★★★ Directed by: #KevinAnglin Written by: Kevin Anglin #NatAnglin Starring: #BrianRegal and Nat Anglin Film Review by: Bruna Foletto Lucas The mockumentary Finding Filman was directed by Kevin Anglin and co-written by himself alongside Nat Anglin. The short follows Regis Filman, a softcore porn actor whose delusional dreams are to step up into the mainstream acting world. He drags everyone in his life into his fantasy and spends all his money and energy into this pipe dream no one believes in. Anglin’s short is absurd. The characters are walking caricatures, especially Filman, a porn actor who insists that there is no penetration in his films and who is so absorbed in his own fantasy to realise how far-fetched it really is and how much of a joke people treat him. The documentary-style camera conveys this absurdity by having the camera pan to offscreen spaces in order to show the bass player and deconstruct the “magic of the movies”. Having said that... the film works! Both Nat Anglin and Kevin Anglin have stripped the film of any subtlety and created a tone that is quite enjoyable and fosters good laughs. I mentioned before a bit about the characters, but it is interesting to note that although they are caricatures, they are also well-rounded. Moreover, there seems to be a certain transformation throughout the film at work with each of them. The secondary characters, even more so than Filman himself, experience some sort of change – the flatmate Jake, for example, goes from looking down on Filman to being on his side; and Alicia, the scriptwriter for the porn films, makes peace with her line of work and decides to make real change. Dan Mercaldi’s cinematography is not exempt from the aforementioned transformation. In the beginning of the film the cinematography helps to heighten the absurdity of the film as well as creating and establishing a relationship between the audience and the film against Filman. By framing the other characters’ reactions to Filman and contrasting it to his endless positivity, the film invites the audience to laugh at Filman. Nevertheless, by the end of the film, Filman’s positivity seems to rub off on everyone else and both the characters and the camera now move to his side and function withhim. Together with the unusual characters and the camerawork, the editing is also key in creating the humour in the film – the inserts that add little but key information to show how a character might be lying or ‘exaggerating the truth’. Further, these are also fundamental to establish the connection between film and audience. Finding Filman feels like a collective effort that delivers laughs and maintains its humour throughout.

★★★★ Directed by: #SufianAbulohom UKFRF Review by: Charlotte Little Directed by Sufian Abulohom, Immigrant at Home is an earnest documentary about Safa, a first-generation Arab-American exploring her dual identity, while pursuing her dreams of comedy stand-up. Abulohom succeeds at using his own experiences as a first-generation Yemeni living in America to form a connection between the lens and the subject. This documentary isn't a disjointed perspective from the outside looking in, but a genuine insight into Safa's life. The atmosphere of Safa's home life and the presence of Safa's family and friends feels so natural. It's almost like you're there in the room, rather than peering through a screen. The film is threaded with different strands of Safa's daily routine, from dating app swiping with her mother, basketball with her friend, open mic nights, to sessions with her therapist. We see Safa opening up about her father's passing, her co-dependency with her mother, and the guilt she feels for wanting to move out. The strength and closeness of Safa's relationship with her mother trickles throughout, but we still bear witness to Safa's ambitions and humanity. There is no protagonist or antagonist; there is only Safa. Because of the sophisticated cinematography and filming angles, it can be easy to interpret Immigrant at Home as a fictional short film, rather than a documentary short. The film has a steady pace, with candid and authentic moments scattered throughout. The ending is poignant, displaying a glimmer of Safa's perseverance and a sense of hope. Immigrant at Home isn't your typical documentary, but it is undoubtedly a story that everyone should pay attention to. #CharlotteLittle

★★★ Directed by: #JeffBaena Written by: #AlisonBrie, #JeffBaena Starring: #AlisonBrie, #DebbyRyan, #JohnReynolds, #MollyShannon, #JohnOrtiz, #PaulReiser Netflix Film Reviews by Charlotte Little In Netflix's latest psychodrama, Alison Brie is Sarah, a sweet introvert with an affection for horses, crafts and her favourite supernatural crime show. Sarah discovers her vivid dreams are merging into her everyday life, blurring the line between reality and fantasy. Sarah's quiet life soon begins to unravel as she succumbs to frequent sleepwalking and recurring dreams. After a series of bizarre incidents, Sarah starts to seek answers for her strange behaviour, exploring an abundance of online conspiracy theories in the hope of finding an explanation. Sarah's journey ambitiously tries to illustrate deteriorating mental health from the perspective of someone who can't tell the difference between her dreams and reality. Horse Girl is an unsettling and deceptive insight to worsening mental illness; this warm and familiar story about a socially awkward woman soon transforms into an erratic narrative with unexpectedly poignant commentary. As the plot develops, the audience is granted an uneasy peek into the lived experience of delusional paranoia, with Brie's enrapturing performance plunging viewers into a spiralling 'Alice in Wonderland' rabbit hole. As the logic of Sarah's world begins to collapse, her theories become more plausible as we start to question what is real and what isn't. Scenes featuring tender conversations with her fellow craft store colleague Joan (Molly Shannon) snowball into a string of strange events and a dating subplot that grows darkly tragic, running the danger of audiences losing themselves in the sheer oddity. The quirky comedic set up summons half laughs and a misjudgement of the severity of Sarah's deterioration. The film's study of Sarah's psychological state leads us to an extended sequence detailing her breakdown, with practical elements such as costume design and lighting laying the foundation for a trippy atmosphere. Instead of showing how Sarah's hallucinations are causing her distress, Horse Girl indulges them by inviting us to shrug off our concerns in the curiosity to explore an absorbing extra-terrestrial mystery. The sensitivity that once drew us to Sarah's story soon evaporates. The narrative and central themes become too scattered to leave a lasting impression. Alison Brie co-wrote the screenplay with Jeff Baena, drawing from her own family history with mental illness and Brie's performance feels authentic in its empathy. Unfortunately, Horse Girl's inability to decide between being a quirky comedy or an earnest exploration of mental illness stunts the commentary on Sarah's experience with mental illness. Brie is superb, delivering sincerity and a gripping embodiment of mental illness in a compassionate but flawed plot. Brie's nuanced and in-depth performance helps Horse Girl overcome its surface-level storytelling. #CharlotteLittle

★★★★ Directed by: Yew Weng Ho Written by: Malcolm Duffy Starring: Jayne Lunn, William Biletsky, Dale Grant Film Review by: Jason Knight Dyslexia is a serious disorder that can make a person's wellbeing very difficult. Michael Jones (Biletsky) is dyslexic and is suffering gravely by it. He has a hard time reading and spelling and as a result he is an oucast at school and the victim of bullying. The teachers are unable to cope with his behaviour and he is forced to move from school to school. His parents Pat (Lunn) and Peter (Grant) are struggling to find a way to deal with their son's problem, but then Pat has an idea: she begins doing extensive research on dyslexia and she attempts to help Michael overcome his disorder by making him participate in word-related games and methods. Based on a true story, this touching film does a great job in raising awareness for dyslexic individuals. It shows the kind of problems this disorder causes. Michael is unable to learn, has difficulties socializing, the school staff give up on him and he is bullied for being different. He also has nervous breakdowns. It truly is upsetting watching this little boy go through all this. Biletsky delivers quite a believable and sympathetic performance as a troubled, dyslexic boy and Lunn is rather likeable as the mother who feels for him and is determined to help him. The second half of the film is more uplifting, as it shows that there is hope. Pat manages to help her son beat dyslexia and decides to use her methods to help other children who have learning difficulties. It is very heartwarming seeing Michael hugging his parents after his victory and observing Pat as she sets off on a mission to help as many others as possible. The film is very well directed and contains a wonderfully edited montage that jumps between scenes where Pat is doing her research or assisting Michael. The music includes a beautiful piece that consists of bells rigning and piano keys. And the addition of the song Sunny by Bobby Hebb adds wonderful qualities. Mical has similarities to the 1992 film Lorenzo's Oil, about a couple who are seeking treatment for their son's rare disease and end up developing a treatment. So whoever fancies drama, struggle and victory at the end, then they should pursue this film. Of course more than anything the purpose of Mical is to bring dyslexia to the world's attention. It want people to know what this disorder does to a person and that whoever is suffering from it should seek help. #JasonKnight

★★★ Directed by: Kelsey Rushworth Written by: Kelsey Rushworth Starring: Albert Clogston Film Review by: Jason Knight The loss of a loved one is devastating. The ones left behind struggle tremendously to deal with their grief and the emptiness they feel inside. Rushworth's touching drama Piano Man explores the impact the passing of a woman has had on her husband (Clogston). The film begins with the main character, a middle-aged man, receiving his departed wife's ashes in a container, after she has just been cremated. He takes the container home and places it next to a lovely picture of his wife. Living by himself now and clearly devastated by his loss, he resorts to playing music on his electronic keyboard. Not a single word is uttered in this emotional story. Actions and music do all the talking. Piano music is the main sound heard throughout. As the title suggests there is plenty of piano playing to be heard, both played by the protagonist and the non-diegetic score. The beautiful piano score effectively accompanies the emotions that the images generate. Clogston is very convincing as the grief-stricken husband, who is now sad and does not seem to know how to move on. In one rather emotional scene he places the picture of his wife on the bed, next to him, making it seem that she is still there. His digital keyboard, his wife's picture and the container appear to be very dear to him now. He portrays a man who is deeply saddened by loss and loneliness and will likely make the viewer wish that they could somehow help him. As the story focuses on a man who has just lost his wife and understandably never smiles, the tone of the film is generally poignant. However there are uplifting moments in the form of flashbacks of the couple's wedding, where naturally they are smiling and are happy. The flashbacks are beautiful and rather moving. Piano Man offers an affecting and sympathetic look into a man who is struggling with his emotions. The script, score and performance of its leading actor are likely to provide the audience with a thoughtful experience. #JasonKnight

★★★★★ Directed by: Bellopropello Written by: Bellopropello Film Review by: Jason Knight Today people are quite attached to and dependent on their mobile phones. Initially these electronic devices were used to make and receive calls. Now they are capable of all sorts of stuff such as taking pictures, making videos, playing games, banking, browsing the internet and making purchases. It would be hard to imagine the world without them. With Shadowland, Bellopropello has brought to the world an outstanding piece of work. One that won numerous awards from many Film Festivals. Right from the beginning it is clear that this is something special. It appears to be a city centre at night-time, resembling Las Vegas. The camera moves forward through a sea of lighted signs, with darkened buildings in the background, while club music is played. Shadowland won the Best Animation of the Year Award at the New York Film Awards, and it is not hard to see why. If one could describe the animation here with one word, then that would be: magnificent. From start to finish the film is a pleasure to watch, admiring and being mesmerized by the wonderful work that has been put into this project. The colours look very appealing to the eye and so do the lighting effects. The animation is primarily digital, but there are also sequences that seem to be hand-drawn. There is not a single dull moment, however there are sequences that deserve special attention. One is the scene of a sinister-looking man in a dark room. He resembles a mad scientist and occasionally laughs throughout the film. He is sitting on a desk, holding what looks like a tablet, and in front of him are large screens. Through these screens he is observing a large number of black figures that look like people as they are walking around, looking at their phones. When he presses a touch-button on his tablet, he appears to be influencing their behaviour, controlling them in a way. This sequence might be pointing out how much people are 'under the control' by their own devices. The film also appears to be addressing the topic of how mobiles affect consumerism. In one rather chaotic scene, there is a large structure made out of money and parcels are coming down from it like a conveyor belt. Then drones appear and proceed to collect them, while people are in the background, also collecting parcels and interacting with their phones. This part seems to show the chaos that is created as customers constantly buy and buy. Along with the exceptional animation, viewers will be listening to a kind of soundtrack that will give them the impression that they are inside a nightclub. The music makes a terrific combination with what is seen on screen. There are no spoken words here and they are not needed either. The fantastic visuals and accompanying tracks are more than enough to provide the viewer with an unforgettable experience. Bellopropello's creativity and dedications have paid off. He brought to life a film worthy of a lot of praise and recognition. A superb achievement! Unfortunately, Shadowland does have one flaw: it ends! #JasonKnight

★★★ Directed by: #MartinDelCarpio Written by: #MartinDelCarpio and #EmanueleMichetti Starring: #StefanBandic Short film review by: Brian Penn The American dream has been a magnet for generations of immigrants as they flock to the States in search of wealth, security and happiness. But it has rarely been a level playing field as many have found to their cost. Aside from the Native contingent to be American is to be an immigrant; so why do such inequities exist in the self-proclaimed land of opportunity? This thoughtful film by Martin Del Carpio attempts to explain the feelings of an immigrant making a new life. He was himself born in Venezuela but raised in New York and able to draw on very personal and intimate experience. Stefan Bandic appears as an immigrant in a series of vignettes that contrast sharply within mainly black and white shots. Frames cleverly transpose into colour whenever the stars and stripes are depicted. The immigrant describes how it feels to be an outsider learning a new language, adjusting to a different way of life and his wonderment at seeing snow for the first time. But most of all, his bewilderment in trying to prove he is American and entitled to remain in the country he now calls home. Some arresting visuals stray into abstract territory that give an unnecessary edge of pretension. This occasionally detracts from a deeply affecting portrayal of a stranger in a strange land. Whilst the film’s focus is America we could substitute any industrialised nation that might attract immigration for a host of reasons. This clash of culture and language is at the forefront of modern life. Refugees risking life and limb to cross the Channel are our future immigrants. The same questions loom into view as they strive for acceptance and not merely tolerance. To cross boundaries in search of a better life is an adventure but still a delicate balance between risk and reward.

★★★ Written & Directed by: #AngelikiCoconi Starring: #GianniDiSario Documentary Film Review by: #ChrisBuick Documentaries don’t need to be about sports stars, rock stars or even movie stars to be interesting.  Interesting, everyday people with equally fascinating and relevant stories are everywhere, you just have to know where to look. And if you happen to be walking down Florence’s Via de’ Ginori, take a step inside a blink-and-you'll-miss-it single-space cobbler’s shop and you might just find one such person. Documentary film Dal Calzolaio (At the Cobbler’s) from Greek filmmaker Angeliki Coconi leads us straight through the front door and into the world of one Gianni Di Sario. Gianni, while perhaps a little larger built than most, is otherwise as normal seeming as any other person at first glance, quietly working away on shoes while pop music plays from his old radio overhead. His shop is strewn with all sorts of indeterminable odds and ends covered in dust, scrap materials and cigarette ash, while a decades-old contraption sits in the corner struggling to even start. Throughout the opening throes of Coconi’s film, it’s likely one might begin to wonder why the award-winning writer/director has brought us here. For almost fifteen minutes, we simply watch as Gianni works away silently, having inaudible conversations with the clientele and delivery persons while repeatedly trying to spark his ancient shoe-repairing machine into life. Patience and attention spans begin to wear thinner and thinner until Coconi asks Gianni, currently repairing a sole on a shoe, a simple question; “How many times have you done this?” What emerges from that casual inquiry begins as a casual chat about the various methods for resoling a shoe, before transforming over the next hour into an increasingly captivating story of legacy, tradition, hard-work, tragedy and change, a compelling and intimate tale that is not just Gianni’s, but also that of his father, how this store came to be and ultimately how Gianni himself chose responsibility and obligation over his own dreams to be where he is now. And Coconi’s subject is a more than adequate storyteller. Gianni does not have an ostentatious bone in his body, completely indifferent to the camera sitting inches from his face and always shooting straight while regaling us with his unique story that finds ourselves often asking; “And then what happened?” And much to Coconi’s credit, as Gianni tells his story, between the close quarters setting and the spot-on intimate nature in which Coconi captures it all, we begin to settle into this world, the store now appearing as sort of delicate ecosystem that we have become a part of. Everything suddenly seems more at place and positively seeping in history, and as the camera fixes on Gianni’s ever-busy hands while he talks, there is actually something quite therapeutic about it all. But while Gianni’s story continues to perpetually hold our interest, the intermittent dalliances with his clientele are less captivating, often nothing more than long periods of silence as the camera rolls over unwitting faces. These sequences not only make up a fair chunk of the film’s runtime, which could have been streamlined into a tight sixty minutes, but also harshly puts the brakes on the films momentum and aggravatingly distracts us from where we want to be, which is listening to Gianni. While it might not have the drama and excitement of a hard-hitting expose or revelatory biopic, Dal Calzolaio (At the Cobbler’s) is a very well put together and absorbing documentary complete with a unique perspective from its core subject that many will be fascinated by. #ChrisBuick Watch the trailer here:

★★★ Written and Directed by: #AngusSilver Starring: #ConnorSharpe #SamFerraby and #ToriWindle Film review by: Brian Penn While a fear of the unknown gently tugs at the imagination; half-truths turn into a full blown drama. Many are taken in by fanciful tales of the Yeti or Bigfoot; and grainy film is good enough to confirm their belief that a monster lurks in the nearest greenery. Imagine being stuck on a remote island with breath taking scenery and the legend of a night beast in its woods? Ray (Connor Sharpe) inexplicably washes up on the beach of Rucker Island. There he meets the odd but friendly Roland (Sam Ferraby) who has some unusual culinary skills. Ray stays with Roland and slowly becomes aware of the night beast. He grows increasingly curious and is inevitably drawn into the woods. A terrifying confrontation sets in train a sequence of events that seems beyond Ray’s control. He is given hope by the mysterious Maeve (Tori Windle) who is little more than a disembodied voice speaking to him through a ghetto blaster. Maeve helps Ray combat the daunting almost mystical powers of the beast; but will he survive and escape from the island? The film mixes documentary with a dramatic narrative, which on the whole works really well. However, the plot completely neglects any reference to Ray’s back story, particularly how and why he ended up on Rucker Island in the first place. The graphics also look home made and pretty basic. Even so, it doesn’t detract from the film’s essential quality within the horror genre. The documentary sequences are well made and totally believable. Interviews with local residents produce a delightful ragbag of responses. Some in complete denial, others utterly convinced the beast exists. One woman doesn’t care one way or the other, whilst another presents a superbly logical argument for its non-existence. With some great deadpan narration from Spencer Ronnenkamp this film could turn into a cult classic.

★★★★ Directed by: #TomMichaelBlyth, #KeifGwinn Written by: #MikeCarter Starring: #MaeveRyan, #MadelaineMoore, #JamieLaird, #SamuelJohn, #TomMichaelBlyth, #KimBurnett, #CMJTaylor Short Film Review by: Corey Bulloch The way we see one another and communicate with one another has always been a peculiar social construct especially in the modern age of celebrity and media, where whole identities are built by observation and exaggeration. At first glance of the title, Tom Michael Blyth and Keif Gwinn want you to associate this film with those invasive television documentaries that operate more like carnival barkers than empathetic portraits of its subjects. Following two journalists preparing to interview the titular character, the interviewer seeing it as an opportunity to get ahead in their career, the other a cameraman pessimistic to why they are creating a story around this. In between their squabbles, various talking heads of the locals are played (from the segment the two have been producing) which fill the audience into the local legend of the man with his fingers in his ears. The film is a little rough around the edges with its cinematography and sound design but this almost enhances the realism to the performances through the talking heads. While Carter’s script provides a baseline, most of the film is improvised by the cast creating an amazing verisimilitude to the film. Moments such as the performance of the story on the “origin” of how the man put his fingers in his ears is hilarious and each little Vox pop furthers the irony to the film’s messaging. The audience never sees its titular character, he never speaks for himself, his story is told by those around him but swayed by opinion and projection, locals bolstering for their own fifteen minutes. It’s an interesting examination on communication, this man has voluntarily isolated himself from his world, not listening or speaking to anyone yet this leads to everyone trying to put their logic onto his actions, surrounding him until he can’t be seen or heard for himself. The variety of ways that the talking heads place their meaning upon this lack of action is amusing and again just shows how no one is really listening to one another, just talking for the sake of it. It’s all brilliantly executed and presented, subtle with its commentary but still hilarious, The Man with His Fingers in His Ears is brought to life by its lively performances. Gwinn’s editing of the piece balances the two perspectives well and gives each member of the ensemble a moment to shine, lending so much credibility to the reality of the film. What’s intriguing about the way Blyth and Gwinn tell this story is how nothing is achieved, the cameraman states how this is “all a stream of pointless nonsense and we should stop contributing to it”, this is all about this hopeless assignment trying to will meaning onto nothing. It’s nihilistic but fascinating in that the one who possibly has stopped contributing is the one who may have found a meaning to it all. Through all the waffle of the talking heads, you wonder who this man with his fingers in his ears actually is and what’s he thinking and can’t help but wonder if what you’re watching is the reason why he has removed himself. An authentic portrayal of how inauthentic people and society can become, The Man with His Fingers in His Ears is a terrific satire with plenty of comedy and character that wisely focuses on the truly bizarre behaviour. Blyth and Gwinn keep the film skilful in its simplicity as performances and presentation deliver an intriguing vision, especially when considering our own isolations from the noise all around us. #CoreyBulloch #shortfilm #UKFRF

★★★ Directed by:  #JulienBotzanowski Written by: Julien Botzanowski Starring: #FabienAra, #OlivierBureau, #TanguyMendrisse Indie Film Review by: Corey Bulloch Trauma can manifest itself in many ways both physical and psychological, sometimes it can be dismissed as a fleeting headache, other times it becomes an unstoppable nightmare. The pain comes all the same; the result of an awful event that doesn’t quite leave you, in horror films the monster is a representation of that pain or fear that plagues us all, connecting our own terror to that of the protagonist. In Julien Botzanowski’s Tranches de Vi, the reason for torment is a mystery as the film focuses more as a character study than a continuously loaded jump scare (though it has a few to use). Victor, an aimless womaniser seen as a burden by friends and family begins to experience disturbing hallucinations in the wake of a new romantic relationship with a man, Lionel. These apparitions become more visceral as the two become more emotionally attached until it all reaches a breaking point. Victor comes across as unsympathetic with his behaviour towards his friends and others, but Fabien Ara’s performance keeps an intrigue to him especially with his more vulnerable scenes with Lionel. Botzanowski’s direction of the actors is terrific, with scenes flowing smoothly due to charming cast chemistry, even passing characters are able to pop off the screen. The script and pacing, however, leaves the film’s thematic intentions a little unclear; the hallucinations mostly display themselves around a wardrobe in Victor’s bedroom suggesting its symbolism to Victor being ‘closeted’ in his sexuality. As he and Lionel grow closer, the stronger these apparitions become, even affecting Lionel himself but the line between psychological and supernatural horror remains blurred until the climax. Just when you think you have it all figured out, Botzanowski shifts gears and while the true nature of the monster makes sense, it does feel a little underdeveloped and needed more direct focus in the earlier parts of the narrative. A lot of Tranches de Vi feels like its dragging, a bit repetitive in how Victor experiences a hallucination and acts out. It is all building towards something with steady escalation but the horror begins to get stale and Victor alienating people around him becomes an unsurprising norm. It doesn’t flow smoothly together but sequences that focus on Lionel and Victor’s relationship along with a few horror moments really get the audience invested. The horror and monster itself is nothing ingenious, relying on light switch jump scares but the editing does get under the skin, making you dread whenever Victor has one of his episodes. Though the big confrontation undoes this goodwill as it feels more like B-movie schlock than intense psychological horror, undercutting the emotional context. Botzanowski has interesting ideas in his screenplay but they are muddled between tired pacing and confusing execution. Victor’s struggles against his monsters has its emotional weight but the journey at times can become a struggle to get through for the audience. There’s no easy way through trauma and Tranches de Vi uses its heightened genre elements to explore and confront that difficulty to face it head-on. It’s not pretty, faltering in places as Botzanowski’s vision would benefit from a more solid structure and control of tone, especially with its difficult subject matter in the latter half. Though the performances and ideas keep the film interesting, with revelations pulling you back in when the film loses its momentum. #CoreyBulloch #indiefilm #UKFRF

★★★★ Written and Directed by: #AdamWeber Starring: #MarcClement and #AntonSchrama Film review by: Brian Penn Imagine if you will a deserted highway deep in the middle of nowhere. A blood splattered body lies motionless on the tarmac lit by the solitary headlights of an anonymous vehicle. Darryl (Marc Clement) has to dispose of the body and is waiting for newly appointed accomplice Stevo (Anton Schrama) to arrive. Apparently new to the job Stevo is wearing a white sterile suit teamed with a high visibility jacket. The need for discretion has sailed over his head as a host of movies begin to play in his imagination. The apprentice hasn’t read the memo as he brings a variety of items with him that aren’t entirely appropriate for the job in hand. Darryl frantically spins through his text messages for inspiration and a Plan B. The Body is a remarkably compact and well-paced feature with a delicious line in dark humour. The setup easily facilitates a back story without the need for excessive detail; so screen time is used with great economy and maximum effect. There are some genuinely funny moments as the experienced criminal despairs at the antics of a child trapped in a man’s body. Stevo can hardly believe he’s been let out to play with the big boys; but Darryl’s problems are beginning to multiply as every second ticks by. The narrative benefits from some great comic tension as it moves towards a punchline that kicks like a mule. The film delivers an unexpected ending to the story with a naturally difficult finale. But Adam Weber pulls it off with a self-assured style that is impressive by its very simplicity. Whilst film goers have been confronted with this scenario on countless occasions the key as always is in the execution. The world weary henchman lumbered with the trigger happy rookie is familiar territory; but like the best jokes you don’t necessarily rely on the content but more the way you tell them.