★★ Directed by: #Andy De Emmony Written by: #Simon Lewis and #Mark Oswin, from the book by #Jacqueline Wilson Staring: #Teddie Malleson-Allen, #Ashley Aufderheide, #Paula Patton, #Matthew Goode, # Billy Jenkins, #Russell Brand, and # Michael Caine Film Review by: #Andrew Stooke For some reason, teen dramas entice writers to conceive of plots slopping over with extraneous details. In this updating of Edith Nesbit's perennial tale '5 Children and It' (1902), the backstory of, now four kids, thrown together on a dysfunctional holiday, under the sweeping cerulean skies of the Cornish coast, is wildly convoluted. The vacation itself is contrived. It has been organised in secret by two separated parents to introduce their new relationship to their children. Stressed out by her teenage daughter, Alice, played by American Paula Patton, is testy. David, Matthew Goode, brings a British reticence to his parenthood. Both give the impression that they had not previously met their children. Perhaps this is intended to justify the implausible premise. Who would imagine that failing to mention that the family holiday will include your new lover was a good idea? Parents know that you cannot rely on magic to emolliate a disastrous situation, but not director Andy De Emmony; enter 'It' to rescue the children's break. 'It' is a creature who lives on the beach, the last of his species, infinitely old, naïve, able to grant wishes, a hybrid between a marsupial and a teddy bear. Michael Cain provides the voice with a roguish warmth, warning of the 'consequences.' of wishes. He is right. The wishes become a constricting plot device, dividing the narrative into discontinuous episodes that impede character development. Without going into detail, the wishes are all predictable—and, predictably, a greedy bad-guy appears, hankering for wealth, power, and control. He is Russel Brand, a baronial eccentric. He looks like his wish would be to play a pirate, like Johnny Depp, and he sounds like he wants to get the whole thing over with as quickly as possible. Chuck in a bit of time travel, superpowers, steampunk, a final demolition scene, with a happy-families ending, and you have got the gist of 'It.' The Kids are three girls, and, with a unisex name, Robbie, the Boy, played by Billy Jenkins. He is passive, game obsessed, unadventurous, emotional, vulnerable, and compassionate. It is he who, at several crucial moments, institutes reconciliation and bonding. His empathy points to '4 Kids's' atypical take on representations of gender. Movies with women playing traditionally masculine stereotypes, Luc Besson style fighters, or Little Woman style sorter-outers, are plenty. '4 kids' is radical, portraying men and boys in clichéd feminized roles. The males articulate their feelings and care for others. In the end, the progressive vision of gender falters, with a wimp scrunches up his fists and lands-one on the bad-guy scene, initiating the celebratory union of a nuclear family. Overall it is heartening to sense, in female roles, strength, and intellect, in tandem with brooding domesticity, depicted in a series of cooking disasters and a bake-off style triumph. The impact of emancipated balance is strengthened by Brand's depiction of a buffoon, mired in tradition and atavism. The hunger for power and control is relegated to the loony fringes and, necessarily, ends in a fiasco. It is still sadly rare to watch a movie that rejects chauvinism. It is often now masked by a female role. However, tragic that ‘4 Kids' is clumsy, making its magic so thoroughly unbelievable. It will need to become a cult classic, acknowledged as so bad it's good, for its progressive rendition of gender to be seen and taken seriously.

★★★ Directed by #PaulIreland Written by #DamianHill #PaulIreland Starring #HugoWeaving #HarrisonGilbertson Film Review by Cat McAlpine In this modern adaptation of Shakespeare’s play by the same name, Measure for Measure follows a large cast of characters all tied to the same horrific event. A man high on meth goes on a racially charged shooting spree in a housing commission tower. Angelo sold him the drugs. Farouk might have sold him the gun. Claudio and Jaiwara were simply lucky enough to survive. What really connects the tenants of the dreary flats is not a single act violence, but the fact that their lives are rife with it. Director Paul Ireland uses trauma as connective tissue, highlighting the theme with repeated showings of August Friedrich Schenck’s “Anguish.” The painting shows a ewe crying out over the body of her dead lamb, encircled by waiting crows. It is trauma, and vulnerability, like this that pushes characters together and rips them apart, with carrion birds waiting to swoop in. The script, penned by Ireland and Damian Hill (to whom the film is dedicated), is strongest when it strays from Shakespeare. The addition of an immigrant family to the story adds dimension to the types of trauma we face and how it shapes the next generation. The love story of Ireland and Hill’s Measure for Measure is much more straightforward than Shakespeare’s. If anything, the film would’ve improved from even further deviation. What truly carries the production are its strong performances. Hugo Weaving is great as Duke, endlessly watchable. His manic foil Angelo (Mark Leonard Winter) is also fantastic, even when the script doesn’t support him. Farouk (Fayssal Bazzi) starts as a stereotypical baddie, but Bazzi finds complicated depth in him later on. Harrison Gilbertson and Megan Smart build great chemistry together as Claudio and Jaiwara, despite a bit of a montaged love story at the start. Measure for Measure is a worthy effort to take the endlessly classic nature of Shakespeare and frame it in a modern retelling with new resonance. Its focus on loss, vengeance, and love are undeniably relatable, while still telling a fresh story in an old frame. #CatMcAlpine

★★★★ stars Directed by: #TomGatley Written by: #TomGatley Starring: #RichardMiltiadis, #SarahLouiseTyler, #JustineJones, #AnkurSengupta, #MelanieThompson Indie Film Review by: #tomwilmot Expiry is the debut feature from writer-director Tom Gatley and follows a struggling couple who wake up one morning to find themselves unable to touch one another. The film is a small-scale sci-fi with a humanistic focus that has a lot to say about relationships in the modern world. Superbly executed on a meagre budget, Gatley succeeds at building and presenting a cold, dystopian world riddled with mistrust and paranoia. Sofia (Sarah-Louise Tyler) and Jamie Cooper (Richard Miltiadis) have been together for five years after making their bond permanent through a union symbolised by electronic wristbands. After going through a rough patch, the two awake to find that their wristbands are glowing red and they’re unable to make physical contact. Adamant that their relationship has not expired, they search desperately for a way to save their marriage and avoid potential consequences from a mysterious government. Right from the off, Gatley establishes a feeling of paranoia in Expiry. Sofia and Jamie fret at what consequences may come from the supposed ending of their union, and their concerns appear warranted, as shady figures soon appear in the couple’s lives. Gatley utilises imposing shots of the towering cityscape to always remind us that the characters are under the thumb of a greater power. The director also feeds off of the fear of the unknown, as new characters and situations are always greeted with suspicion. Narratively, the film is told in two parts, with Sofia and Jamie’s ongoing relationship struggles being intercut with the pair speaking separately with a counsellor. While these latter scenes do pose pondering questions that come into relevancy later on, they often kill the momentum of the engrossing, thriller-esque main story. Unfortunately, the plot does lose steam in the final act with a poorly executed and tonally inconsistent action set piece leading to a rushed and somewhat unclear conclusion. One of the biggest takeaways from the film is what it has to say about relationships in the modern-day. Gatley presents a world in which no couple is truly happy as everyone is under constant pressure to have a successful partnership at all times. While this somewhat pessimistic outlook feels a little cold at times, it does raise relevant criticisms of society’s expectations of relationships in the 21st century as well as of attitudes toward immigration and marriage. For a low-budget indie feature, the film does a magnificent job of presenting a functioning and believable Orwellian dystopia. The clever use of props, lighting, and a couple of very impressive special effects make the world of Expiry feel real. The cinematography from Andy Toovey also helps to set a bleak tone as he uses a dim colour palette to great effect, giving the city a stark appearance. However well established the setting is, though, Expiry wouldn’t be as convincing were it not for the host of great performances, particularly from the two leads Richard Miltiadis and Sarah-Louise Tyler. The pair sell their state of paranoia successfully, and you really believe that they are fearful of the fate that may await them. Less convincing is their chemistry as a couple, but considering the majority of the film focuses on their relationship struggles, this isn’t a major issue. With Expiry, Tom Gatley delivers a very well-executed sci-fi that has a compelling message. While the plot can feel meandering at points and the finale leaves much to be desired, the film is elevated significantly by its enthralling Orwellian world, sombre tone, and bleak visuals. It’s a stellar first feature film with its successes showing promise for the writer-director’s future projects.

★★★ Directed by: #JohnGiorgio Written by: #MichelleLewis Starring: #ChadAyers, #VirginiaVogt, #JimmyAceLewis, #MatthewEwald, #TroyFromin Indie film review by: #tomwilmot The Stalker, directed by John Giorgio, follows Steve (Chad Ayers) and Wendy (Virginia Vogt) Hamilton, as they flee with their two sons to a lake house in hopes to avoid a mysterious stalker who’s hellbent on revenge. The indie feature is a throwback to the low-budget slashers of the 1980s, the influences of which it wears on its sleeve, both for better and worse. Director Giorgio helms his feature debut well with his shot composition allowing for a lot of depth in the frame. Characters will often appear in the background of shots, whether it be to create tension or to pass information on to the viewer. This framing allows for some great visual storytelling as the audience is trusted to figure things out for themselves. However, these engaging visual moments are undercut by scenes that feature heavy expository dialogue, particularly in the opening half of the film. Giorgio has clearly taken inspiration from the 80s slasher sub-genre, as well as from John Carpenter, whose influence is felt throughout. From the bold title cards and stalker point-of-view shots to the eerie synth and piano score from Jonathon Montemayor, the film pays homage to classics of the genre, such as Halloween (1978) and Friday the 13th (1980). If not for being so polished, the film would feel like it’s from the era of movies to which it’s paying tribute. However, much like the 80s slashers themselves, The Stalker is not without its faults. These mostly come through the writing, which delivers a familiar story that you’ve seen a dozen times over. Aspects of the narrative are executed well, such as Wendy’s fear over her stalker resulting in her increased paranoia. Unfortunately, there are a couple of plot threads that take up a significant portion of the short runtime but serve little purpose other than to up the body count, with older son Hayden’s (Jimmy Ace Lewis) late-night party venture being one such example. While these deviations keep the pacing steady, they ultimately lead nowhere and feel like a waste of time. Meanwhile, more interesting plot elements that are made to feel important early on are left to the wayside without real resolution. Chad Ayers is the stand out actor of the film, with his concern and desperation coming through in a quality performance. The family overall are a likeable bunch thanks to their chemistry with one another as they come across as a believable unit, particularly during the scenes in which they’re all together. Matthew Ewald too gives a committed performance in what is a complicated role as he manages to be suitably intimidating. The film treads a fine line between being purposely over-the-top and genuinely suspenseful, with the intention being tricky to distinguish at times. Some aspects are more obviously comical, such as Troy Fromin’s overtly creepy pizza delivery man, whereas most of the final act comes off as hammy. The conclusion is distressing in parts but leans into being comical as it drags on. While it remains entertaining nonetheless, it’s unclear whether this tone was intentional. Overall, The Stalker is a by the numbers 80s slasher homage that succeeds and fails in equal measure. While the story clichés and side-tracks may entertain some, they will be all too familiar to others. That being said, the film is well shot and paced, with the titular villain causing enough havoc along the way to keep viewers engaged. It’s a fun, albeit flawed, slasher throwback that embraces the tropes of the genre, and is sure to appeal to those with a soft spot for the video nasties era.

★ Directed by: #ChristopheLenoir Written by: #VikramGupta and #VivekSinghania Starring: #DominiqueSwain, #EmmaElizaRegan, #AdamWeafer, #ZebMoore Indie film review by: #tomwilmot Hexing is directed by Christophe Lenoir and tells the tale of Hannah (Emma Eliza Regan), a young woman in Ireland who accidentally unleashes an evil spirit through a ouija board she finds in an antique shop. If that plot sounds vaguely familiar in any way, it’s because you’ve seen it a hundred times before in the many haunted ouija board movies produced over the past decade. Much like the films it’s aping off of, Hexing is both uninspired and uninteresting while bringing to the table its own flavour of poor editing and plot structure. The major issue with Hexing is its jumbled script, which has far too many narratives in play. There are multiple plot threads throughout the film, none of which are engaging and all drawing attention away from the story involving the ouija board. The main conflict isn’t established until late into the first act, and even then, it is treated like a b-plot. This lack of focus makes it difficult to care about any one element of the plot as none of the storylines or character relationships are developed sufficiently. For a film that is only 80 minutes long, there is simply too much going on. In what feels like an attempt to address this convoluted narrative, the film is also littered with exposition-heavy flashbacks that, rather than adding clarity, only cause further confusion. These scenes are far too frequent and unengaging to the point that it feels like you’re listening to the film rather than watching it. The main story, involving Hannah, is itself entirely told as a flashback, which is a choice that seems only to have been made to further explain things to the audience. This approach means that the visual storytelling is virtually non-existent at points. This already cluttered plot isn’t helped by the fact that the editing for Hexing is very inconsistent. Some scenes are properly paced and have a clear beginning and end, while at other times we cut into what feels like the middle of a scene with little context for what’s going on. This uneven pacing means that some pivotal plot points are quickly brushed over, which makes it challenging to follow exactly what’s happening. Similarly, there are issues with the sound editing, as obnoxious and distracting effects and musical cues are scattered poorly throughout the film. The performances are unremarkable with no one individual being notably good or bad. There is, unfortunately, very little for the actors to work with as the muddled story allows for no meaningful character arcs to unfold. A further disservice to the actors is the staging of certain scenes, which are then presented in such a way that it’s unclear where characters are in relation to one another. Errors such as this take you out of the film completely. It’s worth noting that Hexing does succeed in parts. The few special effects incorporated into the film are executed well considering the low budget and aren’t as jarring as the VFX in similar indie features. There are also some nice exterior shots of the Irish coast and landscape that showcase fleeting moments of pleasing cinematography. However, these minor positives do little to improve the overall viewing experience. With its derivate story and bland characters, Hexing offers nothing new to the tired sub-genre of evil ouija board movies. Even with its tiresome narrative excused, the film’s unfocused script and scattershot editing are enough to make it an incoherent mess. The areas in which the movie does succeed are greatly overshadowed by its flaws in everything from writing to craft.

★★ Directed by: #MarkoŽunić Written by: #MarkoŽunić Starring: #GalenFilip, #StrahinjaBicanin, #KerkezJovana, #KerkezVukasin Indie film review by: #tomwilmot Listen Little Man, is written and directed by Marko Žunić in what is his debut feature. If its synopsis is to be believed, the film follows a man trapped in a parallel universe as he’s forced to become normal and accept the real world. While that may sound intriguing, what Žunić instead delivers is a unique set of visuals that make up no semblance of a coherent or engaging plot whatsoever. The main issue with the film is that there is no clear narrative. What we are instead delivered is a hodgepodge of consecutive scenes with recurring characters in different scenarios, none of which come together to make a recognisable plot. While this ambiguity is likely intentional due to the experimental nature of the film, it’s detrimental for the pacing and leaves you feeling detached from much of what you’re watching. The distinct lack of meaningful story makes the film feel far longer than its 77-minute runtime. Though never named, we spend most of our time with a character credited as Nenormalni, who is portrayed through an energetic physical performance from Galen Filip. He roams through the film in a skin-tight suit sharing what can only be described as strange interactions with figures dressed in an equally odd fashion. When not with Nenormalni, we follow the goings on at a middle-class dinner party, that descends further into depravity as it continues. It’s unclear how much of what’s happening is real in either of these plots, which proves intriguing and frustrating in equal measure. There’s certainly an element of social commentary at play, particularly when it comes to the conversations during the dinner party, but whatever message may have been gestating is lost come the film’s drawn-out and exhausting finale. The same can be said for Nenormalni’s journey, as it seems to include a cluster of ideas, none of which are given any real focus. While unorthodox storytelling is always exciting in film, here, Žunić’s narrative comes off as muddled and a little pretentious. What does keep Listen Little Man consistently interesting, though, is the director’s stylistic choices. Žunić shows that he’s capable of crafting surreal imagery throughout the film, some of which can be quite disturbing. For example, one instance of a grown man wearing an oversized baby mask that could come off as comical instead leaves an unsettling impression. The film is littered with strange imagery such as this, and its uniqueness is a testament to Žunić’s vision and style. The film is mostly presented in black and white, which suits the bleak tone and provides the chance for some bold cinematographic choices. At times, there’ll be an injection of bright purple or full colour that gives certain shots a greater impact. Much of this film has been made in the edit, with Žunić making full use of quick cuts and disorienting visual effects. All of these choices work aesthetically for the film, and have been integrated well-enough to not come off as cheap-looking. Ultimately, Listen Little Man is more disappointing than anything else. Žunić has undoubtedly proven himself to be a capable filmmaker with the film’s experimental editing and visuals being its strongest asset. However, the sluggish pacing in the latter stages and a complete lack of meaningful characters and plot means that the film will struggle to keep even the most adventurous audiences engaged.

★★★ Directed by: #MichaelCuenca Written by: #MichaelCuenca and #DanRojay Starring: #SofiaGrace, #BrendanTakash, #ClaireWoolner, #SarahLawrence, #JoeyHalter Indie Film Review by: #tomwilmot I’ll Be Around is the third feature from director Michael Cuenca. The film follows several characters over one day as they prepare for the start of a local music festival in Petropolis. With this backdrop, Cuenca, who also stars in and has co-written the film, delivers a wonderfully shot and stylistically engaging movie that doesn’t quite have the legs to maintain its early promise. Rather than sticking to one clear narrative, the film instead jumps between the interconnected lives of festival attendees, most of whom each have their own arcs. All of the characters are well written in the sense that they have snappy, naturalistic dialogue that gives them a unique feel. A lot of their stories revolve around relationships, but each scenario feels different enough to avoid the film getting repetitive. There are a couple of characters who are particularly investing and stand out from the rest. Sarah Lawrence’s weary rock star Eve Valentine is one of the more complex figures in the film, while Brendan Takash’s hopeless romantic Kip offers up both comedic and heartfelt moments. The sheer number of characters and how different they all feel from one another is impressive from a writing standpoint, and all are brought to life by charismatic performances. However, most storylines are given an equal amount of screen time, including those that are far less engaging. Narratives following a trio of enthusiastic teens and a pair of home invaders are just two examples of underdeveloped plots that serve no overarching purpose and grind the pacing to a halt. Unfortunately, sometime after the halfway mark, even the more interesting plot threads fizzle out, with most ending in a lacklustre fashion. The film definitely would have benefited from cutting some narratives entirely, as it feels like a drag to get to the 2-hour mark. One charming aspect of I’ll Be Around that remains consistent is the stylistic choices implemented by Cuenca. The film has brightly coloured title cards inserted throughout, a short intermission that takes a break from the narrative, and a few small musical moments that work thematically with the story. From the structure to the style, Cuenca has a refreshing vision that is clear to see and has been well implemented into all aspects of the film. The direction too is solid, with Cuenca capturing the spirit of small-time festivals. The intimate camera movements put us front and centre with the characters, while conversational scenes, which make up most the film, are never visually stale. There are even a few experimental sequences, involving stoners, that are executed well and don’t feel jarring. Jessica Gallant’s excellent cinematography should also be noted, as she uses dim indoor lighting to create some warm, colourful shots. If you’re looking for a solid drama-comedy with a musical heart, then I’ll Be Around is the film for you. It’s light-hearted tone, colourful stylistic choices, and varied cast of characters, keep it engaging for the most part. However, poor pacing for the final hour and a focus on throwaway storylines means that the film does overstay its welcome, and culminates in a somewhat inconsequential finale.

★★★★ stars Directed by: #TheodoreCollatos, #CarolinaMonnerat Starring: #LuanaMuniz, #GabiCorrêa, #EmillyAlmeidaa, #MarianaMachado, #YaraLopez Documentary Film Review by: #tomwilmot Queen of Lapa opens in a hallway bathed in a red hue, as a scantily clad older women nonchalantly smokes during a late-night photo shoot. This is Luana Muniz, a sex worker and activist who is also the subject of Theodore Collatos and Carolina Monnerat’s documentary centred around the lives of transgender prostitutes working in the Lapa district of Rio de Janeiro, Brazil. The film is a revealing, poignant and melancholic journey into the safe haven that is the Muniz Hotel. Luana Muniz is the titular Queen of Lapa and takes centre stage for much of the film. The larger than life figure has a eventful history that she delves into sporadically throughout. The documentary paints Muniz as an incredibly driven individual, despite her tragic past, and the filmmakers’ laid-back approach allows her to fully express her flamboyant personality. Muniz relishes the spotlight while also taking pride in acting as a maternal figure to the girls staying with her. Collatos and Monnerat present a balanced view of Muniz and don’t shy away from the fact that she may be prone to exaggeration, as those around her occasionally contradict her stories and accounts of activism. Trustworthy or not, the film simply wouldn’t be as entertaining to watch were it not for Muniz’s magnetic presence, as she’s as enigmatic a figure as she is fascinating. Despite having such a captivating central figure, Queen of Lapa spends a lot of time with the residents of the Muniz Hotel. Rather than taking a backseat approach, Collatos and Monnerat talk directly with the girls as they discuss everything from their hopes and aspirations to harrowing encounters while on the job. The flippant way in which these workers discuss their desperate past experiences gives you an idea of just how hardened they’ve had to become. During these darker conversations, the viewer comes to realise the tragic reality of the lives they’re observing. Although the sex workers have, ultimately, chosen the lifestyle they’re leading, there’s an undeniable sadness to seeing them in, what many would consider to be, a bleak situation. The comfort the girls get from Muniz herself, as well as their clear affection for one another, is often undercut by the harsh realities and dangers of their line of work. Collatos and Monnerat take a non-intrusive shooting approach, so it feels as if we’re getting a genuine picture of day to day life at the hotel. While most of the footage involves people talking to the documentarians, there are several fly-on-the-wall moments in which we see the girls interacting with each other outside of work. It’s in these scenes that we get a glimpse into some of the chaotic relationships between the residents, most of whom have loud, outgoing personalities. While the documentary could be seen as meandering at points, the relatively short runtime means that there are never any pacing issues or moments of dullness. The quieter scenes instead come as a break from the girls’ normal high-pressure lives. These moments offer some time to reflect on the tales we’ve been told and to take in the harsh world that the documentary is exploring. With Queen of Lapa, Collatos and Monnerat have delivered a documentary that shines a light on an area of life that many will be unaware of. The humanistic approach focuses on the individuals rather than their line of work, which makes for an engaging and empathetic film. Muniz is the star in every sense with her extravagant personality being fascinating to observe. What’s most endearing, though, is the strength of her character, as well as that of those around her.

★ star Directed by: #TiannaBanton Written by: #TiannaBanton Starring: #SarahMaevaCialec, #LouisMcSherryWilliams, #TalithaLindo, #EstherMartin, #DeanChristian Short Film Review by: #tomwilmot The Closer I Get To You is written and directed by Tianna Banton and is the filmmaker’s fifth short. Centred around a young couple in London, the film attempts to capture the trials and tribulations of a relationship marred by dishonesty. Unfortunately, several technical issues further fault what is already a padded-out and lacklustre narrative. Nadiene (Sarah-Maeva Cialec) and Devon (Louis McSherry-Williams) begin dating after hitting it off with one another through a chance meeting at a nightclub. The two quickly develop a loving relationship and leave their behind friends to be together as much as possible. However, hidden truths put the relationship at risk as Devon’s past threatens to come to light. The most distracting issue with The Closer I Get To You is the sound mixing. There are many scenes in which it is very difficult to hear the dialogue, which in turn makes it challenging to follow each conversation. While this problem is bad enough in itself, it’s one that is made worse by the near-constant soundtrack that is often louder than the actors speaking. Not only does this additional music make it harder to decipher the already quiet dialogue, it’s also tonally inappropriate in many instances, causing further distraction. A directing choice that remains consistent throughout the short is a static camera setup. The majority of the film is made up of motionless shots that can go on for up to two or three minutes. As a result, the direction feels very flat with even the expectedly mundane conversational scenes being notably devoid of life. However, credit must be given to the actors for their ability to work through these very long takes all but flawlessly. Technical problems aside, The Closer I Get To You does little to keep you invested with regards to plot. The film is a straightforward romance tale with a standard boy meets girl setup. Unfortunately, it takes a while for anything of real significance to develop, as we’re dealt out a lot of filler material. Early scenes between Nadiene and her friend Sasha, as well as an extended montage sequence, add very little to the experience and stagger the film’s pacing. For a short that is only thirty-eight minutes long, story-padding such as this feels unnecessary and is detrimental to viewer engagement. Even when significant plot developments do eventually arise, they amount to nothing more than forced melodrama. The conflicts introduced are trivial at best and evoke little audience reaction, as Nadiene and Devon’s relationship is not developed in any meaningful way so as to earn an emotional payoff. A lack of investment in the couple leads to an unengaging conclusion, with the ending itself seeming muddled, as a bizarre post-credit scene seems to strip all of the weight and consequence from the film’s supposed finale. For the most part, the performances are enjoyable, with Sarah-Maeva Cialec being the strongest actor by far. Herself and Louis McSherry-Williams have good chemistry throughout the short and play off each other well, right up until the final moments. Unfortunately, the aforementioned sound problems do the performances a slight injustice, but the actors are able to express enough through their physical actions for the general mood to be conveyed. The Closer I Get To You is a disappointing and unremarkable short film. Even without the sound mixing problems and flat direction, the film’s narrative does little to rouse even the mildest of interest. While the actors work diligently with the material available, their efforts cannot cover over the gaping cracks in the craft.

★★★ Directed by: #ZayRodriguez Written by: #ZayRodriguez Starring: #YasirisAlvarado, #PamelaInes, #JosephFebles, #ParisMWoods, #MatthewJuarbe Short Film Review by: #tomwilmot Saturday the 14th is the third short directed by Zay Rodriguez, who also wrote the film. With its title clearly playing off of arguably the most famous slasher franchise of the eighties (you know which one), the film is a parody of sorts that puts a comedic spin on tired horror tropes. While it takes a while to get going, the short proves to be an entertaining romp thanks to some enthusiastic performances and well-executed comedy. We follow Brenda (Pamela Ines) and Benji (Joseph-Febles), who, as a result of a minor car accident, find themselves under threat from the unstable Tabatha (Yasiris Alvarado). The pair attempt to avoid the consequences of the incident, but in doing so, drag themselves and their friends into a far deadlier situation. Saturday the 14th is filled with memorable characters that each have unique qualities. Benji is a bit of scaredy-cat, Paris M. Woods’ Vivica a flamboyant and flippant figure, and Tabatha a crazed individual who has more in common with a Looney Tunes cartoon. While none of these characters is developed in any meaningful way, they remain consistently entertaining thanks to the energetic performances behind them. Woods, in particular, is a charismatic figure who manages to provide a lot of laughs through blunt line delivery. The film is well shot with Rodriguez taking advantage of framing that, traditionally, would be found in slasher movies. However, the director warps this approach for the film’s comedic tone, with many instances of characters being snuck up on coming across as more humorous than suspenseful. Playing with and reversing such tropes is refreshing and sees the film pay homage to its inspiration while remaining its own thing. While technically sound, the film does have a couple of continuity errors that take you out of the experience. One instance of a character’s entire wardrobe seemingly changing in an instant and a night-time sequence that has clear daylight pouring through the windows do detract from the immersion. However, these are minor issues in an otherwise competently made short. The film benefits from having a stripped-down narrative that is very focussed. As a result, the short moves along at a brisk pace, with each scene, barring one deviation, serving to move the plot forward. Despite this straightforward story though, Saturday the 14th still takes a while to get going, as the first fifteen minutes are all but set up for the extended finale. None of this build-up is particularly interesting yet still takes up over half of the runtime. Fortunately, what the film lacks in its opening chunk is more than made up for when we reach the chaotic ending. It is in the finale that the short fully embraces its goofiness to deliver a sequence of events that, while predictable and somewhat non-sensical, remains thoroughly entertaining. With the exception of one notably jarring fourth wall break and a couple of moments in which the camera doesn’t feel as skilfully helmed, Saturday the 14th ends on a high. With Saturday the 14th, Zay Rodriguez and his crew deliver an effective and light-hearted horror-comedy. Animated performances from all involved help to elevate the comedic material, while clever camerawork pays homage to staple horror tropes without engaging with them directly. If you’re looking for a fun short that does exactly what it says on the tin, Saturday the 14th is the one.

★★★★ Directed by: Nikki Born Written by: Nikki Born, Marc Sedaka Starring: Carly Stewart, Mathew Herman, Melanie Glickman Film Review by: Jason Knight Ever wanted to work in a spooky attraction as an 'undead' performer? Trick or treat! It's Halloween! Time for some scares, frightening faces and blood (fake blood that is). Things are not going too well for shop worker Nora (Stewart). A customer fools her, grabs money from her till and flees. Her obnoxious, manipulative boss Dan (Herman) gives her two options if she wants to keep her job: give him the amount that was stolen by tomorrow or sleep with him and all will be forgotten. She chooses the first one. Luckily her friend Marie (Glickman) informs her that they are hiring people for one night at a local walk-through haunted attraction. Nora agrees, goes to the location, has herself dressed up as a zombie (or something similar) but finds herself unable to frighten the customers. Then things take an unexpected turn. To put it simply: Haunt is a fun film. It is a wacky comedy, filled with awkward situations. Stewart is very entertaining as a simple girl who unwillingly gets herself into trouble and the viewer will want her to get herself out of it. Her personality and cartoonish face expressions, particularly when she is trying to be scary, are highly amusing. Herman is also great as the offensive, sex-obsessed boss who also serves as the antagonist. And the rest of the blood-splattered performers are also fun to watch, along with the unimpressed and annoyed customers. As most of the action takes place at the spooky attraction, the mise-en-scene consists of plenty of gory make-up, awesome-looking costumes, frightening sets and the light required in order to create a scary atmosphere. All these elements combined create a location that one would like to actually visit. Another feature that adds wonderful qualities to the film is the music. The opening credits include a spooky score and a howling, making it clear that the audience is in for a fright. The score that is heard throughout the film is very fitting and resembles the works of composer Danny Elfman. Haunt is a funny and uplifting story and is bound to make people laugh and get them into the Halloween spirit. A definitive must-see for anyone looking for a good time. #JasonKnight

★★★ Directed by: Bob Bowen Written by: Dan Povenmire, Jeff "Swampy" Marsh, Jon Colton Barry, Jim Bernstein and Joshua Pruett Starring: Ashley Tisdale, Ali Wong, Vincent Martella Film Review by Robert Stayte Disney’s Phineas and Ferb was a great animated musical comedy series that had a strong and consistent 4 season run that focused on the adventures of two boys passing summer by building inventions, their sister trying to get them in trouble and their pet platypus fighting an evil scientist. It was clever, had great characters and a positive upbeat tone that made every episode a joy to watch. A movie of the series has arrived on Disney+, which is not the first Phineas and Ferb film to have been made, the previous being the solid if a bit inaccessible to newcomers Across the 2nd Dimension. This film is similarly inaccessible to newcomers (If you're not already a fan then maybe watch a bunch of episodes before this) and similarly solid. Yet another failed attempt at getting her brothers Phineas (Vincent Martella) and Ferb (David Ergo Jr) "busted" causes Candace (Ashley Tisdale) to go on an emotional tirade that ends with her being abducted by aliens. Phineas and Ferb go into space to rescue Candace with their friends and Dr Doofenschmirtz (Dan Povenmire), the nemesis of their secret agent pet platypus Perry (Dee Bradley Baker). Meanwhile Candace is given the opportunity to be deemed “special” by the alien overlord she was kidnapped by, Super Super Big Doctor (Ali Wong), which she takes up despite the mission of her brothers. Candace Against the Universe does manage to transcend being an extended episode, though the story itself is not complicated or unpredictable in the slightest it has more stakes and is emotionally and thematically deeper than even some of the special episodes. It tells a self-contained and more personal story that may or may not go against the (admittedly loose) canon of the series but regardless is still fast paced, entertaining and charming. As for the characters, most of the main cast are well utilised. Candace especially is given the most interesting arc and taken to the most depths that we have seen all series long. She is incredibly sympathetic and the emotional moments with her give the film it’s heart, with the finale being especially touching. The rest of the returning characters are endearing as always, with the new characters also fitting in well, especially Super Super Big Doctor, who is actually one of the more complex one-off P+F characters for reasons that will not be divulged. If there is one flaw it's that only a few of the returning characters feel like they have a story purpose, with the inclusion of others, like Perry or Doofenschmitz feeling more obligatory and there just to solve conflicts, though both of these characters specifically get their fun moments. But the main aspect that entertains is the humour, as the comedy is extremely creative and often very funny. The jokes that do not land are a few that deliberately go on too long, with only a couple of them being genuinely funny, whilst many of the ones that do land are many meta jokes that do not distract from narrative investment and are rather inventive. The creative team still clearly have passion for this series and put genuine effort into exploring new jokes and ideas rather than just relying on old ones for nostalgia's sake. On the technical side, the animation does start out spotty and is overall inconsistent, but as the film goes on it becomes less distracting and much more appealing, with the bigger budget really being put to good use in some great action scenes. The orchestral score is surprisingly fantastic and all the songs are either catchy or funny, with a surprising amount of variety in genre. Finally, the voice acting is still great from all the returning actors, especially the always entertaining Ashley Tisdale, and of the new actors Ali Wong is easily the most charismatic. Phineas and Ferb The Movie: Candace Against The Universe will likely entertain and please fans of the show and whilst it is flawed and overall nothing particularly masterful, for a film that could have easily been a mere example of Disney+ content filler, it is much better than it has any right to be.