★★★★ Directed by: Pete Docter Written by: Pete Docter, Kemp Powers, Starring: Jamie Foxx, Tina Fey, Film Review by Robert Stayte Soul Film Review Pixar’s releases as of late have not been bad by any means, but they haven’t been reaching the height of quality that they used to be capable of reaching. Most animated films in the late 2010s were like that, not awful but very average. Inside Out was the last masterpiece they produced and their latest is from that film’s director Pete Docter. Is Soul the great film to break the average streak? Or is it yet another “meh” instalment? The answer is………………..somewhere in between. Joe Gardner (Jamie Foxx) is an NY music teacher with a passion for Jazz music and a desire to have a music career. One day, he gets the chance to perform at a Jazz club yet then falls into a manhole the day before this performance. He finds himself about to enter “The Great Beyond” before managing to enter “The Great Before”, where new Souls are given personality traits. He is asked to mentor one of them, named 22 (Tina Fey) and works with her to try and get back to his body. Soul goes in more interesting directions than I expected (let’s just say that the advertising may give you false impressions and has mostly focused on the first act), but for the first two acts it is definitely in the somewhat standard adventure comedy mould. It’s not aggressively formulaic but there are aspects to it that don’t feel inspired. In general, this is easily the most comedic film that Pete Doctor has done, but he does excel at it. There are several hilarious moments and it is carried heavily by 22 and Joe’s complex ever changing and always entertaining dynamic. But the first two acts do feel like they are missing an emotional core, one that only pops up every now and then. Then, the third act happens and I was pretty stunned. The direction that it takes the story in is in service of an incredibly powerful message that is delivered in one of the best scenes Pixar has ever produced. Trust me when I say that that sequence will most likely become Soul’s signature scene, like Up’s married life montage or Toy Story 3’s incinerator scene. The way the story resolves itself overall is smart and touching. The animation is stunning as usual, with the usage of 2D characters especially being marvellous to look at, but what really stands out is the music. There is a blend between the Jazz score on the New York sections and the Trent Reznor/Atticus Ross score on the Great Before sections and both add an incredibly unique personality as well as being well composed. Voice acting is excellent too, with Jamie Foxx and Tina Fey working well off of each other and the supporting cast of comedic talent (such as Richard Ayode and Rachel House) are both funny and also used sparingly enough to not become too annoying. Soul is hard to rank in Pixar’s catalogue and may not be the masterful comeback I was hoping for, but as a film on it’s own, it’s a funny and entertaining adventure with a brilliant finale that makes it a worthwhile sit.

★★★★★ Directed by #GarrettBradley Starring #FoxRich #RobRichII #FreedomRich Film Review by George Wolf I can’t remember the last time a film I was dreading made me feel so grateful that it existed. I knew that Time was a documentary account of a man serving an outrageous prison sentence, and the wife who was working to get him released. I braced for another heartbreaking deconstruction of injustice and systemic oppression. As effective as those films can be, what director Garrett Bradley delivers is a miracle of love, hope and superhuman perseverance. The film unfolds in a poetic, sometimes stream-of-consciousness fashion, enveloping you in the indefatigable spirit of Fox Rich. Bradley first envisioned Rich’s story to be a bookend for her 2017 short film Alone, which focused on families effected by incarceration. But as she dug deeper into the hours and hours of Fox’s home videos, Bradley knew this was a journey that could not be denied. In 1997, Fox was the getaway driver as her husband Rob held up a credit union in Louisiana. After Fox delivered twins, she served three and a half years in prison. Rob tried to accept a plea deal, but a series of mishandled legal maneuvers forced him to stand trial. The guilty verdict brought a sentence of sixty years with no chance of parole. Six-zero. The respect that Bradley and editor Gabe Rhodes exhibit for the deeply personal nature of Rich’s footage is eclipsed only by the emotional power of how they present it. Concentrating more on the effects of Rob’s sentence than the background of his case, the film sings in a style that is simply transportive, carried by the voice of a true wonder woman. We see Fox lift herself and her children to the heights of motivation and self-respect, never letting Rob’s return home seem like anything less than a coming day. And that ending…bravo. I’m tearing up just thinking about it. Time is a stunning journey, searingly intimate with a sobering undercurrent of commonality. You wear this film like a blanket of feeling. Don’t miss the chance to wrap it around you. #GeorgeWolf

★★★★★ Directed by #AaronSorkin Written by #AaronSorkin Starring #SachaBaronCohen #MarkRylance #EddieRedmayne Film Review by Hope Madden Oscar winning, much beloved and frequently frustrating writer Aaron Sorkin first ducked behind the camera for the clever if overwritten 2017 indulgence Molly’s Game. A courtroom drama (very Sorkin) about celebrity tabloid fodder (less Sorkin-like), the film seemed an odd match for the filmmaker. He’s found a much more comfortable focus in his follow up, the tale of eight defendants, their counsel, prosecution, and a corrupt establishment: The Trial of the Chicago 7. Chicago 7 artfully and urgently recreates the scene of the federal court hearing against eight defendants alleged to have conspired to incite the infamous riot at the 1968 Democratic National Convention in Chicago. The film rings with historical significance as well as disheartening immediacy. It is another courtroom drama, this one benefitting from surprising restraint, as well as Sorkin’s deep well of passion for the subjects of legal processes and liberalism. Like Ave DuVernay’s 2014 masterpiece Selma, Sorkin’s new film details the past to show us the present. He’s assembled a remarkable ensemble, each actor leaving an impression though none gets an abundance of screen time. Yahya Abdul-Mateen II is a blistering Bobby Seale while Frank Langella is infuriatingly believable as Judge Julius Hoffman. Eddie Redmayne, Joseph Gordon-Levitt and Mark Rylance are all also excellent, as you might expect. Jeremy Strong and Sacha Baron Cohen share a comfortable, enjoyable chemistry as Jerry Rubin and Abbie Hoffman, respectively. Both appear in the film, as they did in life, as the wise-cracking comic relief in the room, but Cohen’s turn is thoughtful, wise, and slightly tragic. He’s obviously a talent, but this may be the first time we’ve seen the magnitude of his acting prowess. An alarmingly relevant look at the power of due process, free speech, and justice, Chicago 7 is catapulted by more than the self-righteousness that sometimes weights down Sorkin’s writing. This is outrage, even anger, as well as an urgent optimism about the possibilities in human nature and democracy. If I may quote my own review of Molly’s Game and my take on Sorkin as a filmmaker: His are dialogue-driven character pieces where brilliant people throw intellectual and moral challenges at one another while the audience wonders whether the damaged protagonist’s moral compass can still find true north. Still the case. But with Chicago 7, Sorkin’s struck a balance. He’s found a story and convened a cast that demand and receive his very best, because The Trial of the Chicago 7 is a story about today, this minute. #HopeMadden

★ Written, directed and produced by Rahul D. Starring: Sudarshana Das and Sumit Ghoshal Film review by Will Jones I have always found it somewhat charming that older and plenty of newer Indian films, from various regions, not only begin with a note that ‘Smoking [and/or Consumption of alcohol] is injurious to health’, but will sometimes remind you of this fact in miniscule print at the bottom of every single frame in the film which might feature one of these dangerous vices. In a handful of Indian states, alcohol is of officially banned, but normally these warnings merely come across as a sign of a visual culture far more hesitant than our own (for better and worse) to display the details of such lifestyle choices that we would consider pretty tame, commonly found in family films without mention. Rahul D’s new short film, When A Nightmare Comes True, is preceded by such a message, only this time the risk is not from cigarettes or drinks, but pornography. In Britain at least, such a statement would be taken as a highly politicised claim. To my mind, it was refreshing, and agreeable, to see it as taken for granted, with such frankness. But what in socio-political discourse might be seen as admirably bold is, in the context of cinema becomes the flipside of that same coin, namely unwanted bluntness. There are many interesting ways to tackle this subject matter from a more conservative, or merely cautionary perspective; try to forget them while watching When A Nightmare Comes True, for they will all be better than what was actually tried here. And it doesn’t help that the title – whose letter abbreviation is so very close to the perfect summary of the film – also spoils its faintest barrel-scraping of a plot. We first meet Sumit Ghoshal actively disobeying the precredit health recommendation. He has little of a discernible character beyond this particular habit. Certainly we never see him do anything else, except sleep. While he sleeps he has what is initially a very good dream, which in time-honoured fashion is made to seem like real-life, but in this case not by convincing verisimilitude (after all, this is lacking when he’s awake too) so much as utterly un-dreamlike mundanity of conversation and event. This might be a nice touch, if Rahul had managed to find some better actors. In the dream, Ghoshal’s Sameer meets Sudarshana Das as a woman calling herself Mohini. The actress makes things slightly less unwatchable with her blatant sensuality, yet neither she nor Ghoshal make one line of dialogue authentic, be it Hindi or English. I’ll leave you to find out the progression of Sameer’s dream – suffice to say, at some point he wakes up, and what feels an eternity later the film ends. In fairness to them, neither cast-member is helped by Rahul’s directing, which utilises several tools from Bollywood, and gets away with almost none of them. Primarily, I refer to the tradition of rather haphazardly dubbing the dialogue in post-production. It’s one thing to go for this when you have dynamic Hindi film-stars nailing both their visual expression and their vocal registers; here it makes every interaction that much more painful, and Ghoshal’s performance is cluttered with oddly overmixed extraverbal noises. There are also those sudden snippets of obnoxious singing or chanting injected at supposedly shocking or amusing moments that were unbearable even when Karan Johar used them early on in his career. The score might have at least prodded at the eroticism, tension or horror vacant elsewhere – no such luck. Even at just fifteen minutes, the film manages to be boring. I can’t help mirroring its bluntness and simply labelling it the disaster it is.

★★★★ Written and Directed by: #UsherMorgan Starring: #ElisePrice, #JoelBernard, #NicoleMicheleGuilbault and #JulieReifers Short film review by: Brian Penn The big daddy of all fears is being trapped in a confined space. Not only do we confront the sensation, but also the twin fear of what holds us and who might be sharing that space with us. Shot in wonderfully evocative black and white, Trapped Inside relates the ordeal of Macy Nash (Elise Price) who awakes after almost drowning in the bath. Startled by her surroundings she tries to compose herself and gingerly wraps a towel around a trembling body. But she immediately feels a presence, both inside and outside the bathroom. A sense of panic grows as she searches for an escape route. Director Usher Morgan pulls off an immensely gripping ten minute ride where the eyes cannot be averted. Every scene tops the previous one as the tension steadily cranks up. I rarely scare that easily watching a horror flick but this sent a distinct shiver up, down and around my spine. A bathroom scene in black and white inevitably recalls the classic scene from Alfred Hitchcock’s Psycho. Morgan similarly appreciates the power of suggestion and how contrasting light can transform the mood. Elise Price puts in a thoroughly convincing performance as Macy. You sense every breath comes from the pit of her stomach as fear illuminates hugely expressive eyes. The feeling of claustrophobia lingers long after the film finishes; and the brief, almost fleeting images pack an amazing punch allowing the imagination to fill the blanks. This is how a horror film should be made. Not with elaborate graphics or blood soaked visuals; but more the essence of imagination mingling with reality and illusion. If it does have a fault, the narrative could use another five minutes to give Macy more depth and offer a more satisfying conclusion. Not quite a masterclass in the genre but it gets pretty close. https://www.youtube.com/watch?v=Pk7mVaNZqmA

★★★★ Directed by: Christopher Deakin Written by: Christopher Deakin Starring: Katherine Farquhar, Adam Cryne Film review by: Joseph Rodgers Ever had one of those conversations where heavy words lingered in the air for longer than you could bear? Writer-director Christopher Deakin finds a witty and emotionally resonant way of presenting this in Ineffable, a tale of a girl simply trying to tell a guy she still loves him. We open with a jazz-rock soundtrack and the camera panning through a rainy park, before fading in on the aforementioned girl (Katherine Farquhar) and guy (Adam Cryne) under a shelter, standing by adjacent pillars, half-facing each other. From here, Ineffable’s most novel central feature emerges: speech bubbles and thought clouds are placed into either side of the frame from external hands, to represent what they say to each other, as well as the thoughts that exist between the speech. A picture emerges of an ex-couple, now transitioned into friends, who are seeking to navigate the aftermath of their relationship and the conflicting emotions that still exist. Cryne and Farquhar complement the speech bubbles with subtle, silent acting. Slight shifts in facial expression, posture and physical gestures give texture to their respective characters: she is mischievous and teasing yet covering lurking feelings, he is self-assured yet slightly brooding. Ineffable manages to conjure an impressively clear picture of what their relationship was like just through small, comical interactions about her swearing and their differing attitudes towards beach holidays. Ineffable is certainly intriguing in its tone: the music and dialogue style lends itself to a light-hearted comedy sketch, and its overall style does not extend much beyond that. However, there is surprising emotional heft in its approach to this subject matter. Deakin’s script and direction captures many interesting aspects of conversation: the slight differences in our internal and external voices, how our thoughts often seem handed to us from elsewhere, how we have to push ourselves to say the things which will certainly shape our lives for the foreseeable future. The pacing, meanwhile, also skilfully creates suspense and poignancy, through split-second pauses where the girl or guy hesitates, thinks or lets an emotion pass. On the whole, the approach seems trivial to begin with, yet develops into something unexpectedly thought-provoking. Fate and predetermination are two weighty topics which the girl questions the guy about, in the build-up to her big reveal. By the end, Ineffable presents a final inversion on its speech-bubble device, to complicate the guy’s secure belief in the purposeful directions our lives take. We can’t help but be moved by the film’s lasting observation that, for everything we do say, there are a million other things we could have said instead, many of which could have changed our lives entirely. With Ineffable, Christopher Deakin explores the more difficult sides of self-expression; however, it is not hard to say that this short film is charming, deceptively deep and well worth a watch.

★★★ Directed by: #ChadFerrin Written by: #ChadFerrin, H.P. Lovecraft (inspired by) Starring: #GinaLaPiana, #JackieDebatin, #JohannUrb, #RobertMiano, #SilviaSpross Grimmfest Film Review by: Darren Tilby If you have seen one cultist community film, you have seen them all, right? Well, no, actually. There are plenty of films attempting to breath new life into this hackneyed subgenre of horror—but this is not one of them. Sadly, not even the implacable dark charm of the great H.P. Lovecraft himself can prevent The Deep Ones from feeling a little too familiar most of the time. But does that mean the movie is not enjoyable...oh, hell no! In fact, I would even go as far as to say that there is a peculiar comfort in its familiarity. It is like a horror film you have seen hundreds of times before: you know what is coming, you can see it a mile away, and you know it is going to be nasty, and yet—it feels safe. It is like every horror B-movie I can remember from my youth, ever - and I mean that as a compliment, B-movies back then was great. Full of questionable acting, inventive practical effects, clichéd plot devices and some of the cheesiest dialogue ever put to paper, The Deep Ones follows suite and, in its own way, is a brilliant homage to horror movies of the mid-90s. However, this does not alter the reality that The Deep Ones feels incredibly dated and unoriginal. I appreciate that this is partially down to the source material itself and partly since Lovecraft’s works have, in one form or another, been done to death. But, still, it would have been nice if there had been even an attempt to do something different here; something more subversive, perhaps. The film has a genuine creepiness to it, though, and there is plenty of cosmic-horror goodness for viewers to unpack. Fans of Lovecraft will likely feel right at home with its bleak ambience, neon-soaked visuals (fantastic work from Jeff Billings), robed cultists, talk of old-world gods and, of course, tentacled beasties galore! And I loved the use of practical special effects, which, for the better part, are incredibly solid. It is worth noting, however, that the creature at the end of the film is laughable. It is so hilariously bad, in fact, I think it may be genius? Either way, it is very reminiscent of the monster movies of the 1950s, and it is just as campy, so if you’re expecting something with a darker, more ominous flavour, this may feel somewhat jarring. It is best, then, to view The Deep Ones more as a tongue-in-cheek homage to the works of H.P. Lovecraft than it is to assume you will get anything especially profound or frightening here. Personally, I would have liked to have seen something with a little more weight; a film with more clout, which works to subvert the expectations of its audience. But there is no denying The Deep Ones provides a generous and enjoyable dose of Lovecraftian entertainment, wrapped up in comfortably familiar packaging. And for the love of the old Gods, do not forget to stick around for the hilarious post-credits scenes!

★★★ Directed by: Erik Bloomquist Written by: Erik Bloomquist, Carson Bloomquist Starring: Caroline Williams, Nicole Kang, Nicholas Tucci, William Youmans, Adam Weppler Grimmfest Film Review by: Darren Tilby It is a surprisingly perceptive little vampire flick, Ten Minutes to Midnight. A contemplation on age, specifically as it affects women, that deals, also, with sexual harassment and the metaphorical death of one’s career (retirement), neatly wrapped up in the skin of an 80s horror film. And while it is let down a little by some underwhelming performances, clichéd genre mechanics and a cumbersome finale, this is still an incredibly enjoyable, retro romp—especially for us oldies! Amy Marlowe (Caroline Williams), a late-night radio host on the eve of her forced retirement, is bitten by a rabid bat and subsequently trapped inside WLST Radio station – where she has worked for over 30-years – by a violent hurricane. Stuck with a now-uneasy staff, including Robert (William Youmans), her depraved boss, and trailed by mysterious and ambitious younger replacement, Sienna (Nicole Kang), Amy’s situation becomes a fever dream-like nightmare and a terrible change begins to take hold. And, much like a fever dream, there is a lot here that does not much make sense. This is less a complaint as it is a warning...do not go into this film expecting clear-cut composition or a narrative with a wholly resolved ending, because you will not get it. But, if you are more familiar with 80s horror, as I am, (think Lamberto Bava’s Demons) you will have a better idea of what to expect. It is fine; there was no pretence that this was supposed to be anything other than a homage to an iconic decade of filmmaking. Ten Minutes to Midnight’s underlying themes, though, are a very welcome surprise. Well-judged and genuinely insightful, this level of perception is, sadly, often lacking from other films of its kind. And, for me at least, any shortcomings in Erik and Carson Bloomquist’s narrative and dialogue writing – the ending, in particular, is an unwieldy jumble of fakeouts and indecision – are redeemed by the filmmakers’ comprehension of women’s issues in the workplace—whether that be age discrimination or sexual harassment. Performances, however, are a mixed bag, to say the least. Central performances from Caroline Williams and Nicole Kang are, thankfully, superb. But renditions from the extended cast range from being wholly serviceable to downright poor, sometimes within the same scene. It is a similar story with Thomson Nguyan’s cinematography – which, while never bad, flitters between inspired and mediocre – and the movie’s soundtrack - an ironically dull affair. There are issues here, without a doubt. But Ten Minutes to Midnight is an enjoyable and playful piece of retro-filmmaking with an extremely sharp, contemporary, edge.

★★★★ Directed by: #MelanieAitkenhead Written by: #TimothyDurham Starring: #PollyannaMcIntosh, #SerindaSwan, #VanessaDubasso, #DiegoBoneta Grimmfest Film Review by: Darren Tilby Rape-revenge films are nothing new, that is for sure, and their origin can be traced back to around the early 70s, as a subgenre of exploitation film. But with the Romeo and Juliet romance at the film’s heart, its percipient understanding of rape culture and stellar cast, Director Melanie Aitkenhead has put together a movie that succeeds at being more than just another copycat splatterfest. A group of four frat boys run afoul of an all-girl biker gang – The Dark Moons – after three of them drug and rape Mary (Vanessa Dubasso), the cousin of Maggie (Serinda Swan, in an incredibly nuanced turn), one of its members, at a college house party. Led by the merciless Trigga (Pollyanna McIntosh, channelling her inner Negan), the girls, all of whom have, themselves, experienced rape, ride out for revenge. But as Maggie becomes romantically involved with Brian (Diego Boneta), the fourth, and only innocent, member of the group, Trigga’s methods are called into question, and her revenge ride turns to all-out war. Now, as the viewer, all-out war is precisely what we expect. But there is no denying this seems a little one-sided. A gang of around a dozen tough-as-nails, bad-ass biker chicks who have been through hell and high water with one another, against three entitled college kids, each with a hilariously misplaced superiority complex, does not really seem fair, football all-stars or not. But I believe there is an excellent reason for this, which I will discuss later. But first, we need to talk about the film’s construction. While you wouldn’t necessarily call this a “gory” movie, there is certainly some brutal imagery and action pieces, and, of course, the rape scene. For my part, I think the rape itself, while obviously horrific, was handled well; most of the action happens off-screen, and it is not something we are subjected to for too long. And it is the same for those rare moments of brutality, which, while never on-screen for long, are brought to life with the use of some fantastic practical effects. Eitan Almagor’s cinematography, too, is tightly shot and splendidly lit. The only aspect of the film that suffers in this regard is its narrative, as, at times, it feels a little laboured. There are also issues with the finale: it is an abrupt end; an anti-climactic end, and it is one that does not seem to have much of a point. Now, continuing my point from earlier, and why I think Revenge Ride deserves so much praise, despite its shortcomings. The very notion that these three frat boys alone even have a shot at defeating the gang may seem ridiculous to the viewer—and it kind of is. But as it happens (and here is my theory), it serves to perfectly illustrate just how little of women these guys think. And when one views it like that, it becomes quite clear that this is what the girls are really fighting back against; what women in our society, right now, are really fighting back against. Revenge Ride is less about men vs women or revenge, and much more about the systemic sexism and misogyny that allows people and attitudes like this to not only exist—but thrive.

★★★ Directed by: #ConnorMower Written by: #KatyCase Starring #HeatherWhite #JoshuaHill-Barreiro #LaoiseMcMillan #AislinnGeaney #JamesMarkland Film Review by Hugo Miloszewski Rufus and Friends, directed by Connor Mower, follows a group of ex-child stars who are invited back for a reunion special of the show that brought them stardom, but when the friendly mascot starts killing members of the cast and crew, the group must band together to survive. The first thing you notice when watching the film is the cinematography. This short is a student film, but Georgina Sheridan uses smooth camera movements and well-lit sets to make this look like a professional production. The colourful clothes worn by the main cast stand out amongst the bare corridors of the studio. Lighting is also used very well. The characters are always clearly visible, and the neon lights add to the bright charm the film has. Although the film is visually clean, the same cannot be said about the sound design. The difference in the sound levels between the characters in the scene did make some of the dialogue hard to hear, so audiences may have to keep adjusting the volume. The plot does add a surprising twist onto a straightforward narrative. From the description, you would expect the story to unfold entirely inside the studio, but the writer, Katy Case, takes some unique turns that will have audiences constantly asking: “What’s going to happen next?”. The film does get off to a rocky start, so audiences may be surprised to realise they have a massive smile on their faces during the second half. A lot of the comedy genuinely worked. The editor, Lauren Gibbons, uses an extremely creative swipe transition for a visual gag. Rufus and Friends wasn’t made to be taken seriously. The characters are all stereotypes and the actors play them with no subtlety at all. The plot is completely bonkers and off-the-rails, but it’s clear that everyone knows that. It’s that self-awareness that makes the film work. You can tell how much fun the cast and crew had when they made this and that passion leaps through the screen. The end credits also reinforce the creativity behind this project. It doesn’t break new ground or try to be anything it’s not, it’s simply a group of friends putting their skills together to make something they can be proud of, and this is a worthy enough short for that. #HugoMiloszewski

★★★★ Directed by: #KatieBeard & #NaomiTurner Starring: #SarahFarrowJones Short Film Review by: Corey Bulloch Right from the first frame, where a lone church is seen sitting on a hill across the peaceful horizon as soothing vocals lull us into serenity, it’s clear that Katie Beard & Naomi Turner have spared no expense. A gorgeous artistic film with impressive production value, compelling cinematography, choreography and a beautiful score from Ben Glass, Wake takes powerful themes and transforms them into powerful images. Inside the church we see a woman alone sitting before the altar, she then finds herself in a forest holding an ornate wooden box. As these images unfold the woman soon becomes surrounded by others and the dance begins. It’s all quite ethereal as Wake’s dance imagery quickly begins to tell a story of loss and acceptance, without any dialogue the filmmakers rely on movement and music to passionately convey this. Despite heavy themes there is a burgeoning optimism to Wake, the choreography from Liv Lockwood has the dancers surround Sarah Farrow-Jones’ character but it’s comforting, supportive, they are a lifeline in a place where she feels lost. The choreography is complemented by the costume design as we can see a clear visual change as this emotional process is acted out. The dancers and Farrow-Jones are initially in muted colours, similar to their forest surroundings but then change to colours such as red and yellow as the woman acknowledges what’s inside the box against the bright sunlight. Sam Finney’s cinematography is terrific, plenty of sweeping aerial shots and close-ups using the location and lighting to welcome the audience into this dance. It’s all very impressive and it’s clear that Beard and Turner’s have put a lot of passion into their work as the final results are breathtaking. Beard and Turner’s direction and cinematic focus keep Wake from feeling like a music video but the spectacle can work against its intentions at times. As exquisite as the film looks and sounds (again Glass’ work is sublime) there can be a disconnect at times. It is about the acceptance of losing someone and reaffirming the life around them but all the spectacle can rob the audience of more personal intimacy. It’s still wonderful to watch but Wake can feel more technically impressive rather than emotionally captivating. The film has a desired effect on the audience but it can’t shake that feeling that something is missing, the last vital piece to push it to a greater height. Wake is a joyous piece, crafted with such care by its filmmakers and an excellent display on how cinema can speak beyond words. Minor faults aside with thematic resonance, it’s presentation is stellar and just enamours you with its celestial imagery as the dance becomes more freeing and euphoric. Trailer: #CoreyBulloch #shortfilm

★★★ Directed by #ElanDassani #RajeevDassani Written by #MadhuriShekar Starring #SaritaChoudhury #SunitaMani Film Review by George Wolf Though they live in different countries, Usha (Sarita Choudhury) and her daughter Pallavi (Sunita Mani) talk often, and Mom always seems to have two main things on her mind. Does Pallavi have a boyfriend yet? And is she remembering to wear her “evil eye” bracelet? It’s been years since Usha and her husband left the U.S. for their native India, as Pallavi stayed behind with aspirations of writing a novel. Now, as her very American daughter nears thirty, the traditional Usha is getting impatient for a wedding, and trusts in the bracelet to protect Pallavi against any evil spirits preventing her from marriage. So, when Pallavi begins a serious relationship with the dashing Sandeep (Omar Maskati), she is shocked when Mom objects, and strenuously. You’d object, too, if you believed your daughter was dating a reincarnation of the abusive boyfriend who tried to kill you three decades before. Originally a best-selling Audible original, Evil Eye is directors Elan and Rajeev Dassani’s contribution to Amazon’s Welcome to the Blumhouse series. With an adapted script from source author Madhuri Shekar, the film lands as a delightfully cultured mystery. As narrative layers develop, the atmosphere is more supernatural thriller than outright horror show. Plot turns tend to rely on convenience and in the absence of any sustained tension or outright fear, the real draw becomes the mother/daughter dynamic propelled by the two lead performances. The veteran Choudhury makes Usha a fascinating conundrum, haunted by her past, fearing for her daughter’s future and forced to question some beliefs she’s long held dear. When the script wavers, Choudhury elevates it, selling every moment with conviction. Mani, an up-and-comer seen in Glow and the current Save Yourselves!, provides the effective contrast. Pallavi’s modern path is, at first, only mildly affected by her mother’s traditional sensibilities. But when Usha comes west to present her concerns in person, Pallavi must confront her own inner turmoil. By the time the final twist is revealed, you’ll most likely have already guessed it. But what you’ll remember about Evil Eye has little to do with the mysterious occurrences surrounding this mother and daughter. It’s the humanity flowing between them that sticks. #GeorgeWolf