★★★ Directed by: E.B. Hughes Written by: E.B. Hughes Starring: Denny Bess, Reyna Kahan, Mark Borkowski, Don Striano, Ron Rey Film Review by: Jason Knight A man has just been released from prison. Can he leave his criminal past behind and become a better person? Max (Bess) has finished a prison sentence and has returned to New York City, where he attempts to start a new life. He starts a relationship with Sara (Kahan), a young woman who is a fellow tenant of the building he lives in and he tries to get a job. However he is a drug addict and the past catches up with him when Lucius (Borkowski), a dangerous gangster, finds out that he has returned and wants the large sum of money that he owes him. This dark crime drama has elements that are often seen in films of its kind. There is hard drug use, nasty criminals, guns, beatings, profanity and sex scenes. The plot has also been seen many times before: someone is coming out of jail and trying to start over. Nothing original. Bess delivers a convincing performance as an ex-convict, who means well but is struggling with his drug addiction and is desperately trying to get on with his life. Kahan is sympathetic as the woman who becomes his shoulder to cry on and motivates him. Borkowski steals the show in every scene he is in, by playing a short-tempered hoodlum, who is willing to use violence to deal with his problems. The cinematography makes the film look dark and poignant, which serves it well, considering its contents. There are also great establishing shots. The score is dramatic throughout and at certain points, when a situation is nail-biting, the music becomes extremely intense. Generally the plot is quite engaging, with interesting characters and many dramatic situations. The movie explores the dark side of life and pulls no punches when it shows Max fighting his demons. There is also a surprising scene, in which Max goes to visit a psychic for guidance. The Long Way Back may not offer anything new, however it offers a moving experience and a hard-hitting look into crime and drug addiction. #JasonKnight

★★★ Written & Directed by: #SaraBulloch Starring: #GinaMacri #DakotaRendonNickels Short Film Review by: #ChrisBuick Unable to overcome the substantial issues severely damaging their relationship, Charlotte (Macri) convinces her extremely reluctant boyfriend Mark (Nickels) to try a new crowdsourcing tool where they can anonymously post their issues online and get a second opinion from the depths of the internet, only to find themselves dealing with more than just feedback. Made as part of a college project, 2nd Opinions marks Sara Bulloch’s (writer, director and practically everything else) first short film, and although a little rough around the edges as one might expect with a debut, it firmly showcases Bulloch’s potential as a talented filmmaker right from the off. A unique and interesting concept, outsourcing your relationship issues to the digital world for consultation is a very contemporary premise that would not look out of place on a Black Mirror idea board. But the pivotal aspect of this film, as has become the case with a number of the writer/directors other works since, is the relationship between our characters, and thankfully this is also where the film is undoubtedly at its strongest and highlights some truly great character writing from Bulloch. Our investment in Charlotte and Mark’s story is almost immediate, their distinct personalities as well as the currently rocky dynamic are all established with minimal fuss or tedious exposition, not to mention how genuine they feel; both are flawed yes, but ultimately are people you want to root for, meaning our hopes for their success come around pretty swiftly and we are willing to go with them to the very end. However, there are times when 2nd Opinions seems to be trying to do or be too many things at once, with Bulloch’s film seemingly always caught between exploring either its unique premise or Charlotte and Mark’s journey, meaning neither sadly is ever really fully explored as much as we'd perhaps like before the films touching but somewhat abrupt end. There are some nice filmmaking choices here as well. Having Charlotte and Mark’s feedback delivered straight to camera by a host of uniquely opinionated individuals is a clever touch, nicely avoiding the obvious and would-be boring pitfall of having our characters simply reading it to us, while all the other technical aspects of the 2nd Opinions manage to hit the mark as well. The performances from both Macri and Nickels are also a big part of the reason why we care about these characters in the first place. There are one or two moments where certain lines of Bulloch’s consistently tight dialogue is let down from a slight lack of conviction in their delivery, but the greater majority of the film is buoyed by two genuine performances from two fine actors fully committed to their parts, Nickels in particular. 2nd Opinions may not delve as deep into its premise or character relationship as it could, but ultimately does deliver a well-rounded, well-written and well-thought-out two-hander well-worth commending. #ChrisBuick 2nd Opinions is available to watch for free online, part of the Free Films at UK Film Channel:

Star rating (out of 5): ★★★★ Directed by: #Tim Huebschle Written by: #Tim Huebschle, #Nailoke Mhanda Starring: #Onesmus Uupindi, #Iike Platt, #Aune Hamunyela, #Immanuel Namwandi Film Review by: Julian Gaskell Looking For Iilonga (2011) is a short film set in Namibia which is a quietly powerful tale about a young father who, living with his family in the remote arid farmlands, has to venture into the urban township to repay the money his wife owes to some Tsotsi gangsters. The film begins with a car accident as a smartly dressed executive looks to drive away from an unsightly beggar late at night after work, setting the tone for the rich and poor divide. We’re then taken across the vast desert landscape of Namibia as we drive with the smartly dressed Tsotsi gangsters in their 4x4 jeep to the home of Simon (Onesmus Uupindi), the young father and his family, living in the middle of nowhere. The Tsotsi are there to collect their money which the mother had borrowed for the family’s needs and whilst the exchange is brief, business-like and almost friendly there is a threatening undertone of real menace. Luckily a lifeline is offered, if Simon leaves his family behind and takes some work in the township, he can then pay back the debt. So he agrees and sets off, full of duty and purpose but when he arrives his sweet natured out-of-town disposition doesn’t last long. Written and directed by Tim Huebschele the film is nicely shot and edited together illustrating the contrasting lives between rural life and the urban township. As Simon heads into the city, his look of awe when he sees the housing in the township is a picture, whilst the flow between the different places and environments is nicely differentiated through the changing wild tracks of nature and human activity. There is an overriding theme of money here and the poverty gap emphasised through the homes, the fashion clothes, modern cars and also western speaking. The soundtrack is a folky melody that mirrors the film’s hopeful journey tinged with a sad melancholy as we see Simon’s transition from a confident rural homemaker to a lost and confused soul wandering the township barefooted. The film is subtitled and is supported by the Namibia film commission suggesting, despite its tale of hardship and criminality, it has been given the local thumbs up of approval. This is a provocative short film from Namibia about family, money and work whose main character shows his good intentions to do the right thing by his family, but in a cruel unjust world ends up out of his depth unable to protect himself or his family. It’s a tale that highlights the differences between rural and urban life and the disparity between the rich and the poor that often comes with it. Metaphorically, the story seems to be all tied together here by a floating plastic bag that floats about everywhere - this would usually appear to be some kind of environmental reference, but here it seems to carry a much deeper, multi-purpose significance.

★★★★ Directed by #ZeinaDurra Written by #ZeinaDurra Starring #AndreaRiseborough #KarimSelah Film Review by Matt Weiner Faulkner wrote that the past is never dead… it’s not even past. British aid worker Hana (Andrea Riseborough) is hellbent on putting this to the test in Luxor, a slow burn of a spiritual journey from writer/director Zeina Durra that brings together vibrant Egyptian settings and a remarkable, nuanced performance from Riseborough. Hana, taking some time off from her medical work on the Jordan-Syrian border, returns to the city of Luxor. It’s a place that holds great meaning and memories for her, even if her PTSD has collapsed much of those memories into an unnerving fog of past and present events and regrets all confronting her at once. Hana’s stay is further complicated by the appearance of Sultan (Karim Saleh), her ex-lover. Sultan is an archaeologist working on a dig, and it’s an irony that does not escape Hana’s notice that the two are back together in the ancient city to excavate their pasts—and come across a few noteworthy relics. The collision between old and new is a recurring motif for director Durra, made physical with the temple ruins but even more poignantly through Hana’s fragile mental state. This is where the film’s evocative settings of the past come to life, powered by Riseborough’s urgent reveries that drag her from past to present, and finally force her to come to terms with the trauma she has fled. Much of the film follows Hana and Sultan wandering the city, their conversations going around in metaphorical circles as Hana does her best to elide over any sort of catharsis. In a way, the film is like a spiritual counterpart to Michael Winterbottom’s The Trip series: those characters play their mid-life ennui up for laughs, but there’s an uncanny shared impulse to travel outside of one’s regular life to find whatever it is they think they’re missing. It’s a journey that Durra treats with reverence, and with an emotional payoff that upends the film’s measured pace. Who knew archaeology could dig so deep? #MattWeiner

★★★ Written & Directed by: #AkshayPadmanaba Starring: #PrithhevSenthilkumar, #JeffreyNathaniel, #DominicRoche Short Film Review by Taryll Baker Two men fight over a woman; one a murder mystery writer, the other a vengeful husband. Akshay Padmanaba’s debut short film GRAU, which marks the launch of 16mm Productions, is a twisted drama featuring a killer story and a bloody climax. Opening with a quote from Martin Scorsese — “Cinema is a matter of what’s in the frame and what’s out” — it’s clear there’s some inspiration from the master filmmakers’ work. Given that this is a debut for the team involved, I won’t place too much focus on the performances, which, whilst pretty amateur and not so realistic, are adequate. I’d like to have seen the actors spend more time digging into their characters, and perhaps understand the script to a degree that allows their line delivery to be more believable, but alas. In terms of the quality in production, GRAU is a fantastic, well-made film. The cinematography by Isshaan Murali and Sam Augustine is pretty smart. Some interesting shot choices scattered in, with nice colour grading. Moving from visual to audio, the sound recording is also surprisingly good. Bar a few sharp cuts and edits, the auditory environment is supportive of the imagery. The little technical details really do add to a film, so it’s always good to see upcoming filmmakers with an eye (and ear) for these. Musically a bit dry, using library tracks with some awkward drop-ins, GRAU doesn’t invest in the way I’d hope. But, as with most debuts, these are essentially a training ground for entering the industry. The first step of the climb into the world of cinema, so to speak. Something else I usually don’t touch upon but should; the font choice at the beginning and end of the film can give off a good impression, so to me, it’s equally as important as anything else in a film. It should act as an extension of the story, and in choosing a Tarantino-esque font style, I think GRAU succeeded. GRAU is a solid debut. Aside from the acting aforementioned, this is a pretty well-rounded, and well-constructed short. #TaryllBaker

★★★★ Directed by #JulianTemple Written by #JulianTemple Starring #ShaneMcGowan Film Review by Hope Madden Sloppy and ruinous, raucous and charged, and more than anything, punk rock—honestly, this could describe about a dozen Julian Temple movies. In this case, crashing the party of his Sex Pistols docs and his intimate Joe Strummer film is Shane McGowan. And he’s pissed. Drunk, I mean. Crock of Gold: A Few Rounds with Shane McGowan is Temple’s exploration of life after punk. The poet of Irish rock, a traditionalist who set gritty street ballads to Celtic tunes, McGowan wanted to save Irish music. This was the legacy he was after, and as frontman of the Pogues—Ireland’s second most successful and likely most Irish band—he did. Yes, here’s where all rock biopics ask, “At what cost?” Temple’s film doesn’t wait, though. Opening as it does on McGowan, 60-years-old, slurring, wheelchair bound and still drinking, Crock of Gold never hides from the ravages of a punk rock life. The young McGowan railed at the cliché of the drunken Irishman even as he personally confirmed it. “You want a Paddy?” he says of the British establishment. “I’ll give you a fucking Paddy!” The film faithfully follows McGowan’s chronology, from boyhood in County Tipperary to angry adolescence in London, on to thrashabout music and eventually international stardom before the inevitable crash, slow rebuild, and crash some more. And McGowan himself is right there, either narrating the unfolding events or listening in to earlier tapes of him narrating. His constant presence anchors the wild, fascinating tales with their physical toll. Temple also fills the screen with bizarre animation, old movie footage of the Irish War and of bucolic country life, as well as images of McGowan’s late 70s London, Sex Pistols show and all. What he conjures is an image of clashing ideas and ideals that found a home in McGowan’s imagination and translated into melancholy street music. McGowan touring life of drink and drugs, violence and very little toothpaste are well documented. It’s hard to pin down the feelings drummed up by all these stories. The modern day balladeer—a full set of dentures on display when he smiles, which is rarely—seems simultaneously brash and regretful. For passing fans or newcomers to McGowan’s music, Crock of Gold is an unusually clear-eyed testament to the toll of punk rock excess. These guys were not meant to live forever. But for true fans, it’s a painful and strangely beautiful look into one remarkable if misspent life. #HopeMadden

★★★ Directed by #BradenRDuemmier Written by #BradenRDuemmier Starring #EmmaHorvath #MenaSuvari #TreyTucker Film Review by George Wolf What Lies Below Film Review Eeewww – no 16-year-old girl wants to hear about her Mom’s sexcapades with the new boyfriend! John (Trey Tucker) is kinda hot, though, and young Liberty (Emma Horvath) has caught herself staring when he traipses around the Adirondacks lake house with his shirt off – which is often. Mom Michelle (Mena Suvari) is 42 but has told John she’s 35 – and she’s desperate for “Libs” to keep her secret so he doesn’t runoff. But John seems like he’s strangely attached to Michelle – or at least to the lake. In fact, as Libs looks closer, there’s plenty about John that’s strange. He says he’s an “aquatic geneticist” working to preserve freshwater supplies. But man, he’s really interested in parasites, especially ones that can adapt to any host available. Writer/director Braden R. Duemmler’s feature debut unfolds like a minor league Under the Skin. There’s simmering sexual tension here – some of it metaphorical – amid dreamlike atmospherics and a few glimpses of a creature on the hunt. Horvath (The Mortuary Collection) is great. Her mix of teenage disgust, confusion and curiosity hits just the right pitch, as does her panicked courage when Lib has to fight for her life (and her Mom’s). Not every logical building block is watertight, and the sci-fi/horror combo sometimes feels desperately earnest. But the creep factor in What Lies Below holds steady, with Duemmler earning some water-logged points for not copping out at the finish. #GeorgeWolf

★★★ Written and Directed by: David J. Stern Starring: John Healy, Jenna Sokolowski, Emily Classen, Andy Brownstein and Jonathan Hirsch Film Review by: Brian Penn To lose a loved one is a shock from which we never truly recover. Part of us goes with them and can never feel quite the same afterwards. However, the coping mechanism kicks in and we slowly come to terms with the loss. We honour their memory and resolve to live a happy life. But what if the circumstances of death consume someone to the extent they can't go on. What is the impact on those closest to them; and how do they cope, not only with their own grief but somebody else's? Such themes are explored in this thoughtful but relentlessly downbeat film by David J. Stern. Avi Brickman (John Healy) is a man struggling to cope with the death of his daughter Kaylah five years previously. It has wrecked his marriage to Beth (Jenna Sokolowski) and stalled a promising career as a writer. The final straw seemingly arrives when Avi is fired from his job and Beth pushes for sale of the family home. He returns to a house full of memories, and contemplates suicide as a revolver winks menacingly from the table top. He finds a young woman in the house nursing a sick daughter. Avi is touched by the symbolism of a parent caring for their child. He nevertheless sinks into a deep depression, floating between the conscious and subconscious state. Figures from Avi's past revisit to cajole and berate him. But is he going to make it through the darkness of night? The film takes care to create fully rounded characters and their motivation is clear from the outset. Scenes of therapy sessions are telling, as are poignant flashbacks to Avi writing stories for Kaylah. Many will recognise the despair of bereavement and problems that magnify at the worst possible time. When sorrows come, they come not single spies but in battalions; and it's difficult not to feel sympathy for Avi's plight. Stern has met the first rule of drama; make the audience care about the character. But the underlying sadness of the piece can be heavy going at times. Of course all sides of life must be confronted, but this is not a comfortable watch for the viewer. The Forgiving remains a well-acted, acutely observed film; but can also take us to dark places in our own lives. Watch the Movie Trailer for The Forgiving below: #BrianPenn

★★★★★ Directed by #DavidFincher Written by #JackFincher Starring #GaryOldman #AmandaSeyfried Film Review by George Wolf Mank Film Review Since its release in 1941, Citizen Kane has earned such a prodigious place in film and popular culture that the utterance of merely one word can summon it. And as much as Orson Welles's masterwork has been dissected over the years, Mank reveals its essence in unique and wondrous ways. Director/co-writer David Fincher (who honours his late father Jack's script by listing him as the sole writer) takes us into Citizen Kane through the shadowy side entrance of screenwriter Herman "Mank" Mankiewicz. Officially, Mank and Welles shared the Kane writing credit, though just who did the heavy lifting is still a source of debate for film historians. Fincher's view is clear. But even the dissenters may feel powerless to the seductive pull of Mank's immersion into Kane's creation, and to the stupendous lead performance that drives it. As Mankiewicz ("and then out of nowhere, a 'Z'!"), Gary Oldman is out-of-this world-good. His Mank is a charmer, a gambler and a frequent drunk, bedridden by injuries from a car accident and under the gun to deliver Welles a script in just 90...no make that 60 days. And no drinking! Tick. Tock. The first few pages bring a critique that "none of it sings," which is funny, because all of this sings. Fincher's rapid-fire dialogue is beautifully layered and lyrically precise, more like the final draft of a script than authentic conversations, which only reinforces the film's commitment to honouring the power of writing. Onscreen typeface and script direction transition the flashbacks to Mank's years in the Hollywood studio system of the 1930s, running in social circles with power brokers such as Louis B. Mayer (Arliss Howard), Irving Thalberg (Ferdinand Kingsley), Kane inspiration William Randolph Hearst (Charles Dance), and Hearst's not-so-dumb blonde mistress Marion Davies (a terrific Amanda Seyfried). Oldman expertly sells Mank's truth-to-power rebellion as a sly reaction to his own feelings of powerlessness. His charm as a "court jester" belies a growing angst about America's power structure that Welles (Tom Burke) is eager to illustrate. And though much of Mank's power is verbal (just try to catch a breath during Oldman's drunken Don Quixote speech), Fincher crafts a luscious visual landscape. Buoyed by Erik Messerschmidt's gorgeous B&W cinematography, Fincher recreates the era with sharp period detail and tips his hat to Welles with Kane-esque uses of shadow, forced perspective and one falling glass of booze. Talk of "getting people back to the theatres" and manufactured news will feel especially relevant, but Mank provides a nearly endless peeling of satisfying layers. So much more than a story about how a classic story was told, it's a sweeping ode to the power of courageous art, no matter how flawed the artist. #GeorgeWolf

★★★★ Directed by #DanaNachman Written by #DanaNachman Starring #DamianDiGrazia #OrlandoMendez #AndrewWallace Film Review by Rachel Willis Director Dana Nachman’s feature documentary, Dear Santa, is delightful. Highlighting the 100-year-old United States Postal Service program, Operation Santa, the film captures the spirit of the season as ‘adopter elves’ make Christmas special for children and families across the United States. When children post their letters to Santa every year, USPS makes those letters – hundreds of thousands of them – available to the public to ‘adopt.’ This is a chance for individuals, families, schools, and non-profit organizations to read through the letters, select one (or several), and do what they can to fulfill the wishes of the children penning them. Starting three weeks from Christmas and working forward to the big day, we see how the letters move through the system – starting with the children writing them, to their delivery to the postal service, then on to the adopter elves. Two locations in the US – Chicago and New York – allow the adopters to physically read through the letters, while the rest are available online for those around the country who want to participate. Nachman (Pick of the Litter) interviews several ‘elves’ in the postal service who work with Santa to read, sort, and deliver the letters received every year. She also follows several adopter elves who help Santa distribute gifts to ‘nice’ children across the country. Then, there are the children themselves, so eager to have their deepest wants and desires met by Santa. One child is particularly keen on receiving a moose for Christmas. Interspersed throughout is a highlight reel of kids of all ages talking about Santa, who he is, what he does, where he lives, and it’s charming to watch the children explain what makes Santa so special. This is a family-oriented treat, with the filmmakers and ‘elves’ doing their best to keep the Santa myth alive for any believers. However, older kids who might be starting to question whether the man with the bag is ‘real’, might see through the illusion. Some of those interviewed are more convincing than others when it comes to their work with Santa. The film is an ode to the United States Postal Service, the hard work they do each year to make Operation Santa a success, as well as to the adopters who make it possible for children to have the merriest of Christmases. If you’re feeling Grinchy this Christmas, Dear Santa might be just what you need to remember what makes the season so special. #RachelWillis

★★★★ Directed by: Paul Andrew Kimball Written by: Paul Andrew Kimball Starring: Alexa Morden, Jamie Muscato, Holly Stevens, Nathan Nolan Film Review by: Jason Knight Sarah (Morden) and Sam (Muscato) are a young couple. She is a talented actress, working in the theatre and he is stuck in a dead-end job. Then Sam commits a careless act of infidelity and Sarah leaves him and heads to the house she owns in a beautiful, isolated location, hoping to find some solace there. The film starts off as a dramatic love story, then approximately two thirds through things take an unexpected turn and it turns into a thriller and there are even elements of the supernatural. With the exception of one scene, the movie was shot in black-and-white, which makes it look beautiful but also gives it a poignant feeling. In addition to the absence of color, the film has no non-diegetic music, apart from during the end credits. The main focus of the plot is the couple's relationship, with frequent flashbacks revealing how the two of them met and how their romance blossomed. Morden is fantastic as a woman who is pursuing her dreams and wants to make the most out of life. Muscato is great as her boyfriend, whose life is not going the way he wants it to and has deeply regretted his betrayal. The audience will often see actors acting. What is meant by this is that there are many scenes of people who work as actors and are rehearsing their lines on stage. Characters also quote phrases when they socialize, which is something Sarah often does, which shows how passionate she is about her profession. The film explores themes of life as an actor, love, betrayal and forgiveness. As mentioned it includes many scenes of individuals practicing acting and also scenes of emotional confrontation. But there are also times of joy and happiness. Writer and director Kimball does an amazing job, creating wonderful establishing shots, fascinating characters and dramatic character development. And the cinematography is rather captivating. The Colour of Spring deserves a lot of praise, particularly thanks to Morden's performance, which is brilliant when her character is acting and when she is just being herself. It offers an experience worth having. #JasonKnight

Interview by Chris Olson One of the official selections for the UK Film Review Festival 2020, I caught up with Anton Kudryashove, director of Lybeck. Your film, Lybeck, is a short murder mystery. What made you want to tell this story? I love murder mysteries, and I have already written three feature scripts in the genre, but I could never figure out how to execute it in the short format. Then a friend mentioned that all my best films have beautiful architecture and female heroines, and something clicked. I thought, what if you set a murder mystery in a unique environment where there are plenty of women about, something like the Playboy Mansion? Then I scaled back the idea to realistic proportions, shot it, and now I have a great calling card for all the other murder mystery projects I have in the pipeline! The casting is great. How did that come about? Thank you! I actually worked with most of the actors on separate projects earlier in the year. Then, when it came time to direct my thesis film I wanted to find a way to reunite with all of them on set. That led me to writing the parts with them in mind, which I think played to each of their individual strengths. The detective, Adam Butler, is actually one of the first actors I ever worked with and he flew out all the way to Los Angeles from Edinburgh to be in the film! What were the challenges of getting the film made? Noise! We filmed in a USC fraternity house, so periodically we had to ask people to turn the music down or settle their heated arguments about who’s turn it is to clean the kitchen quietly. Other than that, pretty smooth sailing. What do you plan to do with the film now? The UK Film Review Festival is just our first stop on the festival journey. We have already been accepted to London Lift-Off and there are a couple more to come. Hopefully we can have a long tour and get our film in front of more eyeballs! What's next for you? I am currently in pre-production on a feature murder mystery, called The Seven Neighbours. It’s a lockdown set thriller filmed entirely through webcams. I hope we can get it filmed safely at the end of the year, or early 2021. Why do you make movies? It’s a little hard to put into words, but directing has consistently been the thing in my life that has made sense, made me happy, and let me express myself better than I can otherwise. On top of that, some people actually enjoy watching the films I make, and that’s just the greatest reward! What would you say if you were a dolphin? "Oh my god! I can speak?!" #ChrisOlson #UKFRF Watch the Short Film Trailer for Lybeck: