★★★ Directed by #EugeneAshe Written by #EugeneAshe Starring #TessaThompson #NnamdiAsomuga Film Review by Rachel Willis Writer/director Eugene Ashe (Homecoming) helms a charming, if paint-by-numbers, love story in Sylvie’s Love. Young saxophonist Robert (Nnamdi Asomugha, Crown Heights) is instantly smitten with Sylvie (Tessa Thompson, Annihilation, Little Woods) when he walks into her father’s record store and sees her at the counter. Though Sylvie's engaged, that doesn’t stop two from forming a connection. The chemistry between Thompson and Asomugha is undeniable. Particularly in the early stages of the relationship, these two characters radiate attraction. The early sexuality of young love then gives way to a sensuality that blends seamlessly into something more mature as the years pass. Thompson and Asomugha bring an unmistakable authenticity to the relationship, and to the depth of their characters' feelings for each other. The first two acts follow a conventional pattern, much of the dialogue you could voice before the characters do. But at times, Ashe surprises with a few well-chosen moments. The third act strays outside the realm of predictability, but not by much. It’s not hard to figure out where the film is going to take you, but whether or not that bothers you depends entirely on how invested you are in Sylvie and Robert’s relationship. The focus is sometimes too narrow, which one sees very rarely. Far too many films take on more than they can handle. One of my biggest criticisms of the film is too much of a spoiler to reveal, but a particular character feels like an afterthought in much of Sylvie and Robert’s orbit. This is their world, and other people barely inhabit it. This leaves a few irritating loose ends that, while not essential to the film to clear up, are a thorn in its side. An epic love story must have its characters go through a few ups-and-downs and navigate obstacles to determine if theirs is a love that will last. There is some fun in watching Robert’s career as a saxophone player over the course of the film, and as a jazz musician in the 50’s and 60’s, you can be sure there’s a fantastic soundtrack boasting some of the greatest songs of the era. The same can’t be said for the score, which is often distractingly sappy. The holidays seem a perfect time to get lost in an epic love story, but Sylvie’s Love isn’t quite compelling enough to join the ranks of the truly great romances. #RachelWillis

★★★ Directed by #PattyJenkins Written by #PattyJenkins #GeoffJohns #DaveCallahan Starring #GalGadot #ChrisPine #KristinWiig #PedroPascal Film Review by Hope Madden and George Wolf During a moment in time when a TV personality megalomaniac attains unprecedented and appalling power and threatens global civilization, it’s good to find a little hope in humanity. Or at least a diversion, so let’s watch Wonder Woman 1984, eh? Gal Gadot returns, lasso in hand, to defend the world from Eighties-style greed and fashion in a film that homages Reeve-era Superman while it straps some social commentary in shoulder pads, and lets loose with some thrilling fun. Unburdened by the origin story of her 2017 original, co-writer/director Patty Jenkins is free to expand the hero's narrative. 1984 finds Diana Prince as a Smithsonian anthropologist working with the socially awkward gemologist Barbara Minerva (Kristin Wiig, a blast) when self-help ponzi scam artist Maxwell Lord (Pedro Pascal, slimy perfection) brings Big Comic Book Villainy to the DC mall. Lord is looking for a 4,000 year old artifact that grants wishes. But when the dream stone gives, it also takes, and Diana's sleuthing finds that over the many centuries, entire civilizations have paid the cost. While the last film weakened in the final third with an overly cumbersome finale, WW84 only gets better as it progresses, making that two and a half-hour running time seem much more palatable. The story turns manage to find real hope in the face of overwhelming, global selfishness and the destruction that comes with it. The Reagan-era spin is luminous—Whamtastic, even—and Jenkins displays a delightful knack for the Eighties-style action sequences. Bigger! Bolder! With leg warmers attached to legs that ain't afraid to kick a sexist pig where it counts. Gadot’s easy grace creates a more wizened hero than the naieve goddess of the last go. Jenkins and her co-writers even find a perfectly reasonable and wildly welcome way to bring Steve Trevor (Chris Pine) back from the dead. The chemistry between the two actors again sparkles with endless charm while Pine's "man out of time" deadpans fuel the funniest lines in the film. And this film is funny, playful even. But more than anything, this episode is an ode to truth, and to the belief that the truth still means something. If it doesn't, not even a superhero will be able to save us. And the truth is, WW84 finds a thoroughly entertaining, surprisingly touching way to point that out. And stay during the credits for a welcome stinger.

★★★★ Written & Directed by #DougRoland Starring #StevenPrescod, #RobertTarango Film Review by Lawrence Bennie As a youth, Robert Tarango idolised the leading men of Golden Age Hollywood, dreaming of becoming a movie star himself, one day in the future. When, decades later, he was contacted by writer-director Doug Roland, Tarango’s path to the media spotlight began to finally light up. But this is far more extraordinary than the average backstage success story. Tarango is both deaf and blind and, after twenty years as a Long Island kitchen worker, his childhood dream of finding fame on screen have become a reality. Hoodie Tereek (Steven Prescod) spends a fun evening chilling with friends. Having planned to stay over at his girlfriend’s, Teerek’s plans change when she messages back to say it’s a no-no. Heading home, he encounters Artie (Tarango), a deaf-blind commuter. Assisting him to the nearby bus stop, Tereek finds himself bonding with his unlikely friend as he learns to communicate with Arite. Inspired by Roland’s own true-life experience, Feeling Through is an enriching short film experience. Eager to cast a genuine deaf-blind person, Tarango’s presence brings authenticity and sincerity to Roland’s piece. Yet, it is Prescod who makes the whole thing click. Tereek is harmless and carefree and yet, within a few minutes, we get the feeling something is lacking in this young man’s live. There’s a certain rootlessness to the character; a lack of connection with others. His play with friends fizzles out, his girlfriend seems reluctant and he abrasively shoos away a homeless man in need of a quarter. Artie becomes not only a new friend that he genuinely does connect with, but also the conduit to his connection with the outside world. Soon, Tereek is left aggrieved by the apathetic attitudes of a shopkeeper and bus driver, wins the quiet approval of a stranger and slips cash to a street-sleeping stranger. In Artie, Tereek meets a special human who literally feels his way through the world. Through Artie, Tereek learns to feel more about others and the world around him. All three men at the heart of this production share a remarkable story. At the age of 16, Prescod was arrested and jailed for robbery, before theatre helped him turn his life around. Adapting his life-story into a one-man show, Prescod caught the eye of none other than Prince William who personally contacted him with the prospect of a transfer to London’s West End. Roland’s 2011 encounter with the real-life Artie led to a nine year journey to bring to the story to the screen, culminating in a reunion with the very man he met all those years ago, New Yorker Artemio Tavares. Even more moving is Tarango’s tale. Born deaf, the aspiring actor had his dreams dashed when Usher syndrome also robbed him of his sight. Against all odds, Roland’s chance meeting with Tavares has not only led to Tarango’s belated screen debut but has also given him recognition as a public figure for the deaf-blind-community. After a turbulent year where people are increasingly being forced apart, Feeling Through brings a much-needed tale of human connection to screens It’s a heartfelt, touching journey, sensitively handled by Roland, lent kudos by the presence of Tarango and, most notably, wonderfully played by Prescod. #LawrenceBennie

★ Directed by: #PhilipLMoore Written by: #PhilipLMoore Starring: #JerryAnderson #KeithHow #AnnaLiddell #HannahBurgess #KarnMoore Film Review by: #ChrisBuick Ox (Anderson) and Spud (How) are back on the streets after a couple of decades on the inside, now looking to pick up the pieces of the life they left behind some twenty years ago. But starting up the old Magpies gang isn’t as easy as they had hoped, especially when the new, young blood in the ranks is hardly up to the job. The production of Malcolm and the Magpies was one plagued by catastrophe after catastrophe according to writer/director Philip L. Moore; lost footage, horrendous weather and crippling restrictions thanks to 2020’s most infamous C-word to name but a few. But while it’s true that problems such as these can seriously derail any film big or small, it’s hard to believe as the end credits roll on this ridiculous gangster parody that this project ever had a chance of success to begin with. The film starts innocently and inoffensively enough. When Spud realises a fateful lottery win while inside has set him up for life, he looks to help out long-time partner Ox financially as well. But unable to convince Ox to accept what he sees as charity, Spud decides to plan a self-funded final job in the hopes of solving this problem while saving his partner's pride. What could go wrong? Enter Malcolm. Malcom (Moore) is essentially both Chuckle brothers rolled into one, multiplied by a thousand. Utterly inept at every task given to him, in one scene we see Malcolm struggling to dispose of a dead body that may not have in fact yet fully expired, somehow writing off a not inexpensive car with a digger in the process, and his ongoing floundering and incompetence means the Magpies whole operation for one last hurrah is a complete farce from beginning to end. And if the film had carried out as it started in the first quarter of an hour or so, with some silly over-the-top slapstick and close-to-the-mark-but-relatively-fine jokes, Malcom and the Magpies could have been at least a somewhat amusing romp. But what plays outs for the remaining sixty minutes or so is nothing short of an absurd and at times offensive series of ridiculous scenarios, each more uncomfortable and void of any real humour as the next. Female objectification, homophobic slurs, slightly racist attire – nothing is apparently off limits here. The film markets itself as ridiculous, but no pre-emption can really justify its content. One scene sees this group of older men leer at a teenage girl in her underwear as part of Malcolm’s “initiation ritual”, another sees them gawk at a young girl in a school hockey uniform, scenes that are disturbing and sad to watch with practically all of the female characters being horrendously represented in the same misogynistic tone-deaf manner. Finally, the relentless barrage of painfully obvious and ridiculously puerile jokes, laden with infantile off-colour barbs makes this film a real struggle to endure and nowhere near as funny as it desperately wants to be. All that coupled with some extremely one-dimensional sub-par performances across the board means what we are left with is a cast of deplorable and detestable characters and no one to root for, instead just left slowly shaking our heads in disbelief. Legitimately infuriating at times and a slog to watch. With future entries currently looking to be produced, one hopes that in future the series might try to climb a bit higher than the absolute bottom rung Malcolm and the Magpies perches itself on. #ChrisBuick Watch the trailer for Malcolm and the Magpies here:

Film Feature by Chris Olson With the success of Hamilton on the Disney+ platform, this cinematic version of the popular stage play Everybody's Talking About Jamie comes as no surprise. Currently slated for UK release in February 2021, you can watch the Everybody's Talking About Jamie trailer below: The film is being directed by Jonathan Butterell, whose filmography includes no other directing credits. He was the choreographer on Finding Neverland [2004] though, which may be more important given the genre of this Disney film. Playing the titular role of Jamie will be Max Hardwood, again in his first credited outing. Should audiences be worried that the Everybody's Talking About Jamie main players are unheard of? Let us know what you think. As with all our movie trailers, please share far and wide - you know the game by now, I don't need to tell you. #ChrisOlson

★ Stars Directed by: #JuanCamiloPinzon Written by: #DagoGarcía Starring: #AntonioSanint, #LuisEduardoArango, #MaríaCeciliaSanchez,#MarianaGómez, #JuliánCerati Film Review by: Alicia Moore “An accountant and aspiring magician invites his boss to spend Christmas with his family — unaware that he’s one of Columbia’s most wanted criminals.” An Unremarkable Christmas is a Spanish language film on Netflix that directly links to the series The Unremarkable Juanquini, which is also available to watch on the same platform. The film is set before the events of the first series as Juanquini himself (Antonio Sanint,) El Ñato (Biassini Segurand) and Captain González (Júlio César Herrera) share one Christmas wish; for each to be courageous enough to change their lives the way they see fit. One specific character enters in their dream cloud that could finally grant their wishes. As An Unremarkable Christmas is really the ‘Christmas special’ of the matching series, it is incredibly difficult to find it remarkable as a standalone film. For television series such as Father Ted, Friends or The Royal Family, a ‘Christmas special’ episode can easily be enjoyed by anyone as it can stand proudly alone as an insert episode — just with a festive theme attached. In regards to other series, for example Peep Show, which are a lot more quirky and are extremely more intriguing when the viewer has already made a connection with the characters, it is almost strenuous to expect those who are not necessarily existing fans to thoroughly enjoy it. That’s how I feel about An Unremarkable Christmas. Although I don’t see myself watching the series separately anyway as the chaotic comedy just isn’t my style, I know for certain that if you have watched the series and celebrated its making then you’ll appreciate the film in this holiday season. To expand upon my mentioning of chaotic comedy, the entirety of this film is tremendously upbeat with sparks of blazing energy in each scene. At no point does the pace of events slow down or appear to be calmer than a minute previous; it is obvious that the acting is supposed to be somewhat exaggerated for this type of whirlwind experience. Unfortunately the jokes deliberately written into the script didn’t evoke laughs from me as an audience member, the extent of my expression was maybe a slight giggle. I was expecting my reactions to be increased from that due to the bountiful liveliness, however the comedic remarks and underlying laugh factors didn’t seem to deliver. Despite this, I was still able to feed off this energy anyway as its simply inescapable. There’s no doubt that you’ll find yourself smiling unknowingly at least once. Though I did state that the acting is set to be exaggerated, that is far from an insult to the range of abilities seen from the cast. Because this exaggeration was planned and directed to match the film, the performances are brilliant. The whole cast perfectly brightens the personalities of their characters and continue to spread vibrancy throughout the scenes presented; I’m genuinely quite impressed by this aspect. An Unremarkable Christmas may not be your first festive film choice, but if you are looking for a new series to watch then The Unremarkable Juanquini can be a viable option and the film can seamlessly follow that viewing. Overall, An Unremarkable Christmas actually does a wonderful job at amplifying a joyous environment for the holidays. ¡Feliz Navidad!

★★★★ Directed by: Audrey Biche Written by: Audrey Biche Starring: Eloise Blomme, Patricia Couvillers, Camille Merite, Eva Quinto, Benedicte Charpiat Film Review by: Jason Knight An elderly woman recalls her forbidden romance with a girl, while the two where at a Catholic school. A young nurse is assigned to look after Adeline, an ill, aged woman who is staying in a hospital and is in a wheelchair. One day Adeline receives an unexpected letter from a person named Helene Gautier. It is revealed that Adeline had a relationship with Helene many years ago, when they were both living at a Catholic school. However they were discovered and separated. The film has a nonlinear narrative, containing many flashbacks of the relationship the two girls develop and the strict upbringing they had to endure. The other storyline follows Adeline's current, sad situation in the hospital. This short, emotional story explores themes of forbidden love, lesbianism, authority, discipline, religion, illness, death and cruelty. The performances are truly remarkable. Blomme and Merite are great in their portrayals of young Adeline and Helene, who are in love with each other but constantly under fear of being exposed. Charpiat is menacing as the strict, coldhearted Mother Superior of the school, who emotionally and physically torments the two girls. Couvillers is moving as an individual who is reaching the end of her life and saddened by memories from her past. Biche does a wonderful job, creating beautiful establishing shots and scenes of heavy drama. In several sequences, the editing makes clever uses of match cut techniques. The costumes also deserve praise, particularly in the school scenes. The uniforms the girls wear and Charpiat's clothing look rather genuine. Composer Danny Guttridge has created music that matches the emotions of the story. It is atmospheric and emotional. Adeline is a love story, it is a poignant tale about lost love. It will most likely touch the viewer's heart. #JasonKnight

★★★ Written & Directed by: #ShaarathVihari Produced by: Chandana Shaarath under Mad'ouk Motion Pictures Starring: #ShaarathVihari, #SaikumarGuttikonda, #BrindaShivram Film Review by Taryll Baker After the mysterious death of Heena Siddiqui, an investigative journalist at Global Post News, her colleague Nick decides to take her investigation forward with help from his long-time friend Sasha, where they encounter incredibly powerful Super-Soldiers. World cinema is so inviting to me, seeing the different shifts in tone is super interesting. Hollywood can throw out some stunning films, but there are some truly brilliant works coming from other corners of the globe. Korea has an onslaught of amazing content, in both television and film, as does Greece (Yorgos Lanthimos, need I say more?) and, in this case, India. Indian filmmaking is especially vibrant and holds its own unique flair, and in the gritty black and white drama from Shaarath Vihari, it’s no different. The Glint of Darkness: Revolution is a pretty ambitious film. I couldn’t grasp the concept entirely but the stunts and bigger nature of the film (which I believe is independently funded) is definitely appreciated, and I think that’s where I stand on this. I appreciated it more so than I enjoyed. The technical side of things was more exciting to me than the narrative. Ramesh Kumar Kannan’s music score heightens the action on-screen and the editing, while a little choppy, is good. The fight choreography at the mid-point of the film is fairly average, but some of the camerawork improves it considerably. In fact, the same goes for most of the film in general. There are some really nice angle choices throughout that makes everything feel like its flowing a lot smoother. Bike chases are exciting and the fight scenes pull you into the drama of the story. There is one problem; the dialogue feels quite forced. Acting is likely the first thing someone will notice when watching a film so it’s something you want to get right. That’s not to say the performers are bad, I just feel the writing needed more work to fully engage me. However, the practical work is pretty impressive like aforementioned and I was fairly entertained for the duration. Speaking of it being ambitious, there’s a sequel on the way it seems, so I’m interested to see where this heads. This is Shaarath Vihari’s feature debut in both writing and directing, and I feel with the next project, whether it’s the sequel or something separate, he will have learned some things… After all, this is what filmmaking is all about. Watch the trailer for The Glint of Darkness: Revolution below. #TaryllBaker This film is releasing on Vimeo on Demand this Christmas Eve. https://vimeo.com/ondemand/godrevolution

★★★★ Written and Directed by: #MatthewSawyer Starring: #EmilyRoseHolt and #JackMcGarry Short film review by: Brian Penn Of all the ways to test a relationship there can be nothing more destructive or explosive than children. The desire to procreate and start a family lies at the centre of our very existence. We desperately hope our partners want the same thing; one mind/two hearts travelling along life’s highway is the romantic ideal. Alas life is rarely that simple and can only pray we avoid the potholes. But what happens when two people want something different and love alone is not enough to keep them together. And what happens when one says ‘yes’ and the other simply shrugs ‘I don’t know’. The ultimate deal breaker is examined in this beautifully judged short feature by Matthew Sawyer. Emma (Emily Rose Holt) is a twenty something desperate to start a family. She has been dating Lucas (Jack McGarry) but the warning signs are already there. She is convinced that Lucas doesn’t want children and feels the time has come to go their separate ways. However, in his own mind Lucas has not dismissed the idea of children he just doesn’t know for sure. Emma takes this as rejection of her most cherished wish. For her there are no half measures as they must want exactly the same thing. Their respective parents offer unique counsel on the way it felt when they went through the same travails. Life sometimes has the last laugh as the final scenes pack a richly ironic punchline. What gives Pregnancy Test such poignancy is the cold reality that can destroy an otherwise happy relationship. Emma is set on children but will never tolerate the vagueness of Lucas and the feeling he’s just stalling. A ‘don’t know’ or ‘maybe’ will never be good enough for her. She doesn’t want to railroad him into parenthood if it’s not truly what he wants. These scenes are played out between couples the world over, and carry a universal message about what commitment really means. Before and after conversations give the piece a natural glow of realism to which everyone can relate.

★★★ Directed by: #NeeluBhuman Written by: #NeeluBhuman, #DaviaSpain Starring: #HarmonySantana, #CarmenKMoore Film review by: Joseph Rodgers Transfinite is a vibrant and imaginative omnibus of science fiction short films in which transgender and queer characters unlock magical powers for spiritual liberation and empowerment. The results are often surprising and outlandish yet never less than entertaining. This omnibus consists of 7 short films, all based around transgender and queer characters and connected in the theme of liberation through magic. In the opener, a trans woman (Harmony Santana) spirals in insecurities while waiting for her boyfriend to arrive; the boyfriend (S. Angelo Acevedo), meanwhile, is plagued with anxieties about how to tell his male friend about her identity without being met with transphobia. In another, a trans woman (Davia Spain) meets a politician in a hotel room with a view to enforcing equal rights for marginalised peoples. The supernatural powers gifted to these characters, in these contexts, serve to overcome prejudice, to empower, to bring about change. Some, though, are more impressionistic vignettes in which trans characters harness magic to break down boundaries with others, and with the natural world. The principal magic takes various forms throughout, and manifests via modes such as dance, martial arts, even by cultivating flowers. Written by a multicultural collective of screenwriters of “various beliefs, sexual orientations and gender identities,” Transfinite is understandably changeable and wide-ranging in its storytelling and characters; from one story to the next, and within each, there is often no telling where things may go. In one tale, for instance, a young girl’s (Aditi Bhuman) dancing triggers another boy to inflict self-harm through smashing his crutches on himself. As the boy’s mum confronts the child’s three parents, who are in a thrupple, the script repeatedly takes unforeseen turns and resolutions. The effect of this unpredictability is mixed. Sometimes, the viewer may be confounded, and many of the stories and characters could be more fleshed out, such as the opening tale, which sadly ends too soon, and another in which a business developer (Bridger Fox) meets a street-campaigner (Carmen K. Moore) for the environment, which feels more like the outline for a story than a fully developed one. However, the audience will consistently be engaged and intrigued. Fortunately, while the stories are often eccentric, the actors all feel like they are performing within the same eccentric stories, and having a lot of fun with it too. As the credits state, “many participating humans were enveloped with an invisible jolt of happy vibes,” and they hope to hold us “in a similar joyous and stimulating daze”. Certainly, they succeed in doing so, for the lively quality of the performances and the film-making is infectious. Director Neelu Bhuman enhances the vibrancy and inventiveness of the tone through weaving in animations. These boldly coloured sequences expand the film’s imaginative potential, helping to convey Transfinite’s magical transferences of power, its mystical wisdoms, and its deification of the natural world. The unpredictability of the stories and variety in its characters also suits the film’s ultimate thematic focus, which is the limits of human identity. Transfinite’s artistic intention is to break free of any oppressive borders and structures, as suggested by the film’s opening subheading, “As limitless as nature itself”. Therefore, the film seeks to expand the mind’s horizons, by revealing unexpected sides to its characters and having them bond in subversive ways. Taken in this light, the film’s outlandishness can be perceived in positive terms. An inventive and empowering series of short films with trans and queer performers, Transfinite will occasionally leave viewers dazed and confounded, but its positive energy is undeniable.

Film Feature by Chris Olson Coming to film fans in 2021, Studiocanal and Blueprint pictures have just released the A Boy Called Christmas Trailer. The film, which has a starry cast including Stephen Merchant, Maggie Smith, Sally Hawkins, Kristen Wiig, Michiel Huisman, Zoe Colletti and Toby Jones, is being helmed by filmmaker Gil Kenan. Stephen Merchant will voice a character called Miika, an outspoken pet mouse. A Boy Called Christmas is a Father Christmas origin story. An ordinary young boy called Nikolas sets out on an extraordinary adventure into the snowy north in search of his father who is on a quest to discover the fabled village of the elves, Elfhelm. Taking with him a headstrong reindeer called Blitzen and a loyal pet mouse, Nikolas soon meets his destiny in this magical, comic and endearing story that proves nothing is impossible… A Boy Called Christmas is adapted from the bestselling book by Matt Haig; the first of five books in the acclaimed series published by Canongate Books. Watch the A Boy Called Christmas trailer: #ChrisOlson

★★★★★ Directed by: #RossMcGowan Written by: #CraigMcDonaldKelly #DavidHepburn #RossMcGowan Starring: #DavidHepburn #CraigMcDonaldKelly #ReeceCredon Short Film Review by: #ChrisBuick Lee (Hepburn), struggling to remember the night before the morning after, feels for sure that he might actually be dying. A hyperbolic statement many have convinced themselves to be true after a heavy night, however, Lee might not be exaggerating at all. In fact, it might already be too late for him. But that isn’t going to stop his best mate Bruce (McDonald-Kelly) doing whatever he can to get him out for yet another night on the town. Hangover Food is a film that has so much going for it, a perfect blend of elements from a trio of filmmakers/performers with so much talent it's sickening, resulting in another gem in the impressive collection of works from award-winning production company Deadline Films. The mixture of the mundane with the macabre in its humorous alternatively-living premise may bring about fond recollections of What We Do in the Shadows, while the quick pans complete with sound effects and split-second action cuts of the menial such as the brewing of a cup of coffee seem right out of the Edgar Wright school of filmmaking. But make no mistake, Hangover Food is a film that stands firmly on its own two feet, maybe even balancing on one just to show off. The films slick editing as well as the natural ease with which the tone moves from light to dark and all the shades in-between not only ensures the film sails along seamlessly along at the most enjoyable pace, but also means it never feels stagnant either. Its water-tight script is teeming with zippy dialogue that is a constant delight of quippy back-and-forths and hilarious one-liners, exploding like mini fireworks throughout the uniquely melodic Scottish patter, not to mention having a few twists and turns along the way and a garlic bread gag which could not have been a more perfect sign off. "Eat some pizza and think about what you’ve done. " But a great script relies on a great delivery from its cast and luckily, the joyous rapport between Hepburn's expired and unwilling Lee and McDonald-Kelly’s exuberant and unwitting Bruce means practically every exchange between the pair is a joy to watch, whether it’s about dubious fashion statements, coffee snobbery, girls or Lee's current living status, both gentlemen turning out their very different roles with the same incredible level of gusto and flair. Unerring from the first second to the last, Hangover Food pretty much accomplishes everything it sets out to and more. Funny, dark and saddening when it's over, the fact that this genius short is now being developed into a full feature is nothing but good news. #ChrisBuick Watch the trailer for Hangover Food here: