terrific vehicles for selling the scare. Babek was hoping the booze would dull his toothache, but now he’s just exhausted from being kept awake by what he’s seeing…or just thinks he’s seeing. While Neda, increasingly desperate just to keep her child safe, begins to suspect the key to escaping may lie in revealing some long-held family secrets. As a simple device with plenty of easy fright potential, the haunted house has served horror well for decades. But elevating it to a metaphor for something deeper is only as successful as the weakest pillar involved. The Night shows strength all around, and by daybreak a pretty well-known blueprint builds to a satisfying reminder on the cost of deception. #GeorgeWolf

Film Feature by Lawrence Bennie With ongoing uncertainty over major theatrical releases, audiences can rest assured that their favourite film festivals will continue in the year ahead, albeit in a slightly different format for some. With Sundance and Göteborg already wrapping for another year, we look at the major film festivals that lay in wait for the rest of 2021. February Film Festivals International Film Festival Rotterdam: Netherlands 1st-7th February 7 (Online) Formed in 1972, IFFR marches ever closer to its 50th anniversary with a curated selection of fiction and documentary feature films, short films and media arts. Glasgow Film Festival: UK, 24th February – 7th March (Live) “One of the friendliest film festivals on the planet” dedicated to world cinema and Scottish film. Screenings will be held at Glasgow Film Theatre and at selected venues across the city. March Film Festivals Berlin International Film Festival: Germany, 1st – 5th March (Online) Marking its 70th year, “Berlinale” will unfold in two stages for 2021 with online screenings in March followed by indoor and outdoor screenings later in June. Miami Film Festival: US, 5th – 14th March (Live & Online) Returning for its 38th edition, Miami Film Festival showcases independent American and international films with a special focus on Ibero-American films. New York International Children’s Film Festival: US, 5th – 14th March (Online) Founded in 1997, NYICFF has become the largest film festival for children and teens in North America. Vilnius International Film Festival: Lithuania, 18th March – 1st April (Online) One of the first digital festivals in 2020, Lithuania’s flagship cinema event celebrates the history of film, national premieres and industry developments. April Film Festivals Hong Kong International Film Festival: Hong Kong, 1st -12th April (Live & Online) Asia’s oldest international film festival marks its 45th anniversary this year as a hybrid event of in-theatre and online screenings. Seattle International Film Festival: US, 8th-18th April (Online) A ten-day online event, more than 100 international and independent films will be screened at the 47th SIFF. Istanbul International Film Festival: Turkey, 9th-20th April (Live & Online) An April fixture since 1984, the 40th edition of the festival is set to hold screenings online and in cinemas, as well as at outdoor venues. May Film Festivals Cheltenham International Film Festival: UK, 25th May – 5th June (Live & Online) The first UK international film festival to go entirely online last year, plans are afoot for the festival to make a ‘live’ return, along with an additional online programme. Inside Out Toronto LGBT Film Festival: Canada, 27th May-6th June (Screenings TBC) “Celebrating the best of queer film from Canada and around the world”, Inside Out returns with a programme of documentary, experimental, narrative and short films. June Film Festivals Edinburgh International Film Festival: UK, 23rd June – 4th July (Screenings TBC) The world’s longest continuous film festival, the hugely influential EIFF has plans in place for a hopeful return this summer. Brussels International Film Festival, Belgium, 24th June – 4th July (Screenings TBC) One of the younger international film festivals, the 4th edition of BIFF will bring a carefully curated selection of arthouse films to the screen. July Film Festivals Cannes Film Festival, France, Dates TBC (Screenings TBC) Following its 2020 cancellation, the 74th edition of Cannes has been rescheduled from its usual May timeslot to accommodate plans to return to a live programme of screenings. Karlovy Vary International Film Festival: Czech Republic, 2nd-10th July (Screenings TBC) Returning for a 55th year, Central and Eastern Europe’s most prestigious film festival showcases around 200 films from across the globe, with many films screened exclusively for the event. Comic-Con: US, 22nd July – 25th July (Live) The world’s number one event for all things pop culture was cancelled for its 50th anniversary in 2020 but is currently set to blast back home to the San Diego Convention Centre this summer. August Film Festivals Melbourne International Film Festival: Australia, 5th August – 22nd August (Screenings TBC) Australia’s leading film festival, MIFF is dedicated to innovative screen experiences and exceptional Australian filmmaking. Sarajevo Film Festival: Bosnia & Herzegovina, 13th August – 20th August (Screenings TBC) Formed in 1995 in the wake of the city’s four-year siege, the SFF has grown to become the leading film festival in the region. September Film Festivals Venice International Film Festival: Italy, 1st – 11th September (Screenings TBC) The world’s oldest film festival, one of the signature film events in the film calendar, will be taking place once again at Venice Lido. Helsinki International Film Festival: Finland, 16th – 27 September (Screenings TBC) Finland’s biggest film festival is a non-competitive event promoting the “artistry of filmmaking alongside inventive, controversial and visually stunning new films”. Zurich Film Festival: Switzerland, 23rd September 23 – 3rd October (Screenings TBC) Dedicated to promoting emerging filmmakers from around the world, ZFF has rapidly grown into a major film festival showcasing “the year’s greatest discoveries and most anticipated films”. Toronto International Film Festival: Canada, 9th – 19th September (Screenings TBC) One of the few major festivals to run in 2020 (with online streaming and limited in-person screenings), TIFF continues to reign supreme, hailed by Time as “the most influential film festival, period”. October Film Festivals Film Fest Gent: Belgium, 12th – 13th October (Screenings TBC) Among Europe’s most prominent film events, Film Fest Gent holds a global programme of some 80 features and 50 shorts, as well as a celebrated series of film music concerts. Raindance Film Festival: UK, 27th October – 6th November (Screenings TBC) The UK’s haven for independent film, the 29th Raindance Festival is currently scheduled to make a return to London’s West End later this year. November Film Festivals Stockholm International Film Festival: Sweden, 10th – 21st November (Screenings TBC) One of Sweden’s flagship cultural events, SIFF is established as one of the leading film festivals in Europe, with a mission to “promote the directors of tomorrow”. UK Film Review Festival: Online, 13th – 20th November (Screenings TBC) Our very own online film festival showcasing an array of independent films. In our 2nd outing, we will be showcasing films over 1 week and highlighting different genres each day. Submissions are now open via FilmFreeway.

★★★★ Written & Directed by: #SaraRobin Starring: #IndeNavarrette, #ZedakiahKoterba, #SarahSawyer, #AlfredoRose Short Film Review by Taryll Baker Behind her mother's back, 16-year old Juana sneaks out to a party to get closer to her crush, Robin. She never suspects that her best friend, Kelly, will risk Juana's life with a drunken slip of the tongue. In this coming of age film from writer/director Sara Robin, a typical teen drama is turned on its side with a fabulous blend of beautiful imagery, top-notch acting and an important topic. Cranberry Nights dances through the events of an energetic party, a calm encounter with a crush, a worrying vision and a biting final scene, all the while supported by a graceful and sublime score. Robin’s story touches on the subject of illegal immigration, the character of Juana having to stay hidden to protect herself and her family. Social events are a no-no for Juana (played wonderfully by Inde Navarrette). Anything too “extreme” outside of the walls of her home can open her up for a bad situation. So she stays away from any activities that could prove dangerous for her. I like that in Cranberry Nights, we see a worried Juana, but also the sweet, almost seemingly care-free side to her. Like for just one night, she could let go of herself and maybe things would turn out okay. Although we never see the next event after that ending, it does leave the audience with a cold feeling. The line; “It’s not how these things work” is especially poignant. Speaking of cold, the cinematography by Casey Stolberg has a much cooler colour palette than perhaps one would usually see in a coming of age flick. But it superbly matches the equally cold subject matter at the base of the film. Supplying a soft charm is the aforementioned score by David Murillo R., ambient with airy synths, reflecting that care-free, sweet side to Juana. One scene in particular uses a trap style beat, edging close to the youthful exuberance that’s heard in soundtracks from films like Into The Spider-Verse, which also dealt with young adult themes, including growing up… perhaps a little earlier than normal. The writing and direction by Sara Robin is fantastic. I could hope for a slightly more fleshed out, deeper dive into these characters, but the skill shown in this short is applaudable. Cranberry Nights tackles action with consequence and does so with great control. It’s a simple film but with its gorgeous yet subtle visuals, delightful score and excellent performances, it’s a thoroughly enjoyable and entertaining watch. Watch the trailer for Cranberry Nights below. #TaryllBaker

★★★★★ Directed by: #JeremyDubin #RyanLewis Written by: #RyanLewis Starring: #JackKruse #CarlosDellyJones #AdahMcGrathMohser #FrancescaKong #BaylenSofranecSmith #JustinMcCombs Short Film Review by: #ChrisBuick How do you capture the exuberance of youth, show off an incredible passion for filmmaking and deliver a gleefully fun and energetic example of tight storytelling in just two rip-roaring minutes? Just ask the brains behind brilliant comedy short Strike Team Justice, they seem to have the answer. Written by Ryan Lewis and created with his co-director Jeremy Dubin, this delightfully inspiring short film sees young Jimmy (Kruse), alone in his Palace of Isolation (a tent in his attic), pitching his idea for the ultimate superhero movie to his friend, a movie they themselves will make with the help of their friends and one that will change everything. Thieves Ben (Delly Jones) and Emily (McGrath Mohser) are recruited to Strike Team Justice to become superheroes Night Thief and Earworm tasked with saving the world from the deadly Silverfish (Kong). OK, maybe it won’t change everything. But it sounds pretty damn good to me. Over the course of the film’s incredibly tight two-minute runtime, we cut back and forth between Jimmy’s big pitch to the filming of the epic battle itself. Foil shields, homemade costumes, creative camerawork and good old-fashioned ingenuity are all present in a beautiful homage to do-it-yourself filmmaking that might just remind a few filmmakers just why they got into the business in the first place. With only two minutes to strut its stuff, Strike Team Justice keeps things simple and wastes no time in grabbing your full attention, putting its pedal to the metal from the very first second and pulling you full speed along with it, every second of the way brimming with an inescapable infectious charm that seeps into your very soul, before ending with a spot-on footnote that will awaken the inner child in all of us. It’s funny. It’s sweet. It’s entertaining. It’s inspirational. It’s over too soon! The kids, each of who's performances echo everything already said about the heart and soul of this project, all look like they’re having the absolute time of their life to the point we want to jump through the screen and join them. It’s lit spectacularly, framed wonderfully and the emphatic score could not be more on point. Basically, it’s a triumph. And I want more. At the end our protagonist "really thinks they can make this movie” and if there is any justice, they will. Strike Team Justice is a wonderfully endearing snapshot of youthful whimsy and artistic expression that will not fail to put a huge smile on your face. Whether or not there is more in store from the Strike Team Justice Cinematic Universe remains to be seen. But if there is, they've sold at least one ticket already for sure. #ChrisBuick Watch the trailer for Strike Team Justice here:

★★★★ Directed by: Fatty Soprano, Shawn 'Shutterr' Vasquez Written by: Aidan Grossman, Fatty Soprano Starring: Shelby Handley, Isabella Astbury Film Review by: Jason Knight A heartbreaking tale about a woman who is tormented by a terrible tragedy. A woman (Handley) is wondering the streets of a city. She appears to be upset. She ends up on a beach, where she has a conversation with her daughter, Emily (Astbury). However, their conversation reveals that Emily is just a figment of her imagination, and flashbacks reveal that she lost her daughter, due to a miscarriage, which was probably caused by her drug addiction. This short, powerful film deals with one of the most devastating events imaginable: a child dying due to their parent's careless actions. The film explores the damaging impact the mother's mistake has had on her life. The words she says to her imaginary daughter leave no doubt that she is torn apart by guilt and regret. As a result of the tragedy she is now alone, lost and emotionally scared forever. Handley delivers a very moving performance as a person who is struggling with grief and regret. She is a good person, who made a terrible error. The scenes that show the miscarriage are quite distressing, particularly because of Handley's realistic acting. Astbury is great in being the daughter the way her mum would imagine her to be as a child: cheerful, happy and clever. The filmmakers use color with black-and-white cinematography and they do so very effectively. The use of black-and-white helps bring a dark and poignant feeling. They make good use of slow motion techniques and voice-over. They also create wonderful establishing shots of buildings and busy streets and interesting upside down shots. There is dramatic music and the majority of the film is accompanied by a beautiful track of piano music, which adds a melancholic tone. The film's main subject: a miscarriage due to drugs, is rather depressing and the scenes of drugs being prepared and the woman suffering the miscarriage are almost unbearable. But the film also has moments of beauty and tenderness, which take place when the she encounters her daughter. There is a sequence that is worth pointing out. This occurs when pictures of the never-existed daughter are being consumed by flames. Emily is not real and therefore neither are the pictures, so this heart-rending moment represents the fact that Emily could had existed but ultimately did not. Seabreeze is an emotional ride with moments that are painful and others touching. It carries a message that warns against drugs, because they destroy and end lives. #JasonKnight Trailer: