★★★ Directed by #YelitaAli Written by #SophieMax Staring #SophieMax #KajaChan Film Review by Matthew Sawyer The Whole Truth mostly takes place during an ABE interview as Mallory (Max) tries to get the truth, the whole truth, out of Jenny (Chan) about what has happened between her and her teacher. This film tackles a major problem we face in this world and that is paedophilia and grooming. This is a film that is not afraid to hold back or hide details from us, it should be highly praised for this point. We are forced to pay attention. The direction by Yelita Ali is interesting, and for the most part it is good. However, in places, the film can be a tad hard to follow with things that happen to characters that feel very out of place in the moment. We get some interesting flashback scenes that take place during the interview, they give us hints and show us little details that take place during Jenny and her teacher’s encounters. This would be good but we get loud, excessive noise that throws you from the film a bit and you can’t help but feel, given the story they are telling, silence would have been more impactful. The film's real strength comes from Sophie Max herself; she provides great dialogue and an even better performance. She sells every bit of emotion and both her and Chan do a great job in bringing the story to life. Even though this is a great screenplay, one can’t help but feel the twist is a bit unnecessary for a film tackling such an important issue. I understand the need to give a big dramatic twist but the premise of the interview with Jenny being so brainwashed by her groomer was already interesting enough. The cinematography is fine. It serves the story with a muted colour pallet but it doesn't do anything interesting and some of the handheld footage is just a little bit too shaky and can take you out of film in places. However, one place where the film excels is Karya Sezener's beautiful, emotional score that accompanies the film. It is perfectly suited to the film and really helps to immerse you in the story. Overall, this is a decent short film. A lot of the credit should go to Sophie Max and I look forward to seeing her future work. The film delivers exactly the message it intends to; that we must be aware of the issue of grooming and paedophilia in order to safeguard children against it. It’s great to see charities like One in Four helping to raise awareness through the medium of film, it's a very accessible way to get the message across to a lot of people. #MatthewSawyer

★★★★ Directed by #AlexKnapp Written by #AlexKnapp Starring #AlexKnapp #OliviaLuccardi Film Review by Brandon Thomas The opening minutes of Go/Don’t Go hint at a burgeoning relationship drama. Shy boy meets an outgoing girl. Girl draws the boy out of his shell. Hints of electricity crackle as they find themselves engrossed in conversation. The parts are all there, but as the scene comes to a close, Go/Don’t Go crosses into something a little more…sinister. Set in a not-so-distant future, Adam (writer/director Alex Knapp) spends his days completing routine tasks. He cleans, prepares meals and works on repairing a car. When not doing his day-to-day, Adam wanders the countryside, checks homes and marks areas on a map as “Go/Don’t Go.” Adam appears to be the only person left. Isolation and loneliness exist in the periphery of every post-apocalyptic type movie. In Go/Don’t Go, the isolation is front and center. Adam doesn’t spend the entire running time evading cannibalistic marauders or dispatching shuffling zombies. No, Adam’s conflict exists in the haunted memories of a past love, K (Olivia Luccardi, It Follows). Looked at as a typical horror/thriller, Go/Don’t Go could be a frustrating watch for many. There’s a purposeful aloofness to the narrative that builds a lot of mystery, but also never shows much interest in resolving said mysteries. Adam’s flashbacks fill in interesting character gaps instead of explaining how Adam found himself in his current situation. The film’s most interesting angle is how it plays with metaphor. Is the landscape in which Adam lives even real? Every house he enters has running water and electricity. The market he goes to is always stocked full of fresh products. Maybe Adam’s shyness, hinted at in those opening minutes, has consumed him after the ending of a relationship. Of course, nothing is definitive and most of this is left to the viewer to decide. Knapp’s handling of familiar territory is a breath of fresh air. Despite the lack of momentum in the narrative, Knapp taps into a sense of urgency through clever editing. This allows layers of character to be peeled back piece by piece. It’s enough to keep us interested and invested in a story that moves at more of a sporadic pace. By focusing on character and theme, Go/Don’t Go manages to stand out in a sea of post-apocalyptic tales. #BrandonThomas

★★★ Directed by #AlisterGrierson Written by #RobertBenjamin Starring #BenOToole #MegFraser Film Review by Hope Madden The title made me think I was in for droll English humor. Not the case. Bloody Hell, the latest from filmmaker Alister Grierson, is a kind of American/Finnish hybrid about tourism and how it’s often a terrible decision. Rex (Ben O’Toole, Detroit) made one mistake. Well, it was sort of a series of mistakes all at one time, but they’re only mistakes if you think of them that way, and he doesn’t. Not really. Yes, one person died as a result, but Rex’s debt is paid now and he’s ready to rebuild his life. Just not in the US, where the video of his “mistake” made him wildly, oppressively famous. Nope, somewhere else. Somewhere far away. Somewhere calm. Finland! It’s the happiest country in the world! (It’s true. Look it up.) What could go wrong? There’s even reindeer. There’s also this one sadistic and insane family, and Rex is about to get to know them and learn that unwanted fame is not, in the grander scheme, that bad when the grander scheme includes Finnish cannibals. Bloody Hell is funny. It’s mean funny, sometimes tone-deaf mean and not so funny, but the often joyously dark humor almost makes up for that. The film’s success is mainly thanks to O’Toole, who manages to be sympathetic and sort of awful. A string of lunatic supporting turns moves the story forward. Caroline Craig and Matthew Sunderland, in particular, are creepy fun as the heads of the household. Credit screenwriter Robert Benjamin for much of the film’s frenetic pace. He has a knack for understanding what details we really do not need to possess to be able to follow along. Benjamin has basically strung together a series of carnage-strewn set pieces, and Grierson relies on O’Toole’s charisma to elevate these for messy, bloody laughs. With self-deprecating charm to burn, O’Toole creates a wrong-headed but hilarious and almost sweet tone that helps Grierson hold together a plot that throws a lot at you. But at its heart, Bloody Hell is the tale of a lonely guy—endearingly but borderline psychotically lonely—and what it takes for him to find someone to love. It takes a trip to Finland. No wonder they’re so happy over there! #HopeMadden

★★ Stars Directed by: #HallvardBræin Written by: #ChristopherGrøndahl, #KjetilIndregard Starring: #AndersBaasmoChristiansen, #KathrineThorborgJohansen, #AlexandraMariaLara, #HenningBaum, #KostjaUllmann Film Review by: Alicia Moore “When the brakes slam on his wedding, Roy accepts a challenge from a new foe to race for his runaway bride at the iconic Nürburgring track in Germany.” Written by Christopher Grøndahl and Kjetil Indregard, Asphalt Burning presents an interesting storyline of a race for love and trust after Roy (Anders Baasmo Christiansen) crosses boundaries with his future wife’s friend, Robyn (Alexandra Maria Lara,) a night before his wedding. Both sides of this engagement are heavily involved with racing; incredibly enthusiastic about a shared passion for the thrill of speed. Despite this storyline being something very unique, personally I’m not sure if it is truly uniquely enthralling from start to finish. Because it is something so offbeat from what one might expect from a film that revolves around car racing, at times scenes can feel somewhat awkward and halted — almost as if the characters themselves don’t know what road in the story they are supposed to turn to. Although, to put any such criticism aside, I do have to praise the writers for such a distinctive plot as the entire cast and crew brilliantly worked with each other to showcase this story in an enjoyable way; I did find myself chuckling a few times throughout which lifted my spirits on a dull afternoon. Looking at the acting in a separate light from how to contributes to the final product as a whole, it is obvious that the cast thrived off of each other’s involvement in the film. This creates a wonderfully welcoming environment for the audience to step into. Viewers are welcomed into this family with open arms, even when the film’s setting doesn’t directly include viewers by, for example, breaking the forth wall. The connections between the characters are completely natural; it doesn’t feel as though the cast exaggerates any emotion that they show towards one another. I always find it quite exciting to walk into a positive space like this as an audience member due to the fact that the factor of immersion in the film is amplified. The cinematography of Asphalt Burning is by far the most impressive aspect for the film in its entirety. Cinematographer Askild Edvardsen and director Hallvard Bræin display a great sense of partnership through the cinematographic elements. The opening scene is my favourite; it is a long shot that pans around a crowded party setting, introducing each character onscreen, and actually building characterisation from the get-go as viewers have an opportunity to see each character’s personality break through as they are freely celebrating. There are also scenes where viewers are expertly put in the driver’s seat — these sections of the film are stunningly introduced as an exhilarating virtual ride. In less specific terms, every scene has a basis of vibrant and perfectly smooth shots that immediately attract the eye, establishing a visually captive reason for focus as a viewer. Asphalt Burning is an excellent watch for those who like to seek adventure through films involving car racing. The action seen in racing sequences is electrifying, especially paired with the talent in cinematography that was previously mentioned. I encourage you to add Asphalt Burning to your Netflix watchlist; keep the engine revving for a day when the sky is dark and you are just in desperate need of some light throughout lockdown!

★★ Stars Directed by: #PhilipBrocklehurst Written by: #PhilipBrocklehurst Starring: #PhilipBrocklehurst, #MalcolmBrocklehurst Film Review by: Jack Ramage The Bridge is a simple short film which follows a young man (Philip Brocklehurst) who is burdened with some money and struggles to find a use for it. After crossing a bridge he decides to give his money away to an old homeless man (Malcolm Brocklehurst), and in doing this, finds pure joy for the act he performed. The sentiment behind the film is lovely, especially in times like these where small acts of kindness are needed. The film is only 4 minutes long and even in that short amount of time it manages to engage viewers and make them feel sympathy for the situation of the homeless man while also conveying the pride and joy the young man feels subtly. Not to mention there is a complete lack of dialogue which makes this feat even more impressive. While the plot isn’t very subtle, nor does it need to be, the small pieces of acting the audience gets really helps indicate how the characters feel. Yet, since the film is so short the viewers don’t get much time to be with the characters and understand there motives or backgrounds but taken as a simple story, the acting is sufficient to convey the story Brocklehurst wants to tell. The execution of the film however could have been tighter. The cinematography is good for a low budget short film, however some of the shots linger a bit too long on the subjects for no real narrative or stylistic reason. The editing also could have been a little tidier as a lot of the cuts are rough and some unneeded. The main jarring part of the film is the sound design, digital clips of noises are used throughout the film for things like the zipper and the man going through the rubbish. The noises themselves don’t feel natural and fail to blend and mesh with the world. Moreover, the same noise is used multiple times for the rubbish and takes the viewer out of the film as it’s noticeable unnatural. Unfortunately this is where an absence of dialogue is to the film’s detriment, as the foley becomes even more jarring. On the whole, Brocklehurst tells an extremely simple and short story here relying on subtle emotions and a simple narrative to drive this film, while succeeding in its main goal, it unfortunately falls flat in realising that goal in a stylish and natural way. #JackRamage

★★★★ Directed by: John Ferrer Written by: Harry Metcalfe, John Ferrer Starring: Rebecca Von Nielsen, Ellis Smith Film Review by: Jason Knight A zombie apocalypse is taking place and a couple are fighting for survival. Here is a short that is bound to appeal to fans of Shaun of the Dead (2004) and Braindead (1992). The opening scene does not reveal that this is a film about the undead. The couple are in the countryside, having a picnic, talking about how to use a switchblade, then along comes a zombie. As the man attempts to deal with it, he is hit by a car. He wakes later, suffering from amnesia. The woman has brought him into a barn and set up a fancy table for them, like they are in a restaurant. The man has forgotten about the outbreak and believes that the two of them are out on a date. The woman happily encourages that attempts to have a cheerful time with him, while at the same time fighting of the zombies that are nearby. This comedy horror film is a rollercoaster ride of laughs, gore and zombie-killing and it never loses its ability to entertain. It is a very fun film to watch. The two leads are the only 'humans' seen in the film and they deliver very amusing performances. Nielsen is rather funny as she massacres the zombies one minute and the next she puts on a happy, optimistic face, while she is talking to her boyfriend. She is a nice, sweet person but can also be brave and fight for her life. Smith is also comical as the young man who loses his memory and becomes oblivious to the danger. The actors who play the zombies portray them as they are often seen in other films, and they do it very well: they move slowly, dragging their feet, making disturbing sounds, put on frightening face expressions and are covered in blood. There are plenty of elements that are often in zombie films. Zombies all over the place, survivors avoiding them and of course eliminating them, a great deal of blood. The story also examines the relationship between the two protagonists. The soundtrack is very entertaining, consisting of great tracks and music that is sentimental, tense and dramatic. The filmmakers do a good job with the sound effects when the undead are being butchered, creating gruesome sounds of flesh being torn apart. Just like the rest of the film, the closing credits are a joy to view. They are blood spattered and the letters are stylized and blink on and off. The sequence also includes shots from outtakes and behind the scenes, that are rather amusing. There is also a specific scene worth mentioning, during which a missile is coming down from the sky, about cause devastation. It looks quite realistic and creates a dreadful feeling. One Last Bite is a satire on zombie horror films, with plenty of dark humour and comical violence. The characters are interesting and the humour is clever. The highlights occur when the woman is comically battling the undead. It offers a ride full of laughter and adds a bit of romance. #JasonKnight

★★★★★ Directed by: Oliver Murray Written by: Oliver Murray Starring: Ronnie Scott, Pete King, Michael Parkinson Film review by: Patrick Foley You don’t know anything about jazz. Don’t worry, neither do I. And honestly? No-one really does. I mean some people do, but even most of them only say it to sound cool. Ronnie Scott knew jazz. As both the owner, and a performer at Ronnie Scott’s – London’s most prestigious and famous jazz club, he was a corner stone of the scene in the UK and helped introduce a golden era from the rest of the world to his city. Ronnie’s is a remarkable documentary about the man as much as it is about the club. Ronnie’s mixes footage and clips of 60s London with the classic performances of jazz legends to tell the story of Ronnie Scott’s journey to establish a jazz club in Soho. Narration is provided from an impressive cast of talking heads – such as Quincy Jones, Michael Parkinson and Sonny Rollins – as well as audio of Scott himself. The documentary’s greatest accomplishment is bringing the atmosphere of the club itself to the audience’s living room. Whether it’s the stunning performance footage (which is worth watching the movie for alone) or the smoky, intimate photos of Scott as he watches his dream take form, the audience is transported out of miserable lockdown life to a time when live music was loud, crowds were bustling and life was good. The documentary balances its various elements perfectly. Viewers will find themselves immersed watching Ella Fitzgerald perform at the club, forgetting they were witness to a manic, pulsating jazz overbeat as the club’s financial troubles were laid out just moments before. The performances do distract from Ronnie’s story – but they never detract from it. Any viewers who find themselves lost in the brilliance of the musicians are eased back into quiet, contemplative scenes detailing Scott’s personal demons and struggles. This is Ronnie Scott’s story, but it does seem appropriate that his dream manifested would play a key part in the telling of it. The subject of the documentary itself is suitably unexplored, and the director Oliver Murray shines a light on the story of a landmark of London nightlife that many viewers will be unaware of. The story of Ronnie’s club is as engaging as his own, and the documentary stands as further testament to its success and stature in the city. There are some oversights that would have benefitted from further investigation – such as the gangland links in the club’s early days and the journey of the club following Scott’s death, but these omissions do allow for the movie to delve more into the personal. The mark of a great movie is engaging the audience in a subject they know little about. Ronnie’s takes a subject, a place and a man that most will be unfamiliar with, and conjures a fascinating insight into a cultural institution and the man who made it happen. Ronnie’s jazz club is still standing, awaiting its first punters back when the world returns to normal. Until then, Ronnie’s is the perfect way to remind ourselves how crucial the club is. And maybe, just maybe, you’ll learn something about jazz along the way.

★★★★ Directed by: #KamilaTarabura Written by: #NinaLewandowska Starring: #AgnieszkaRajda, #NelKaczmarek, #KamilaBaar, #FilipOrliński, #PiotrŁukaszczyk Short Film Review by Taryll Baker Krysia, a teenage girl, leaves her home for the first time in weeks. At a party, she runs into Majka. The two girls slip away and set off on a journey that proceeds at a dizzying pace. I guess the one thing I can take from Tarabura’s Into The Night is that, though sometimes landing you in a bit of a predicament, being spontaneous can make you feel alive again. This new short film from the assistant director of (what most consider a cult classic) High Life takes us on a spiralling coming of age journey through the eyes of Krysia, most wonderfully performed by Agnieszka Rajda. Like most films in this genre, it takes a simplistic story but places its core focus on the complicated, budding relationship between Krysia and high-tempered Majka (Nel Kaczmarek). The film does a nice job of introducing us to Krysia, with scenes of her mother picking clothes for her to wear, and sending her off to a birthday party, providing the notion of a dominating mother/daughter bond. Forced into this situation, as an introverted teen, Krysia decides to leave the party with Majka, who had just stormed out after an argument. Following this are moments of joy, fear, adrenaline, love and friendship. Krysia’s internal arc across the 23 minutes (not including credits) is a pleasant surprise. The two go to a roadside store, steal alcohol, meet some teenage boys, and join them at a different party across town. The drama escalates as you’d expect, but where the two end up in the final scene is fitting. The tone set throughout is consistent, and the cinematography is stunning. I’m not sure on the budget but this certainly doesn’t look cheap, and the locations and music add the feeling of a small Hollywood feature, like something coming from the studio A24. All of the performances are fantastic and feel very real. The two leads are phenomenal young actors — for one of them their debut — with biting personalities and textured characters, thanks to the writing by Nina Lewandowska. Into The Night won’t wow you with some deep, thought-provoking story, but it does provide a very good portrayal of what growing up as a teen is like, and I think thats very universal experience, so anyone can find enjoyment in this short. Watch the trailer for Into The Night below: #TaryllBaker

Filmmaker Interview by Jason Knight Would you please describe the plot of Redville? The sudden loss of my character's wife brings my three old friends from high school to be there for me, but we haven't spoken in twenty years and they don't realize what they are walking into. What motivated you to take part in this project? Scott Thomson, who’s been the singer in our band, Dead-Lift, wrote a screenplay that he wanted our drummer, Sean Cranston, to direct. Scott ended up writing parts for us. None of us have acted before, but we said “Let’s do this, this is gonna be fun!”. It was a group thing that we all bought into and wanted to make happen. How would you describe the character you portray? Tony Rinaldo is a writer, so he pretty much is a recluse, just being happy with his wife Karen and his laptop, but he’s always been an angry person. The loss of his stability leaves him wide open for his emotions to get the best of him. What did you find most challenging while making this picture? This was all new to us, except for Sean who has done this before, so it was all a challenge from sitting down and trying not to argue with each other over plot or scenes to learning lines to getting everyone to set locations. The challenge still continues in trying to create a buzz about the film. How would you describe the director and the rest of the cast? What was it like working with them? Working with Sean was a great experience, this is his wheelhouse so I, as well as the others, took his advice and followed his lead. He was very upbeat, professional and encouraged us when some of the scenes were getting demanding. We’ve all known each other for 15+ years so our chemistry was definitely there, sometimes too much, especially when some of the more humorous parts of the movie needed to be filmed. You delivered a very strong performance in this movie. What are your thoughts on acting? Thank you so much for the compliment, acting is another form of expression and creativity so I’ve always felt that I had it in me, just like with music. It’s fascinating when you can take an idea, work on it and get a final product, whether a film or album. It’s a great sense of accomplishment. I have to give the professional actors more credit because the emotional parts in scenes are them finding something in them to bring it out. Some scenes I did in Redville, I had to go places that I didn’t want to go to get what Sean and Scott wanted. It was an emotional rollercoaster for sure. What are your plans for the future? Sean’s mind doesn’t stop, so he’s got another film in the works. He asked me if I would be interested in being in it and I jumped at the opportunity. Hope to start shooting in late spring of this year. There’s also some other things that Dead-Lift Productions is working on, a possible series and another feature length movie. Personally, I’m looking to get better at this acting thing and start broadening my scope. At the end of the day, I’m just looking to have fun and meet new people. #JasonKnight

★★★★ Directed by #JerryRothwell Written by #NaokiHigashida Film Review by George Wolf Ten years ago, a Japanese teenager wrote a book that quickly became regarded as “an envoy from another world.” With The Reason I Jump, 13 year-old Naoki Higashida expressed in poetic detail how a nonverbal autistic child sees the world. In short, it’s “details first…then the whole thing.” For the film adaptation, veteran documentarian Jerry Rothwell gently weaves narrated passages from the book around visits with a handful of other mostly nonverbal autistic teens from around the globe. The wonderful cinematography from Ruben Woodin Deschamps is a perfect vessel to unveil the beautifully undiscovered country the film explores. These teens are talented, intelligent and expressive, longing for friendships that only require “peace from the world.” And more than anything, they want to change the perception of autism by joining the conversations they’ve long been the subject of. The Reason I Jump is a touching introduction into how much we can learn by listening to them. #GeorgeWolf

★★★★★ Directed by: #PierPhilippeChevigny Starring: #EdouardBLarocque, #ÉmileSchneider , #JeanNicolasVerreault, #SashaMigliarese Film Review by: Alexandra James Rebel (Recrue) is a short film set in the near future of Quebec (2022). The film highlights the growing right-wing extremist groups and the strong influence they have on others. Especially the young and impressionable such as the character Alex (Edouard B. Larocque), a 6 year old boy and son of a right wing extremist. The film is shown through Alex’s eyes, he has no knowledge of the distress his father and other members of the group inflict. Alex is taken into the woods with his father and the group one day and witnesses first-hand their intimidating behaviour, he becomes confused and after this experience looks at his father in a completely new light. The film opens up to Alex playing with his toys, his father is shown to be devoted and caring as the pair talk of ice cream sundaes and chocolate sauce, clearly portraying a loving relationship between the two. The film takes a sudden turn as the father decides to take the boy on a patrol into the woods to hunt trespassing migrants, completely juxtaposing the warm and affectionate father the audience first observe. The scene shows children playing and having their faces painted, but there is always that undertone of aggression as one father takes pictures of his daughter holding a knife and tells her to look fierce. The children are oblivious to their surroundings and the reason as to why they are there. This created a huge impact and director, Pier-Philippe Chevigny, was able to produce an uncomfortable ambience through this. To expose children to this environment and indoctrinate such strong views onto innocent minds is quite disturbing, particularly due to how ignorant they are of the politics behind this, this is a great way to open a story. Whilst the gang search through the woods, Alex stumbles across a family hiding from the group. Unknowingly, Alex tells his father and the group explain that the family are not wanted in their country and begin to handcuff them, as well as the small child who looks a similar age to Alex. There are a lot of short cuts and close up’s of Alex’s expressions as he watches his father, the crying child and the panic from the family. He becomes overwhelmed and frightened of the situation, as well as his father. Their dominant behaviour and message of hate takes over the scene and this is felt by both Alex and the audience, it was an extremely powerful image which lies heavy on the mind. Not only is the film brilliantly shot, the camera angles from the child’s perspective allowed the audience to really engage with the scene and become a part of the madness, the story also acts as a platform to voice political views and highlights the issues currently occurring in today’s society. It makes for an interesting watch as well as opening the floor for debate. Rebel (Recrue) is definitely worthy of a 5 star rating, it creates a very dark picture of our society today or merely holds a mirror towards humanity, projecting the more hostile parts of civilisation with which most of us choose to ignore. Alex becomes that beacon of hope within this short film and the moral compass which inspired and elevated the entire piece.

★★★★ Directed by #JordanTetewsky Written by #JordanTetewsky and #JoshuaPikovsky Staring #HunterZimny , #MeganDecino , #PaulSouthard , #DannyFrye , #SarahHarper , #MichelleGirolami Film Review by Jasmine Holly Bullock Bolue Vience is a 2016 satirical short film that follows the life of a ‘tortured’ artist, named Vincent, who not only is a pretty bad filmmaker but also a pretty bad boyfriend and a bad friend. In an effort to win back his girlfriend, Kitty, Vincent visits his old ‘family’ of cult clowns in order to use some clown magic to better his life. What does the title mean? Precisely nothing, it is gibberish, or it is a purposeful misspelling of ‘Blue Venice’. Which doesn’t really relate to the film at all. The film is pretty bonkers and goes off on numerous tangents that make it very confusing and bewildering... but that is seemingly meant to be the point! In which case: TOP MARKS for it. I was bewildered and you will be too. The acting in regards to all the performers is abysmal. However, it takes some skill to do something badly on purpose and in a way that doesn’t make it seem like it is on purpose, in my opinion. Because of this, I do give props to all the performers and their commitment to the film and what it is trying to do. Hunter Zimny plays Vincent, one of the most unlikeable characters you will ever meet. Zimny is great at playing the artistic artist who is so artsy he’s just plain arrogant and clueless. Considering how bizarre this film is I am amazed that Zimny managed to keep a straight face and maintain Vincent’s air of over-the-top internal conflict. The soundtrack for the film wasn’t something that stood out that much, there’s so much going on visually and script-wise that you don’t really notice the music and so I don’t think the soundtrack added or took away anything from the production. One thing that did stick out was the overly dramatic synthesised sounds that would occur whenever something important was happening, those sounds made those moments cringeier than they already were. One thing that actually wasn’t bad at all was the sets that were used. They were varied and they were perfect for each scene. I really liked the set up for the scene involving the clown magic and Vincent’s journey to find that magic. Considering this wasn’t a film with a Hollywood type budget, they utilised what they could and gave some thought to these settings and the way they were arranged. The first thing that came to my mind when I watched Bolue Vience was The Room by Tommy Wiseau , if you’ve seen that film you know how UNINTENTIONALLY god-awful it is. And yet The Room is cannon for being such a bad film, and that’s basically what Bolue Vience is like, except it is intentionally bad... which makes it less bad in a way, especially since it was so convincingly atrocious. Such a paradox! Jordan Tetewsky must have had a lot of fun making this film, yet you can see effort was made especially when you look at certain things like the sets and the costuming for the clowns. Admittedly, I struggled to rate this film because I wasn’t sure of what it was trying to do initially, and even when I did understand; I knew that this film is not going to be for everyone. Some viewers won’t be able to look past the hectic nature of Bolue Vience and just appreciate it for being a satirical comedy. Also, satire isn’t for everyone and can definitely push the boundaries of what is offensive and what is comical. Although, if you want to see the most awkward screen kiss in the history of film, definitely give this film a watch. I do recommend watching it because it's a wild ride and will probably make you laugh out of confusion and embarrassment. If you do watch it, don’t approach it with any seriousness at all otherwise you will be disappointed. #JasmineHollyBullock