★★★★ Directed by #HenrikSBurman Starring #YungLean Film Review by Brandon Thomas Thanks to the internet, the world of new music is vast and wide. Anyone can put a song on their website, or upload a poorly produced music video to YouTube. Most of it goes unnoticed. That lack of notice is usually justified. And then occasionally someone like Yung Lean comes along. In the early 2010s, a group of Swedish teens began uploading rap demos to Tumblr and Soundcloud. The same group gained even more notoriety when they began uploading videos to YouTube. This trio, the “Sad Boys,” and their de facto leader, Jonatan Leandoer Hastad (Yung Lean), soon found themselves on a meteoric rise across Europe and then the rest of the world. Music documentaries have become a popular subgenre in recent years. The Beatles, Amy Winehouse, and The Beastie Boys have all been the subject of recent, popular docs. Of course, these are artists already known and immortalized through their music and pop culture. The beauty of Yung Lean: In My Head is how the film uses Lean’s underground status to its advantage. The air of mystery is half the point. This documentary isn’t one that suffers from a lack of involvement from the principals. Lean’s story is told through his friends and collaborators, video footage shot while on tour, and family photos and video. Thankfully, the film doesn’t get too caught up in talking heads explaining every little detail. The copious amount of footage shot during the American and Canadian tour helps paint a picture of artistic freedom that slowly unraveled into drug-fueled chaos. Lean’s story takes a dramatic turn later in the film, one that shifts the focus away from music. This is an area where other films might stumble or even choose to not devote much time at all. Instead, In My Head pivots with ease. The focus was never just the music – it was Lean himself. In My Head may not have a subject with the culture cache of the Fab Four or Elvis Presley, but what Yung Lean does have is a compelling story born out of artistic creation and personal perseverance. #BrandonThomas

★★★★ Directed by: #MarkDuggan Written by: #MarkDuggan Starring: #TerenceJCorbett, #JenniferHayden, #AndreaPizza Film Review by Lucy Clarke X marks the spot. X is a kiss at the end of a letter. X is the sign of finality, the end of a relationship. In this black and white musing on relationships past and present, writer and director Mark Duggan gently explores the questions we have in the backs of our minds and in the pits of our stomachs. Why do we settle? And if a relationship fails, can we find love again? The Man (Terence J Corbett) is a forty-something photographer, running his own studio with his friend Simon (Johnny Byron). A montage of characters walks in, all looking for a decent photo to try and catch that special somebody. All are from different walks of life, yet they all grapple with the same predicament. Just getting on Tinder isn’t enough for us anymore. It certainly isn’t enough for our main character, who is reeling from the fallout of his last relationship with his ex-girlfriend, Kate (Jennifer Hayden). We quickly learn that his ex was far more explosive and abusive than earlier scenes indicate, and The Man is struggling to cope. Black and white films are usually thought to either be a flashy gimmick or a by-product of the artistically quirky. Think, The Artist or The Lighthouse. Yet, in the 40s and 50s, when technicolour became more popular, black and white films were considered the best cinematic medium to reveal reality. The continued use of black, whites and greys informs the viewer on Duggan’s crisp honesty present in the filmmaking and the script. This isn’t a brutal watch, and there are moments of levity. Simon is a cad and witty conversations about the Beatles pepper the script. Although X flirts with this film’s potential as a comedy – X is still bitingly realist. Duggan’s tight script carefully massages the wounds left behind from a traumatic toxic relationship. Everywhere our main character looks, there are reminders of his past life. An argument on the street sets off his own recollection of vitriolic arguments on numerous street corners. These moments of memory aren’t tacked on or ham-fisted. Instead, they slowly confirm that the main character is hopelessly stuck in the past and memories cling to him like tar. Yet, there is a ray of hope. Marie (Andrea Pizza) lives four thousand miles away from her loved ones, and after an explosive end to her last relationship, is yearning to return to the USA. The main character meets her at his photography studio, and together they share their respective traumas. You would expect X to be sad. To be brimming full of anguish and regret. Instead, Duggan delivers a powerful film which communicates the sharp edges of relationships which photoshopped pictures on Tinder can’t vocalise. Although the film is occasionally a little overlong, Duggan still delivers an incredibly nuanced piece of work. If X does indeed mark the spot, dig here.

★★★ Directed by: #HysteriaShack Written by: #HysteriaShack Starring: #HysteriaShack Music video review by William Hemingway So, you're a skater band; you do skater band things, like skateboarding, and writing skater songs; you play Grunge and call it Punk; and of course you need to make a music video for the most radio-friendly song on your four track LP; if only you could think of something that the video could be about. Welcome to the world of Hysteria Shack, your new favourite skater band – considering that all the other skater bands grew up in the Naughties, had families, stopped taking drugs, developed a middle-age spread and rather predictably left behind the edgy, couldn't-give-a-shit lifestyle that they sang and preached about. Here it's the 90's again, but somehow without the baggy jeans, basketball shirts and backwards baseball caps. We still get to pretend to the halcyon days of our youth when shafts of sunlight would break through into the corridors of our high school and we would catch sight of the prettiest MOS (that's member of the opposite sex, dudes and dudettes), believing that somehow they would see the real you in an instant of clarity and you would come together in a teen movie kind of way. But, leaving the Wheatus homage/rip-off to the side for a moment, the video does a good job at revisiting these themes and feelings with its simple, sympathetic and somewhat twee old-timey feel. The scratchy, flarey, box-frame effect is a classic trope for nostalgia nerds, immediately telling us that we're looking back to a simpler time, and allowing us to drift into our own memories even though Super 8 was well past its prime then, too. However, we happily watch the teenage dirtbags trying some gnarly tricks on their skateboards, and the fact that they're failing miserably only adds to the cutesy feel of it all. There are some nice recurring hooks to keep us interested like the half-bottle of Jack and the painted outline on the ground that at times could be a gigantic cock-and-balls but which actually turns out to be just an aeroplane, and these both serve to keep us bopping along all the way through to the end of the song. To be honest, that's really about it. There's not much more to the video, or the music, as it's just a simple hook and a couple of riffs repeating for the allotted three minutes. But, what else does it need to be? The video seems to fit the song perfectly and both conjure up the feeling of a 90's adolescence where chicks/dudes and booze (and skateboarding if that's your bag) were the biggest things on your mind. And I'm sure that in 2021, with things the way they are, there are quite a few of us who wouldn't mind going back to a simpler, easier time where our cares and worries are off in the distance, at least for a little while.

★★★★ Directed by: #VascoAlexandre Written by: #VascoAlexandre, #BillyKing and #JustinScherSmith Starring: #DavidPrice, #ElleAtkinson, #CarolineLazarus, #JermaineRicketts Short Film Review by Taryll Baker A 9-year-old from an abusive household builds a new home for herself in a scrapyard nearby. Yard Kings reminds of films like Room and Mud, where it places most, if not all, its weight on the performances of child actors. Vasco Alexandre takes his charming script, simultaneously taking the challenge of directing young actors, and animals, which is (perhaps) infamously difficult. But he does so diligently and skilfully. Yard Kings follows a young girl who has been forced astray from her abusive household, instead choosing to hang out with her friend in the scrapyard. Together, they build their dream home, with beds, showers, and even a throne. Elle Atkinson’s portrayal of Ellie is genuine, raw, and real. She shows true leadership skills in her acting, taking on the duty of being front and centre, providing a good sense of character understanding and a naturalistic quality. Alongside her, David Price as her friend Pete, though not as strong with line delivery, is still a good companion and does have some shining moments. The direction for both these young actors by Alexandre is pretty close to flawless. And, considering this film was largely made during the UK’s lockdown, all the elements are superb. Yard Kings is presented in 4:3 which gives it a more rustic look, with beautiful colour grading by editor and colourist Aiden Tobin. There were some notable scenes where a few more beats should have been left before cutting, but the crispy vibrance and locations are a visual treat. His work on cinematographer Jakub Rogala’s frames are a fine addition, and together, accompanied by Elliot Herrington’s music (which brings out childlike innocence), make Yard Kings a surprising gem. Like aforementioned, the film places all focus on two performances from child actors. It’s a difficult task to direct young talent, but it seems like Alexandre decided to have a more collaborative relationship with the two, and this aided their performances considerably. All members of this production are students, which honestly blows my mind. The creativity flowing from Universities across the country and overseas makes me incredibly excited about the future of cinema. Even if the surviving life of the cinema experience is flickering away as of now, the future seems pretty bright. I do believe we will bounce back, and look at all the talent just raring to go. Yard Kings is a must watch, if only to get a sense of that talent. Watch the trailer for Yard Kings below. #TaryllBaker

★★★★★ Directed by: Steve Young Written by: Steve Young Starring: Steve Young, Serge De Nardo, Christopher Farrell, Andrew Lorenzo Film Review by: Jason Knight A gangster story. There is trouble within the business and somebody has to pay. The plot in some ways resembles Reservoir Dogs (1992). Four gangsters are having a meeting inside a church, in order to find out who is responsible for the misfortunes that have been taking place within their activities. The four men are: Johnny (Young), Jimmy (Nardo), Eddie (Farrell) and Tommy (Lorenzo). Eventually the culprit will be discovered. This short offers an insight into the lives of mobsters, beginning with an intro that shows how brutal these individuals can be. There is violence, murder, treachery and life-threatening situations. The criminals themselves are portrayed as cold-blooded killers, who are also intelligent, tell rude jokes and stories that contain a message and they also enjoy sweets. The acting is outstanding. All of the lead actors are very convincing as people who have lived lives of crime and know the insides and outs of their 'profession'. They certainly give the impression that they are the kind of people one would not want to mess with. The film is set in the late seventies and the clothing worn by the gangsters does reflect that. Their clothes look clean and professionally designed and reflects the fashion of that time. The music is a big plus and adds a comedic feeling to the experience. Significant credit goes to the track during the closing credits, which brilliantly ends the film. Director Young does a fantastic job, using well-structured techniques. Special recognition goes to wonderful bird's-eye view shots and a great shot of the hand and torch of the Statue of Liberty, which also points out that the plot is taking place in New York City. Young has brought to the world a piece of work that is a must-see. With superb acting, intriguing characters and clever dialogue, the film is a pleasure to watch from start to finish and pays homage to the gangster genre. #JasonKnight Trailer:

★★★★ Directed by: #RakeshJaitly Written by: #deafpony Starring: #deafpony Music Video Review by: Emily Davison “A birthday party for my old soul” – sounds like a pretty good gig to me! The above whimsical lyric was conceived of by an eccentric Indie rock band from London, deafpony, from their 2020 single “Some New Bruises to Share”. On May 1st of the same year, the band premiered their one minute music video to accompany the short track. Directed by Rakesh Jaitly, a talented filmmaker who has been involved in the making of other music videos and short films, and produced by his affectionately named Red Rum Productions, this brief yet charming music video depicts the band having a rambunctious birthday party at a quaint country home. The short film stars the three band members, who all display an infectious boyish exuberance as their party resorts to chaotic playfighting and cartoon level violence between them as they throw bananas, crisps and all kinds of party foods at each other. The entertaining charm comes from their clear deadpan humour and self-awareness through their play at serious expressions, which quickly dissolves into an action packed display of comical violence. It is a bizarre premise, but certainly endearing, especially when the bandmembers often break the fourth wall and interact with the camera. The short is expertly directed and edited by Jaitly and is the stand out quality of the music video, along with the entertaining track itself. The film is energetically paced for the playfighting, but its strong opener is what really keeps engagement until the end. The setting of a party in the calm after the storm, or before as the sequence is reversed, is well established with a variety of long and extreme close up shots of red balloons, a torn birthday banner and the lads sat around a table. There is a serene, visceral quality to the opening with a slight shakiness to the frame, as we slowly zoom out from a clown and his mates, a series of distorted angles and sinister tone suddenly transitioning to vibrant chaos. The playfighting sequence is well stylised with instances of slow motion photography and well-paced, frantic energy. Although brief, this short displays a clear talent for its eccentric subjects and the filmmaker behind the camera. “Some New Bruises To Share” is an original, fun music video with a playful charm and is vibrantly edited and directed with a self-aware quality that is hard not to be endeared to. This crazy party is definitely worth attending! #EmilyDavison "Some New Bruises To Share" (2020) Music Video:

★★★★ Stars Directed by: #StanleyNelson Starring: #KoeRodriguez, #SamsonStyles, #CarlHart, #MitchCredle, #SusanBurton, #ToniaTaylor Film Review by: Alicia Moore “In the early 1980s, the crack epidemic tore through America’s inner cities like a tsunami, ravaging all in its wake.” Crack: Cocaine, Corruption and Conspiracy showcases the brutality of the ‘crack epidemic’ throughout the 1980s and as it begins to escalate in the 1990s as well. It is a smoothly made documentary with more accurate information on the subject than I’ve personally encountered before — when I was a student, I thought that I’d be taught about the devastation that the drug brought down on the black community especially, and how the American government failed to respond to this, but unfortunately I was not. The film provides the information I thought I’d be actively taught in a way that strikes the heart, and strikes it hard. The direction, by Stanley Nelson is absolutely wonderful. The entire documentary is split up into sections, each relaying different details of the damage that had been caused at the time and how it has followed us into the present. Insight is given to both timeframes through the eyes of previous users and dealers of the drug, journalists, authors, historians and former undercover officers, as well as Charles Rangel, the former U.S. Representative for districts in New York from 1971 to 2017. The details are raw and heavy thanks to the individuals who participated in the filming, and the chapters (sections) help to then organise these details for audiences to easily understand. The information given may be easy to untangle, but it is definitely not easy to digest. The chapters move along chronically starting from 1980, yet the danger and hurt that awakened in America from this time is seen to only escalate further in all formats. The choice to show the sections in this way was a great directional selection too, as it enhances the impact that the inclusions have on audience members. The one slightly negative aspect of the documentary is that, because of its runtime, some details included in the whole subject could not be tackled for an extended period of time and then felt like they were being pushed to the side. For example, the impact that women and mothers alike suffered because of the drug — whether they consumed it, dealt it, both or neither. However, this can be understood due to the fact that the wrecking was caused by a demon with a multitude of faces; it is almost impossible to cover all of them but a better balance could have been introduced. The film’s editing (Brittany Huckabee, Mike Long, Jeremy Phillips, Charnelle Quallis) compliments the direction and matches the energy it gives to the documentary as a whole. The editing can be viewed as simplistic to the eye but never fails to still hold vibrant undertones. It has extra value through the incorporation of music videos, news and commercial clips that were released at the time. These are brilliantly combined with the filming of interview-like segments of the documentary, seamlessly stitching them together so that they share the same beat and intertwine as if they were made specifically for that moment. Everything included in this documentary perfectly flows together; it is a great experience for the senses with the pounding of the chapters’ emotions changing accordingly due to the editing style. Crack: Cocaine, Corruption and Conspiracy is an educational and extremely emotional documentary that individuals can connect to from every corner of the world. It opens up a lot of information that may have been unintentionally hidden from those outside of America, like myself within the UK. Netflix usually lacks in the production of brilliant original films, but when it comes to documentaries that brilliance is always found. I highly recommend this because of its links to the present and the utterly impressive making of the documentary overall. Before wrapping up this review entirely, I would just like to take some time to speak on how important the issues that Crack: Cocaine, Corruption and Conspiracy talks about truly are. These elements are especially relevant now as the Black Lives Matter movement thrives. The documentary expresses how the American government, joined with the police, did not respond to the death and destruction of the selling and consumption of the drug — even as the number of deaths and the number of individuals losing their lives in financial terms continued to grow. When the media did begin to focus on this ‘crack epidemic,’ the deeply rooted racism in the country struck through in headlines and articles, building stereotypes towards the black community, particularly towards women of colour and those who were mothers, that still float in the air today. Any campaigns that arose directly from the government were very hypocritical and mostly used simply for political gain and a view of their own strength in position. Poverty, death, illness and fear were already prominent throughout America but officers, along with the government, only decided to pay attention after one of their own was killed. Even still, no help was given — dealers and consumers were seen as villains and treated like landfill; the police weren’t there to help it seemed, it was like they were there to create another war on streets that were already engaged in battle. People of colour were the main target of the increased brutality here, prisons began to burst at the gates with individuals being incarcerated; unjustly, may I add, because of the clear targeting and the use of the Anti-Drug Abuse Act of 1988 which was not thoroughly thought through before being passed. A fellow critic, Max Power, stated that this documentary “helps to explain why so many people want to defund the police” and I completely agree. History can repeat itself in many forms, which is quite terrifying to recognise but significant to do so.

★★ Stars Directed by: #ChrisGervais Film Review by: Jack Ramage One of the positives to come out of the pandemic has been the new experimental pieces of art many people have created. These artistic endeavours are often unique and inventive ways to tell stories, all in the confines of the artist’s home, and moreover, often these are stories that reflect our current situation, telling stories, that a year ago, didn’t have to told. Bet You Don’t Even Sleep At Night is one of said films, an experimental short film created during the pandemic that is simple short film of 3 separate days during the pandemic. The film is a minimalistic portrayal of 3 views into the outdoors from a house, intercut with death tolls due to COVID-19 in Maine. The film is reminiscent of some of Andy Warhol’s work, a conceptually simple idea that puts the viewer in the director’s point of view and asks them to add meaning to what they’re observing. It simply places you in 3 views with natural sound and no cuts and challenges the viewer to interpret what they’re seeing on the screen. Audiences may leave this film with completely differing opinions or even experiences, as it is all on the viewer to construct the narrative or to understand what the director is trying to convey. The film is a product of the time it was made it, the natural views out of windows and doors with birds chirping and people talking in the background would normally be quite soothing and relaxing , like a visual headspace session, but the hard cuts to the death tolls of the virus paints these mundane views in a different light. We as the audience understand that this is most likely someone stuck in lockdown, staring out to the outside world, as the virus still rages on while they are unable to enjoy the outdoors. The cuts also explicitly make viewers think of the damage the virus has done to the world, a once simple view to the outdoors now holds a different meaning. While an enjoyable watch, there’s little more to this film and relies on the viewer to impose a meaning to it. Any subtleties that could’ve been implied using lighting or colours were not utilised in a cinematically enhancing way, the film simply gave us a view of someone gazing out into the world outside, which unfortunately is a view we’re all too used to at the moment. #JackRamage

★★★★ Created and Directed by: #BobbyMarno Starring: #AndrewMcClay, #BobbyMarno and #DamienSeed Film review by: Brian Penn Calling any film ‘Damien’ is a courageous and willing hostage to fortune. Particularly when it invites obvious comparison with the 1976 classic directed by Richard Donner, not to mention numerous sequels and spin-offs. However, this ‘Damien’ is markedly different in a number of ways. Shot in a documentary style director Bobby interviews his friend Damien, a farmer of some repute. It becomes a documentary about the making of a documentary as they struggle to capture the essence of a man of the land. Early exchanges are not promising as the conversation ranges from 3-D printing to Victorian pumps and pet names for livestock. The most controversial topic is the distinction between a hill and mountain. Bobby’s frustration gradually builds as Damien does not appear to be as engaging on screen as he hoped. But as the film crew begin to explore the farmland and nearby woods they uncover a dark secret that puts the flamed haired, mild mannered farmer in an entirely new light. What could possibly be lurking out there; the intrepid film makers are anxious to brighten up a routine documentary but do they really want or need to know? The first half of the film is uneventful to say the least; many would be underwhelmed by the lack of activity were it not for the caption in the opening frames. It provides an enticing carrot to hold the viewer’s attention and reassurance there is a lot more to this particular story. The film dramatically ramps up at the halfway point and the reward is there, but makes you wait for the pay-off that you know is coming. There is an intelligent blend of comedy and suspense in a narrative that is hugely likeable. The principal characters are heavily bearded so are naturally reminiscent of 1980s pop combo ZZ Top. This only heightens the comedic edge that is never too far away. The single hand held camera gives it an edgy sense of realism and ultimate parody that soon becomes apparent. After all, film makers wandering into the woods for the purpose of making a documentary can only be nodding in one direction. But then again it’s much stronger than the genre it appears to be aping, and provides a gently teasing narrative to keep you hooked. Watch the trailer here: https://www.damien.film/

★★★ Directed by: Alexandra Creteau Written by: Alexandra Creteau Starring: Alexandra Creteau, Taylor West, Jeff Rockland Film Review by: Jason Knight A young pizza delivery driver named Mila (Creteau) makes a delivery to a house. She soon realizes that the customer has other intentions. Mila is driving in the suburbs, making a delivery to a private residence. Once there, the young man, Steve (West) lets her in and locks the door. He refuses to let her go and says he is going to rape her. The two struggle, resulting in a minor injury and from then on the situation turns weird. They end up playing a drinking game and talk about relationships, diet and honesty and generally get to know each other. This story begins as a thriller, then moves towards drama, then towards romance. At first there is normality, then nail-biting tension and threat, then things take an unexpected turn as Steve becomes friendly and calm, almost in the blink of an eye. He offers her food and drink and appears to just want to talk to Mila and get to know her. Naturally at first she just wants to get out of there, but gradually warms up towards him. It is a rather extraordinary series of events that lead to awkward situations. The soundtrack is rather amusing and the score turns from sinister and tense to uplifting. During a struggle scene, the camera very quickly cuts from image to black, like a light going on and off inside a room. This clever technique creates a feeling of tension and threat. The screenplay contains interesting characters and (also awkward) dialogue. As the story progresses, the audience will most likely want to know why Steve is behaving the way he is and what the outcome of the situation is going to be. There is a scene of fantasy and a flashback that explains what motivated Steve to lock Mila inside his house. These two sequences also provide an insight into Steve's mind. Unfortunately the acting is not very realistic and Mila does not behave in ways that someone would probably behave if they were to find themselves in a situation of that nature. For instance, after she has injured Steve, she does not make a run for it. And generally it is rather hard to believe that anyone would warm to a person who had told them they were planning to rape them (even if they did not mean it). Although this makes an intriguing narrative, it still comes across as silly. It should be pointed out though, that Rockland is convincing in his role as a psychologist. This short may have its faults, but it provides an interesting experience and is worth seeking out. #JasonKnight Trailer:

★★★ Directed by #MattDAvella Starring #JoshuaFieldsMillburn, #RyanNicodemus Film Review by Amber Jackson Joshua and Ryan, dubbed 'The Minimalists,' have built a way of life from the minimalism movement. Now, they feature in a Netflix mini-doc to share their personal stories on discovering how to downsize to happiness. With ‘new year new me’ vibes, this new documentary shows a unique and alternative way to start 2021. In a rapid consumer age, the films hard-hitting imagery, combined with personal narratives of materiality and money, creates a minimalist reality that becomes all the more appealing to its viewers. The film is contextualised with the certain knowledge that Americans love stuff. Some featured in the piece go so far as to admit that they are addicted to stuff and it is this addiction that both Joshua and Ryan aim to address in this fifty-minute piece. Interspersed with business professionals who share an insight into American consumer culture in the midst of a rapidly changing Capitalist society, we also see every day people on camera who tell us about their personal hoarding experiences and how they have found value in minimalism. It feels genuine and the audience gets a sense of the freedom that can be found in removing unnecessary material items from the home. Testimony from childhood best friends Joshua and Ryan provides an insight into where their minimalism all began. From growing up poor, to becoming financially successful men, their realisation that the so-called ‘American Dream’ that they had achieved actually became more like an American nightmare. The equation of money with happiness, thus leading to a lack of personal fulfilment, really strikes a chord whilst watching. These personal stories of despair and loss are what makes this documentary great. A little repetitive in parts, much of the online response to this has been that this documentary is simply a re-telling of previous works that Joshua and Ryan have done. But this in no way takes away from the message of the film, as both wish to stress that owning ‘stuff’ does not add value to your life. The piece itself is shot well and has many graphics that blend well with the beautifully decorated, minimalist scenes. Through this, The Minimalists drills home the impact of digital advertising and the personal inadequacy that results from this was an unexpected anti-Capitalist framework that was unexpected and indeed, refreshing. There is definitely the feel of Marie Kondo here (remember when Tidying Up with Marie Kondo was the hugest thing to happen to Netflix?), as The Minimalists share the importance of personal value to the items that we keep. ‘Does this spark joy?’ becomes more like ‘what is truly important?’ and ‘Is this something that I want to define my life? Do I really want to keep this?” It breaks from the socially accepted twenty-first-century norm of buying things because we believe that they will make us happy and it allows us all to truly question what we own. Ultimately, the message is that less really is more. Focusing on a few core sentimental items and getting rid of the rest is the key to success. The Minimalists seek to question and challenge the contemporary viewer: can we really get rid of at least one item every day? Their 'Less is More' challenge encourages us to donate, sell or recycle items that we no longer use - a great and environmentally-friendly task for those that have stuff to spare. This documentary is a fresh perspective on the Capitalist world as we know it and is well worth a watch for those wishing to expand upon their horizons. Watch the trailer here: #AmberJackson #LessIsNow

★★★★★ Written & Directed by: #MarcellusCox Starring: #StephenCofield, #DavidChattam, #KimberlyChristian, #CharlzWilliams, #RashadHunter Short Film Review by Taryll Baker A young sketch artist visits a renowned psychiatrist as his life begins sprawling out of control after years of physical and verbal abuse has taken a toll on him. Wow. I’m utterly speechless. The feeling I just got from watching Marcellus Cox’s stunning Micky Hardaway is unlike anything I’ve felt from a film in the last few months. This is like big budget storytelling on an intimate scale, with one of the most well written characters in a short by far, and exquisitely performed by Rashad Hunter. A story so painfully relatable to many and an array of splendidly well-formed characters, shot softly in black and white by Jamil Gooding, creating the sense of every frame being a sketch, with every tone being the gentle pencil strokes. Accompanying the wonderful visuals is a superbly fitting string-driven music score by Bob Bradley, which touches on the melancholy innocence tapped into Hunter’s character. Throughout each scene I realised just how well made this film is. From the crisp sound recording, to the seamless editing, Micky Hardaway is an Oscar worthy picture and it looks as if the festivals are agreeing on its beauty, winning a few ‘Best Short’ awards. The acting is incredibly restrained, several long monologues from various characters lend some exposition, as well as giving Micky a learning experience. There’s also some brutality shown head-on, without much pulling back. This all creates a very real and visceral atmosphere for the entirety of the film. The final scene can give chills; a genuinely perfect ending to cap it off. If I’d had the pleasure of watching this at a screening with an audience, I would have applauded during the credits, and I’m certain others would have too. This is a largely emotional film, with many key moments for audiences to connect with the characters, and that’s thanks to all of the truly incredible performances and hard work from the crew behind the camera. Marcellus Cox is a talented filmmaker with a few short film projects already under his belt, and this new outing is a fine addition to his filmography. Micky Hardaway needs to be watched with undivided attention, and deserves any and every bit of success it could possibly receive. Watch the trailer for Micky Hardaway below. #TaryllBaker