★★★ Directed by #JustinGDyck Written by #KeithCooper Starring #SheilaMcCarthy #JulianRichings #KonstantinaMantelos Film Review by Hope Madden Writer Keith Cooper and director Justin G. Dyck collaborate often, but nothing either one of them has done will properly prepare you for the reverse-exorcism horror Anything for Jackson. Not Christmas with a View, or Christmas Catch, or Christmas with a Prince, or A Very Country Christmas, or Hometown Holiday, or Baby in a Manger, or A Christmas Exchange, or Dyck’s forthcoming Christmas in the Rockies and Christmas in the Wild. It’s as if somewhere in the dead center of all that holiday hoopla, the duo decided they needed to just sit down and write something about the absolute opposite experience. And this is how they made a good movie. Steeped in grief and boasting a small handful of beautiful performances, the film follows Dr. and Mrs. Walsh (Julian Richings and Sheila McCarthy), grandparents willing to do anything to bring their little Jackson back to them. The opening sequence beautifully situates you in this particular brand of domestic bliss. The aging couple has a lived-in authenticity about them, even as they are embarking on a very new phase in their relationship. The details of their little plot cause two simultaneous sets of complications, one legal and one supernatural. Where the filmmakers take this utterly lovely couple making incredibly ugly decisions is fascinating, primarily because of McCarthy and Richings’s performances. They’re not alone. As their involuntary helpmate, Konstantina Mantelos creates a character in a role that rarely offers that opportunity. There’s a clean simplicity in the storytelling that’s appealing, although Act 3 is not nearly as clearly defined or interesting as the balance of the film. But maybe it’s not the resolution the film is after, or really the audience. It’s the story of this sweet couple, mad with grief, that’ll get you. #HopeMadden

★★★★ Directed by #AdrianPanek Written by #AdrianPanek Starring #KamilPolnisiak #NicolasPrzygods Film Review by Hope Madden Liberation isn’t always the good time it’s cracked up to be. In his strangely hopeful tale Werewolf, writer/director Adrian Panek offers a different image of social rebuilding. His film follows a handful of orphans of the Nazi occupation. Eight children liberated from a concentration camp are dropped off at a makeshift orphanage—really a deserted mansion, long bereft of food, no running water, no electricity. The possibility of aid comes by way of rare visits from Russian guards who may or may not bring rations, may or may not bring their own danger. Still, little by little the children begin to shake off the horrors of the camp. They explore the woods around them, find berries, even play. But Nazi danger is everywhere—maybe in the bunkers dug deep into the surrounding mountains. Definitely in the woods. Lurking figures and echoing growls haunt the film from the children’s first steps outside the ruined mansion. Then there’s a body, then more bodies. When Panek reveals the source of the terror, Werewolf could easily turn to pulpy horror. It does not. At times the film conjures the same magic and dread of Monos, but Panek may see more resilience than Lord of the Flies in children. The filmmaker shows restraint and a forgiving nature when it comes to the barbarity of childhood. He reveals strong instincts with his young cast, understating sentiment and avoiding either the maudlin or the saccharine. Werewolf is beautifully shot, inside the crumbling castle, out in the woods, even in the early, jarring nonchalance of the concentration camp’s brutality. Panek hints at supernatural elements afoot, but the magic in his film is less metaphorical than that. The film is creepy and tense. It speaks of the unspeakable – the level of evil that can only really be understood through images of Nazi horror—but it sees a path back to something unspoiled. #HopeMadden

★★★★ Directed by: Param Gill Written by: Param Gill, John Buchanan Starring: Eddie Griffin, Jeff Rector, Melanie Marden Film Review by: Jason Knight Time to relax and have a bit of fun! Before becoming the 45th president of the United States, Donald John Trump had a career as a businessman and television personality. How did he become president? Did the Devil have something to do with it? The Devil (Griffin), or Luther as he calls himself, has taken the form of a man and is sitting on his throne, in a dark alley. He is having a conversation with his three associates: Anger, Misery and Shame (also in human form). They are trying to decide how to bring more evil to the world! Then one of them has an idea: help Donald Trump become president! Why? Because they believe he is a bad person! This enjoyable, clever satire explores Trump's journey that led to him becoming president. Blending fiction with reality, it suggests that, apart from his determination and connections, he was significantly assisted by Satan! Bad President indeed! The film follows Trump as he gets closer and closer to achieving his goal and often cuts to Luther and his friends in the alley, discussing his progress and deciding what to do next. There are also many scenes of fictional news reports, with actors portraying news presenters in a television studio, announcing the facts to the public. Rector is rather entertaining as he comically mimics Trump's personality and mannerisms. He has altered his appearance, in order to resemble the president and it does work! Trump is portrayed as stupid, obnoxious, a womanizer and having a dislike towards Mexicans. Griffin is equally amusing as the prince of darkness. He constantly grins, is determined to succeed and is mean (he is the Devil after all). Generally the entire cast deliver goofy, satirical performances and many portray real individuals, including politicians and members of Trump's family, while utilizing appropriate makeup, hairstyle and clothing in order to resemble their characters. The movie is a nonstop insult towards Trump. He is ridiculed by the filmmakers, who use satire, dark humour, adult humour, profanity, irony and exaggeration. The ultimate goal appears to be that the film suggests Trump is not to be taken seriously as a politician and should never had reached the position that he did. Gill has done a good job with the directing, creating many outstanding establishing shots. And the music that is heard throughout effectively accompanies the situations, as it sounds rather comical. From start to finish, Bad President is a good laugh. The humour is uses is clever and it never runs out of steam. It may not appeal to everyone, but it does offer a good time. Will Donald Trump himself like this film? #JasonKnight

★★★ Stars Directed by: #EdoardoPonti Written by: #EdoardoPonti, #UgoChiti Starring: #SophiaLoren, #IbrahimaGueye, #AbrilZamora, #RenatoCarpentieri, #BabakKarimi Film Review by: Alicia Moore “An ageing Holocaust survivor forges a bond with a young immigrant from Senegal who recently robbed her.” The Life Ahead is an Italian drama production which is based on Romain Gary's 1975 book, The Life Before Us. A short synopsis, a lengthy synopsis nor any trailer could have prepared me for the journey I was about to delve into with this film. Before pressing play, I really didn’t have any set expectations that were required to be met so I was pleasantly surprised to be left with a beautiful warmth spreading through my body as the credits rolled. The screenplay, by Edoardo Ponti and Ugo Chiti, captures the essence of the book itself in a sleek presentation. Although some moments of the film do feel quite slow paced, it doesn’t diminish the overall elegance of the experience. Actually, one can view those slower stretches as a moment of reflection instead; an unintentional timeframe to let the story and its worth sink into the mind and body before travelling forward again. There are many pieces of dialogue that I will personally carry with me moving ahead in my own life as well. The writing is thought-provoking in a range of forms which makes the story malleable to any viewer — acting as an enhancement to how audiences interpret the events in front of them and how they positively or negatively engage with the characters. Of course, this kind of writing is something that has been shown many times before, but The Life Ahead is an engaging and sentimental example of this; with other aspects of the film flaunting their appeal throughout, the writing compliments them nicely. The cinematography, by Angus Hudson, carries the film with a polished style and somehow a sense of opulence. Using ‘opulence’ to intertwine with a story of quite dark and saddening themes may seem out of place, but the cinematography is the one element that brings sincere light to such a story. It continuously stands as the centre of the film, everything appears to simply blend with the ambience that the camera creates. The distinct switch between the usage of tripod shots and handheld shots changes the atmosphere of each scene as well, especially when the choice of shaking, handheld shots are implemented in moments of anger or frustration for the characters. This only further emphasises the cinematography’s importance in providing the basis for the film in its entirety. The adored Sophia Loren returns to film after 10 years with a magnetic performance as Madame Rosa. Audiences have already witnessed how she can hold the screen like no other, and her presence in this film is no different from what the public anticipate when seeing Loren’s name on the cast list. As a compassionate, parenting figure to many in the role of Madame Rosa, Loren’s approach to the character is truly authentic with convincing line delivery and emotional beats handled with grace. She brings the character to life with warmth and vibrancy, making her onscreen appearance extremely memorable. However, Ibrahima Gueye as Momo is undoubtably the star of The Life Ahead. As Loren returns to the screen in this film, Gueye begins his journey here. As a debut performance, Gueye goes above and beyond what one would expect as his emotions are unbelievably strong and his energy as the character is constantly fuelled and bursting with life. To state that I’m impressed by him is an understatement, I’m very excited to see what he can bring next to audiences around the world. Together, Loren and Gueye create an entrancing chemistry between their characters — the bond that flourishes between Madame Rosa and Momo is seen to grow in an enthralling and almost hypnotic way. The Life Ahead is a hidden gem within the bundles of films currently available on Netflix. It is an incredible story to watch unfold; one of heartwarming memories as well as heartbreaking occurrences. Grab yourself a blanket, maybe some tea, and definitely some tissues — equip yourself, viewer, as you are in for a delightful yet delicate cinematic ride.

★★★★ Directed by: #JakeHunsicker Written by: #AndrewHunsicker and #JakeHunsicker Starring: #JenniferMKay, #DannyDonnelly, #EricRoberts, #DaxRichardson and #JamieKorezsi Film review by: Brian Penn Cops chasing serial killers before they strike again is fertile if well-trodden territory on the big screen. However, The Arrangement takes a refreshingly novel approach as different genres nestle to great effect. A mix of styles make the story less predictable as thriller meets whodunit via a chilling supernatural narrative. The characters are subordinate to some excellent plotting as the main action happens at night taking advantage of darkness set against understated lighting. Street cop Jessica Alvarez (Jennifer M. Kay) has just been promoted to detective but lives in the shadow of her late father, a hero of the local precinct with big boots to fill. She is teamed with Harry Frick (Danny Donnelly), something of an oddball and loner looking for love on a dating website. Their first case arrives on the stroke of midnight when entrepreneur Lucy Gordon (Jamie Korezsi) falls to her death. But could she have jumped or was she pushed? Harry finds a picture on her body that triggers memories of a previous case. Meanwhile, Jessica fends off the attention of Lieutenant Nick Devlin (Dax Richardson), who undoubtedly has an agenda of his own. More deaths occur at midnight as Alvarez and Frick try to make sense of it all. A porn star, senator and actor are all drawn into a web of intrigue as seemingly no one can be trusted. And what exactly is the role of the Pitchman (Eric Roberts), a motivational speaker with the answer to seemingly every problem? The Arrangement teasingly unwraps the storyline like a multi-layered Christmas gift. Tension builds to a satisfying crescendo but stubbornly keeps the reveal for the final frames of the film. Like all good cameos, Eric Roberts as the Pitchman drops in at strategic points to ensure the audience ask the right questions. If there is a downside the characters are, on occasion one-dimensional. However, depth is sacrificed as the characters become the vehicle for a more powerful narrative. It takes the audience on a journey into the very deepest recess of human consciousness and life’s most cherished sometimes dubious commodities. This film works because they use a ‘cops chasing bad guys’ storyline but aren’t hemmed in by the template and is all the better for it. https://www.youtube.com/watch?v=bTC_Yp7WnO4&t=2s

★★★★ Directed by: Søren Juul Petersen Written by: Carsten Juul Bladt, Steen Langstrup, Søren Juul Petersen Starring: Anne Bergfeld, Karin Michelsen, Damon Younger, Mads Koudal and Kristoffer Fabricius. Film Review by: Rachel Pullen The Ringmaster Film Review The dark web is only for the cool kids, guns, drugs and cat memes, it’s full of all that great stuff, but it’s widely been rumoured that people watch live torture online, that there is a ring of people who kill for a price, who revile in other’s misery. But it has always been that…a rumour, for no one is actually going to admit to seeing it, as that would incriminate themselves, and within that lies the fear, like all good tales of horror, it’s the mystery that keeps us intrigued. Directed by Søren Juul Petersen, The Ringmaster welcomes us into the world of two young ladies who are working at a down-and-out gas station in the middle of nowhere. No one around normally, but even more so on this night due to a sporting event that has rendered the entire population absent. These two ladies quickly become the subject of terror from two men who mugged off the sports to play their own game, one which is at the expensive of the ladies’ safety and sanity. It’s not long before they are captured and become the victims of an online torture game, conducted by multi-linguist ‘’the ringmaster’’ a man dressed in the attire of an ancient circus act, a man who sees murder and suffering as an act, he is a performer, for all those watching on the elusive dark web. The film darts between the past and the present, between the pre-game torture they receive psychologically in the gas station, to the physical abuse they withstand in the circus ring, we have glimmers of hope, maybe someone will help, maybe the police will come, maybe they will get away, but just as you fall into that pattern of thinking the film throws us back into the ring. The suspense at the gas station is unquestionably excellent, director Søren Juul Petersen plays delightfully with his audience, using the right amount of mystery and pace, to build a tension that is so easily missed in many horrors. But sadly, for all that tension we are a little overfed in the second half; the gore is shoved down our throats in the manner we were so accustomed to in the early 2000s, with films such as Hostel and Saw, and that is something viewers may find a little odd about this film, it seems with all the directions horror has taken to move away from the aptly titled gore porn, The Ringmaster decided to jump straight back into a genre that a lot of horror fans were glad to see the back of. Aside from the overt use of fake blood and lost limbs, The Ringmaster has a lot to offer. This film screams cult classic, the kind of movie people have to ask for to find out about, one that is talked about on horror Reddit threads as a ‘’challenging’’ watch, and despite my personal dislike of excessive torture in films, I cannot deny the fact that this film delivers a strong and compelling storyline, one that runs with a solid pace and excellent ambiguity and tension. So for any fans of the early 2000s horror scene, The Ringmaster is a throwback to a time when more was …well more, and sometimes there is nothing wrong with that. #RachelPullen The Ringmaster will be in UK Cinemas from 2nd December* & DVD & Digital Download from 30th November

★★ Directed by: #BenKelly Written by: #AlanMockler, #GregSaxton, #ChrisWorthington, #SofieFowler Starring: #KatieBurgess, #RichardMassara Film review by: Joseph Rodgers The Wedding is an occasionally charming and humorous independent movie with echoes of The Hangover, and yet is unfortunately hindered by a few too many wooden scenes and technical mishaps. As is common in wedding-based movies, this UCLan-produced romantic comedy focuses a lot on the ceremony’s supporting members, specifically best man Sam (Richard Massara) and bridesmaid Aggy (Katie Burgess). When the former inexplicably wakes up naked and tied to a lamp-post on the morning of best friend Jonno’s (Ali Cook) wedding to Tanya (Sara Nicole), it falls to the disgruntled Aggy to rescue him. However, simply getting to the service on time is side-tracked by a series of escalating, comical calamities. Meanwhile, the bride and groom are facing their own set of organisational misfortunes, and concerns begin to grow about their big day: is this wedding, this marriage, living up to all their hopes and dreams? In its character-development and performances, The Wedding is a mixed bag. The best man and bridesmaid are the most likeable and watchable, with a humorous tension existing between Sam, who’s a complete liability, and Aggy, who’s always on top of things. The actors share a natural chemistry and their relationship is amusingly awkward. The viewer does therefore engage in the emotional places this film takes them to. Unfortunately, the same can’t be said for the characters in the film’s other storyline, at the church. Excluding some lines delivered with zeal by father of the bride Terry (Gary Heron), scenes featuring the bride and groom are often quite wooden. As they lament the mounting problems on their ‘special’ day, the viewer is turned off by unnatural gaps between line deliveries and a lack of chemistry between the actors. Unfortunately, we don’t get much sense of their personalities, nor do we come to understand what makes their relationship tick. These actors are not helped by some film-making glitches, such as with sound mixing. There are occasions where a loud hissing can be heard in the background, perhaps of some technical apparatus, which distracts the viewer and intrudes on efforts from any attempts create a certain tone. Moreover, many scenes are rather blatantly dubbed, to a distracting degree. In one third act scene within the church, one actor’s speech was seemingly captured within the scene, while the other’s was inserted through post-production. Whether or not this was the case, there was an imbalance in volume and sound quality which made the scene feel quite awkwardly stitched together. Thankfully, though, sequences featuring Sam and Aggy’s shenanigans are mostly well-made and comedically successful. The Wedding is essentially a mash-up of The Hangover, Gavin & Stacey and Don’t Tell the Bride. It resembles the classic R-rated comedy in how the antics of Sam’s prior night, only remembered in small patches, come back to haunt him on the wedding day. It echoes the famous sitcom in how it brings together a colourful cast on the sides of bride and groom, who interact in comical ways. Lastly, its trajectory resembles an episode of the BBC reality show, in uncovering the importance of appreciating loved ones at the wedding, rather than placing too much emotional emphasis on the ceremony alone. As a result of these combined similarities, the film as a whole feels familiar and, in terms of plot, lacking many surprises. An intermittently enjoyable romantic comedy, The Wedding has some nice performances and comic sequences, but is ultimately hampered by some sluggish scenes and a slightly derivative storyline.

★★★★ Director: #JoeBadon Written by: #JoeBadon, #JasonKruppa Starring: #KaliRussell, #HollyBonney, #LinneaGregg Film Review by: Jacob Self ‘Sister Tempest’ is a brilliantly deranged spiralling deluge into a struggling mind. Infused with style and 50’s stock footage it charts Anne Hutchison, an art teacher who has recently lost her sister and now finds herself before what appears to be the court of God or the Universe or perhaps Lord Buckethead? We aren’t sure and this vagueness plays into the film as it goes from strength to strength throwing 60’s psychedelic space operas in with pulpy vampire horror. Were it to try and take all parts of itself seriously it would often crumble under its own weight; refreshingly, however, what proceeds is a hilarious and oftentimes thought provoking indie film with serious staying power. Bolstered by fantastic special effects is a cast putting everything into this twisted fairytale of bloody artistic expression. Within the first 10 minutes one can determine if this will click with them, Anne’s sister Karen sits with her boyfriend Chris Tidalwave (Yes, Tidalwave) lamenting in what is one of the funniest lines I have heard from a film this year ‘God Chris! What the hell! Why do you have a human eyeball in your hand?!’ The random and seemingly meaningless asides will turn off some but had me ready to sit back and let the comedic vignettes corrupt my eyes while the insanity relentlessly continued. Many films attempt to throw random allusions to genres and weird and outlandish characters at the screen as a way to seem subversive and avant-garde, yet often, the structure and narrative are as disparate as the characters themselves. This is not the case in ‘Sister Tempest’ which demonstrates a commanding use of narrative, a subject itself that the film explores deeply. It achieves impressive clarity by employing an incredibly attractive and mentally unstable physics professor to function as a bumbling greek chorus and structures itself into chapters to help ground the kaleidoscopic plot. The atmosphere created is overwhelming, making you feel as if you are watching the visualisation of a child’s imagination or rather fever dream. Indeed, some of the younger actors are lacking but this does not substantially detract from the picture and are used sparingly in more symbolic imagery. The film does touch on a lot, concepts of transgression, traditions, female empowerment, family and truth are all examined. It might be a bit too much for one film and could probably have benefitted from a shorter run time but the constantly shifting artistic style, shuffling scenes and myriad of surprising twists is more than enough to keep it entertaining through to its epic conclusion. If you think you can handle a delirious assault to the senses that offers little respite but plenty of laughs then, wade in and see how you come out on the other side.

★★★★ Directed by: Hope Madden Written by: Hope Madden Starring: Cat McAlpine, Donovan Riley Wolfington Film Review by: Jason Knight A man and a woman are attempting to complete a dangerous obstacle course! Hopefully they are both going to be OK! The film opens in the countryside, with beautiful shots of nature. Then a man (Wolfington), who is wearing a cap'n'bells hat, appears and also a woman (McAlpine), wearing a Viking hat! The two of them are running in the woods and are about to complete a very dangerous challenge, having already gone through a variety of dangers, such as barbed wire, ice water, hurdles and mud! They are being monitored by security cameras that have been placed around in the forest! Now they need to go through the final obstacle, which is a campfire, or (as a sign nearby says) the 'Gates of Hell'! At first the audience is wondering what on earth is going on?! Why are those two wearing those silly hats and why are they running? And then the woman gives a few explanations, regarding the situation. And the mise-en-scene is rather interesting, particularly the 'Gates of Hell' sign, the campfire and the blood on the leaves! Including the unusual hats, both characters are wearing sportswear and are dirty, indicating that they have been through a lot! Wolfington is quite convincing as being exhausted by his ordeals, is breathing heavily and does not want to carry on! However McAlpine is arguably the one who steals the show! She is cheerful, determined, enthusiastic, swears and will not say no to a challenge! She is also more than what she seems! Wolfington also composed the music and he did a great job! First the score is uplifting and then, towards the end it becomes quite intense, matching the situation rather accurately! Obstacle Corpse is a short story, but a rather entertaining one, mostly thanks to McAlpine's performance. It begins as (kind of) a comedy and then things turn sinister. It will most likely give the viewer something to remember! #JasonKnight

★★★★ Written & Directed by: #MadeleineSimsFewer and #DustyMancinelli Starring: #HeatherAllin, #MarciaBennet, #DeraghCampbell, #MayaHarman, #JesseLaVercombe Short Film Review by Taryll Baker Having not read about this short film before watching - which is the case for most of the films I watch and review - I wasn’t really sure what to expect. However, within the first few minutes of Chubby, I grasped pretty quickly what the theme would be. For all those reading this who may wish to watch, I would like to add a brief trigger warning. There are themes of sexual abuse and manipulation. The film doesn’t show anything in drastic detail but it does focus on this as the main subject of the story, and it can have the affect of uncomfortableness. Chubby features some young talent, specifically in the form of Maya Harman, who essentially leads the film through every scene. As the story unfolds, she unravels and displays the sense of a great inner battle with every subtle expression. Given the weight of the story content, she handles everything with great prowess. Across from her is Jesse LaVercombe who embodies the kind persona but with a hidden dark passenger. Both add a haunting dynamic to the film, with two authentic performances. The rest of the cast fill out the narrative as a sort of noisy “padding,” however it’s required and really works. Although not shown a huge amount during the film, as it really shines the spotlight on the two actors, the supporting cast is a vital component. The cinematography by Adam Crosby is simple but appropriate. He captures every scene with focus on the performances and I found for some of the more intense, mentally driven moments, his camerawork added to the unnerving, disturbing tone. Featuring a small amount of music by Andrea Boccadoro, Chubby feels all the more real with a stripped back sound-bed with highlights on the recorder instrument that is shown in the film. The technical side of the short is superb from editing and mixing, to those things I mentioned previously. The cast and crew have created a really important piece. Chubby showcases a solid roster of actors with a well written script, good music, editing and a story to tell. I’m hoping it performs well at festivals and takes home some awards, as it’s certainly deserving of them. Recommended viewing. #TaryllBaker

★★ Directed by: #PrabhakarPant Starring: #PayalSingh, #DipeshShah, #RohitPathak, #AmaanShah, #AkshatPrabhakarPant Film Review by: Alexandra James That Sunday That Sunday is a short film portraying the life of a housewife caring for her sick husband and young child alone. The story is filled with lies and deceit, as the husband discovers a tape which shows his wife being brutally raped and attacked by her new boss. Questions run through the husbands mind until he decides to confront his wife for holding onto this secret. However, all is not as it seems as his wife holds onto an even darker secret which could destroy the very core of their family unit. The opening to the shot is of the husband watching cartoons and being reprimanded by his own child to tidy their home. He is illustrated as a weak character, and the audience later discover that the father is quite ill, meaning the wife takes care of everything within the home and financially. The sound which played in the background was exceptionally exaggerated and didn’t seem to match with the tone of the film, especially when dealing with such a heavy subject. It may have made more of an impact if this sound was removed or toned down, mainly due to the fact that it made the short film a little comical in places. Some of the background sound included echoes of birds cawing but the scene was filmed indoors, this did not really make a lot of sense. However, what worked well was the excellent camera work throughout combined with the smooth transitions, this could not be faulted. The husband begins to tidy the flat and discovers a video, taped to the back of the vent. Here the story takes a dark turn and the audience just witness the horror upon the husbands face as the tape plays out and the story begins to unfold. The hurt and pain of the husband was clearly portrayed through just facial expressions and this made it a difficult scene to watch. As his wife returns, he confronts her. Questioning why she held onto such a dark and awful secret for so long, and why she never contacted the police. Anger, confusion, pain and trauma fill the scene. However, what the wife does not reveal is that this was all a plot of her own making. I feel as though this is where the story deteriorated slightly, and became hard to follow and understand the entirety of its concept. The attack between the wife and her new boss was fake, a staged and elaborate plan. She desperately wanted a way out from having her husband’s child and did not want the child to succumb the same illness as the father. This is quite a touchy subject, and could have been handled a lot better. The story could have gone down a different path or even left the story as it was before revealing that it was all staged. The storyline would have been far more gripping if they did not have this ending, as well as the cliff hanger at the end could have been abandoned as this was extremely clichéd.

★★★★ Directed by: Angelica Campion, Tim Nathan Written by: Angelica Campion Starring: Fox Campion-Armstrong, Bayley Blu Frank, Iggy Pop, Johnny Daukes, Angelica Campion Film Review by: Jason Knight Oh no! The Evil Egg is up to no good! Who will save the day? Why it will be...Iggy Pop! The American signer! This short, children's story is a puppet show that takes place in the countryside. The characters consist of humans, animals, a huge, boiled egg (who is the antagonist) and, of course, Iggy Pop (as a doll)! Time to look at the plot. Twin children Rocket and Stanley learn from Fairy Frosty Flakes that the Evil Egg plans to use chickens to built a wall in order to keep everyone out of Squirrel Mountain! So they seek the help of Iggy Pop, who can stop that from happening by using his frozen peas! The handmade characters do look great and appealing to children. They are colorful and the human ones have a nice smile on their face! They basically look like toys. The Evil Egg is the only one that looks menacing (kind of), as the face is painted in a way that says 'I am mean!'. The character of Iggy stands out quite a bit, because it resembles the famous signer very much and is even bare-chested, which is often how he performs. When the characters talk, they shake, which is a clever way of indicating to a child that the speech they hear is coming from them. Strings are also used to move some of the dolls and at certain points, they are visible, but that is hard to notice. Characters aside, the mise-en-scene looks wonderful! As the story takes place in the countryside, it consists of handmade trees, grass, a mountain, houses, furniture, a nice sky and chicken coops. The surroundings match the characters and are rather uplifting! This is also a musical and some of the dolls get to sing! Although the singing scenes are brief, they are quite enjoyable and (needless to say) Iggy himself sings too! All the voice actors do a great job, each of them giving to their character the kind of voice that one would imagine that specific one would have (if they could talk)! It should be pointed out that Daukes does an especially good job with the Evil Egg and Stefan Ashton Frank delivers the narration with enthusiasm! This might come as a surprise, but Iggy Pop voices himself! There are also brief, but effective sequences of animation. This short story will most likely be a delight to children! The heroes are likable (with the exception of the Evil Egg), the mood is joyful and the songs are amusing! #JasonKnight