★★★★ Directed by: #AdamCollier #JoshuaCarver #Deveril #JoshuaDickinson #AmyJFeeley #JaneGull #JeanHogg #TobyRoberts Written by: #JoshuaDickinson #AmyJFeeley #DaphneFox #StephenHenning #VictoriaManthorpe #PaulSaxton #RobbieSunderland #ThomasWinward Starring: #AngelineHunt #RoderickSmith #PatrickMarlow #GeirMadland #DominicTaylor #SophieScannell #ReeceRitchie #RichardBates #AmandaWisher #MollyScurrell #AndrewHollingworth #RobJarvis #AliceOsmanski #RocioRodriguezInniss #JoshuaDickinson #AgnesLillis #MilesJovian #MelWinning #HughFraser #JudithSharp #PaulMoriarty #KyleMalan #JonMcKenna Film Review by: Bruna Foletto Lucas Portmanteau films have been somewhat of a staple of the British cinema – from earlier films such as The House that Dripper Blood and Dr. Terror’s House of Horrors to more recent ones such as The Monster Club. Of course, they have also been prominent in horror, with the likes of Creepshow, V/H/S and Trick r Treat. The Haunted Hotel fits perfectly amongst these films. An endeavour made with a tiny budget and a lot of determination, the indie The Haunted Hotel features eight different horror tales in the span of 150 years, all with one thing in common: they are all set in the same once-great hotel. The stories are: ‘The Contraption’ (w. Robbie Sunderland, dir. Amy J. Feeley), ‘The Writer’ (w. Amy J. Feeley, dir. Joshua Dickinson), ‘Watching’ (w. Daphne Fox, dir. Jean Hogg), ‘Room 27b’ (w. Victoria Manthorpe, dir. Adam Collier), ‘Housekeeping’ (w. Joshua Dickinson, dir. Deveril), ‘Ghost of a Chance’ (w. Paul Saxton, dir. Jane Gull), ‘40 Years’ (w. Thomas Winward, dir. Joshua Carver) and, finally, ‘Devil Inside’ (w. Stephen Henning, dir. Toby Roberts). Each chapter works both as an isolated short film and as part of a bigger project for they all have different tones, structures, and focus. Although the thread that links these shorts could have been more explored – the concept of the same hotel works, but at times something else was needed to make it more engaging – The Haunted Hotel presents well its different tones and works well with different degrees of horror. There are some jump scares, some slow-burn scares, but what the film does best is its comedy. Much of comedy here is due to the actors who have delivered in every sense. Each director was given mere minutes to present a story and it was up to the actors to embody it confidently and not once does the film trips over this ‘problem’. Also important here is the production design which jumps out of the screen (in a good way!). 150 years separated in eight sections, shot in two five-day shooting blocks is not an easy feat, and the production design, together with costumes that brought colour to the actors’ performances, helped to link the stories together with a shared quality. The production design does not fall through the cracks; it literally dresses up the film and it is felt as a character itself. The Haunted Hotel is fun and well done – the group of filmmakers have created a film that handles its challenges well and entertains throughout! #BrunaFolettoLucas

★★★ Directed by #RobSavage Written by #RobSavage #JemmaMoore #EmmaLouiseWebb Starring #HayleyBishop #JemmaMoore Film Review by Hope Madden It was bound to happen, and no doubt the inanely titled Host is the first in a succession of films to tap into quarantine and pandemic frustrations to fuel horror. The fact that co-writer/director Rob Savage employs found footage for his of-the-moment horror show seems even more obvious. Sometimes, though, it’s the most obvious choices that work out. Savage taps into the real emotional gap between face-to-face and virtual relationships as a handful of mates jump on a Zoom meeting for a bit if fun. Separated because of lockdown, the buddies decide to create an event: an online séance. Haley (Haley Bishop) is hoping her friends will be respectful of the medium Seylan (Seylan Baxter), but those hopes are dashed when Teddy (Edward Linard) convinces the group to do a shot every time Seylan says “astro plane.” “It’s astral plane,” Haley sighs. Naturally, their irreverence is repaid. Savage treads the same aesthetic as The Den or Unfriended: Dark Web, but in many ways his effort is even more successful—perhaps because it speaks so articulately to our immediate condition. Host is incredibly simple and spooky in the way that it exploits our isolation and the vulnerability that comes with that. And while the medium itself is hardly groundbreaking and is sometimes irritating, Savage takes advantage of the limitations of found footage horror. The likability of the characters help you suspend disbelief during the portions where they’d clearly have put down the damn computer, and because the film manages to keep your interest, you get to enjoy the spook house effects. A lot of these jump scares are old school fun. Lean and mean, running a brisk 56 minutes, the film doesn’t busy itself too much with why or how or really even what. Instead it quickly upends our new normal with old fashioned scares. #HopeMadden

★★★★ Directed by: #EkeChukwu Written by: #EkeChukwu Starring: #IanReddington, #LisaMoorish, #KirstenFoster, #MaxScully, #LaraHeller, #RobOldfield, #MikeFury, #SapphireJoy, #CorneliusMacarthy & #DarrenMcStay Film Review by: Thomas Jay Having suffered with Leukaemia all her life, Zoe (Kirsten Foster) reaches a stage when her illness is classed as terminal, as her parents and friends come to terms with the news and set about giving her the best time possible, an Astronaut suddenly crash lands and shatters the ‘norm’. As starman Jacques (Max Scully) becomes acclimatised to his new, Earthly surroundings, it becomes very clear, very fast that this cinematic love letter, romance/sci-fi hybrid isn’t what it first appears to be. Narrative goes under the microscope first, and while it is far from reinventing the wheel by any means, it does feel somewhat unique in a few senses. The film is a bit of a pseudo psychological thriller, with that though comes the biggest flaw - the ‘twist‘ or more fittingly reveal, was as subtle as a freight train, Jacques, as good as his performance was, still failed to mask his ulterior motives. Thankfully it wasn’t a major detriment to the film as a whole as the runtime is focused more on building character and ‘sowing the seeds’, so luckily it isn’t let down by dedicating too much time to that second stage of the plot. In that, I found it was an almost masterful handling of narrative, it knew what to relay and when to do so and wasted no time in any sense of the matter, it was really well paced. This is probably the best place to talk more about the ‘love letter‘ side of things, while it’s been difficult to find any press coverage on the title one can clearly see a few nods to some of cinema’s finest in Writer/Director Eke Chukwu’s Film. I’ll not go into too much detail as there’s some joy to be had by watching it unfold but there are some clear nods to classic films: The Terminator and The French Connection as well as an emulation of some Shakespearean works with some inspiration from Romeo and Juliet. Whether it be in a visual sense or structural, it does well to acknowledge its inspirations and mix in some own flair. In terms of direction, Chukwu rose to the occasion on his debut feature, the film feels really ‘tight’ if you will - the quality is really exceptional. I mentioned slightly the high-quality nature of the narrative beforehand but it‘s also worth noting how the other elements converge to create a really standout film. The cinematography is charming, whilst there are only a handful of locations, it makes the title feel alive and grounded in the real world. Sticking with the camerawork, the choice to use tight close-ups, channelling conventions of classical delivery forms, specifically the play, it allows the character to deliver these grand monologues and arguments with close attention on the actors ultimate tool - the face. With the utmost respect to the world of independent film, especially in contemporary Britain, you can often feel that sense of ‘amateurishness’, it’s not something that’s always detrimental or even necessarily an issue but I can assure you the only difference between this and a mainstream outing is the runtime. Nothing about this suggests it’s an independent piece save from the length, it’s charming and really well made but feels as if it comes to a close a little too quickly. Being a science fiction film there was bound to be a need for some visual effects and what effects do appear were of good standard. From physical make-up on the damaged space suit, or the CG rendered crafts that appear, there aren’t any visual flaws. It doesn’t go full ’Bay-hem’ or blockbuster mode and uses these effects when needed and required by the narrative. Essentially it passes the eye test and does so with its own personality on the style front. Performance was stand out and really was the main factor to the films quality. Top billed and in many ways the lead character, Ian Reddington does a great job carrying the film with his acting chops that have been honed on numerous British dramas and countless other credits. His character, Zoe‘s father was really quite endearing and demonstrated a vast emotional range that was extremely nuanced in the same breath. That said though, Max Scully as Jacques really was a surprise package amongst his peers. The story hints numerous times toward his ‘supreme’ nature and his cold, almost stiff performance really seemed like Michael Fassbender’s ‘David‘ from the more recent Alien films (I promise that’s a compliment, he really is the unanimous standout from those films). Elsewhere the supporting cast contributed a lot to the works, though not quite on the levels of the two previously mentioned stars, the actors who are largely all friends of Zoe managed to leave an impression in what few scenes they got to shine in, offering an array of unique and distinct characterisations. Surprisingly the genre blend is flawless. Science Fiction and Romance are two film genres that seem diametrically opposed, binary opposites but Chukwu does a fine job in melding them. In a credit to the film it practically creates a formula for how to be successful in this vein of film, flip back and forth between the two genres and allow each to have the required time to flourish and breath. In doing so Zoe and the Astronaut sets out its stall and really crafts a hitting, meaningful arc with detailed characters making it a joy to watch. A stellar hybrid film, fronted by some notable stars and great visuals, Zoe and the Astronaut is really worth a watch. Reviewed By: #TomJay

★★★★ Directed by: #MaxMir, #PolMiró Written by: #LorenzoFedon Starring: #SteveWatts, #RileyKerr Film Review by: Darren Tilby When Benedict (a widowed baker) has to close his bakery due to bankruptcy, his world collapses, and his place in it has been made redundant. Feeling like no longer has a reason to live, he packs up his few precious belongings, ties them to his leg, and prepares to jump from a bridge. But then a young boy comes along: a persistently chatty and curious young boy who has managed to sneak away from his school group to go wandering. It’s his birthday…and he wants a cake. Casting Directors don’t get nearly enough credit for their part in the making of a movie. Bad casting can result in the derailing of an otherwise perfectly good film. For my part, I intend to remedy that, for the very heart and soul of this film is that casting; that central pairing of Steve Watts and Riley Kerr. And Torie Eliza’s superb work here is mostly to thank. The quality of the performances themselves are important – incidentally, they’re outstanding – but here, it’s the chemistry between the characters that take centre stage, and it does not disappoint. Lorenzo Fedon’s screenplay is superb, and both the narrative and dialogue add depth and credibility to the characters - although, I’m not entirely sure I buy into a child just being able to leave his school group the way he does here. But what impresses me most is how perfectly it displays the catastrophic effect Covid-19 has had on small businesses – whether it was supposed to or not – as well as mental health. But there is an issue of confusing tonality here, in that these are important subject matters that need attention drawing to them. And, to be fair, both are treated with total respect. The problem stems from Jofre Bardagí’s (wonderfully) whimsical score: I love it, but it does lend a slightly comical vibe to scenes which perhaps shouldn’t have that. On the other hand, that humorous, almost relaxed overtone is quite welcome at times, as the movie could easily have gotten very dark. As far as film titles go, Bittersweet may well be one of the aptest, as its seemingly happy ending belies the one constant of mental illness’ many forms: despite anything we do, there is no cure; it never truly leaves us. Bittersweet is an incredibly well-handled and well-judged movie that’s both thought-provoking and entertaining and has one of the most poignant endings of a short film I’ve seen this year.

★★★★ Directed by: Tyler Smith Written by: Tyler Smith Film Review by: Jason Knight Religion is everywhere. It has been with people for thousands of years. It influences people and therefore it influences filmmakers. Evidence of religion is often seen in film, whether clearly or vaguely. Tyler Smith has created a documentary that explores how religion, specifically Christianity, has influenced American Cinema over the course of a century. The feature is separated in chapters, each with its own title. It begins from the very beginning, from the black and white, silent era and moves forward until present day. Along the way it examines how historical and sociological events and religion have had an impact on the film industry. For example, it analyses the introduction of the Motion Picture Production Code, which intended to prevent Hollywood from glamorising violence and bad deeds and how the arrival of television encouraged Hollywood to abandon the code and resume making nasty films in order to make profits. Key films about religion are also analysed. The documentary basically consists of a large number of film clips and relevant news footage that have been edited together very efficiently and Smith's narration explains the significance of the content of the movies and events with great enthusiasm from his carefully constructed script. Right from the start viewers will become intrigued and fascinated and will develope the desire to learn more about this truly fascinating subject. And the addition of Amsi Hernandez's beautiful music adds terrific value to the feature and makes for an even more pleasant experience. So many interesting documentaries have been made about cinema and Reel Redemption is one that should not be missed. Without a single dull moment it delivers a pleasant, informative experience that provides the audience with a great deal of knowledge regarding the history of religion in cinema and after the viewing has ended, one is likely to appreciate (or appreciate more) the ways in which filmmakers support religion by adding it into their projects. #JasonKnight

★★★★★ Directed by: #Ardit Sadiku Written by: #Ardit Sadiku Starring: #Xhevat Qorraj #Fatleme Bunjaku #Agron Shala #Kastriot Shehi #Merita Gjyriqi #Agron Dizdari #Ikbale Qena Film Review by: Joshua Calladine For the duration of any film there is only so near the viewer can approach the characters. When a director tests this proximity, the result is always unsettling. The people on screen come close to being alive. This is what Ardit Sadiku verges on in Mali i Harrum, translated from the Albanian as The Forgotten Mountain. To bring actual existence to the lives it shows. This is the style of the left-unsaid. The film is steeped in silences, in minimal interiors that are lit with near-natural light. Many of the scenes indoors seem to take place in a time that is always dim twilight or glaring morning, the walls sparse, the furniture simple and rustic. And the performances too, are tightly restrained. Even though on paper the narrative is something of a melodrama, the execution is measured, contemplative, and holds back from any kind of dramatic flourish. The result is faintly disturbing, while highly watchable. Sadiku achieves this through keeping a pace that is better suited to the histrionics of the plot, punctuating it with continual silence. Rikard, played by Qorraj, has lost his house in a sideswipe from his own son. Rescuing him from homelessness, his daughter Ema (Bunjaku) and her husband Lorenci (Shala) take him to stay with them in Theth National Park, in their picturesque cottage surrounded by the Prokletije, the Accursed Mountains. But the marriage is far from ideal. Lorenci, as revealed in a solitary shot of his spermatology results, is infertile. In desperation, Ema has been sleeping with the neighbour. All of this is offset by the elderly Rikard’s existential dread as he reflects on a life that has come to nil, voicing his thoughts to his son-in-law, his daughter, and a neighbourly woman of similar age. The vast scenery looms in shots that near as close as possible to the sublime through the cinematic lens. In all its crags, firs and peaks, the ceaseless futility of life is framed against the mountainous backdrop. Even with the naturalistic performances, an air of faint romanticism pervades. There are some shots that seem contrived, stiff, the characters slightly too posed. But this is balanced with delicate camerawork from edit to edit. Last year, the film was screened at Palić European Film Festival, and it is still fresh. With the narrative pacing moving with the pressure that it does, the film never lapses, even in the longer takes. To witness the old man bathed by his daughter is one of the most eerie, most humanising, most touching scenes. One of those elusive points in cinema in which the boundary of the living image is crossed. For the most part, The Forgotten Mountain is mapped in precisely this rare beyond. The Forgotten Mountain is currently available to rent on the UK Film Channel.

★★★ Directed by #ScottWiper Written by #ScottWiper Starring #VinnieJones #BrandonSklenar #RonPerlman Film Review by Hope Madden When my son was young, we liked to watch Animal Face-Off, an educational program that proposed hypothetical battles between animals that wouldn’t normally fight. Sperm Whale v Colossal Squid, African Lion v Nile Crocodile, Walrus v Polar Bear. Ohioan Scott Wiper delivers a similar culture clash movie: Brit gangster v hillbillies with money. The filmmaker drops us in the Appalachians along with London mob elite Harris (Malcolm McDowell), his muscle, Neelyn (Vinnie Jones), and Neelyn’s girl, Fiona (Lenora Crichlow). After decades of hard, dirty work, these men are about to make a deal with an oilman who can’t get legal money to drill. They finance Preston (Ron Perlman) and his son Junior (Brandon Sklenar) now, and it pays off for the rest of their lives. Bills are exchanged, drinks are drunk, but when the dust clears the next day, Fiona comes up missing. Even at 55, Jones is still an intimidating presence. He’s looking a bit worse for the wear here, but the effect gives Neelyn a weariness that serves the character well. And while it’s always wonderful to see veterans McDowell and Perlman with real characters to dig into, it’s Sklenar who impresses most. His entitled sociopath schtick slides fluidly from charming and hateful, and the fact that he and writer/director Wiper offer the character both intelligence and physical prowess makes this a villain who may just stand a chance. It’s also to the filmmaker’s credit that the West Virginians are rarely the oversimplified hillbilly clichés we’ve come to expect. Which isn’t to say the film is full of nuance. Though the tone is less laughable, The Big Ugly sometimes takes on a Roadhouse feel about it. Plot contrivances and obvious resolutions mark a film that’s clearly breaking no new ground. The subplot about the heads of the families carries too little weight and too much screen time. It’s hard to complain about an honor-among-thieves conflict between two such beloved genre veterans as Perlman and McDowell, but Wiper tells of the bond more than he shows it, so the payoff feels unearned. Still, for a B-movie, The Big Ugly delivers what it needs to. Our favorite Animal Face-Off was Hippopotamus v Bull Shark because we love it when the big, lumbering beast you’d bet against turns out to be the badass. Doesn’t everybody? #HopeMadden

★★★★ Directed by #NickRowland Written by #JoeMurtagh Starring #NedDennehy #BarryKeoghan Just how Irish is The Shadow of Violence? Well, it’s got enough of its Irish up that hearing “Whiskey in the Jar” play on a barroom jukebox feels like being part of an inside joke. And that’s about the only funny business in a film that fuses multiple inspirations into one searingly intimate rumination on a life defined by violence. Douglas “Arm” Armstrong (Cosmo Jarvis) was once a promising Irish boxing champion, but left the gloves behind for the reliable income and familiar treatment offered by the Devers crime family. As their chief enforcer, Arm is feared, which often hampers his relationship with his ex Ursula (Naimh Algar) and their autistic son Jack. The delicate co-existence of Arm’s two worlds is a constant struggle, but when family patriarch Paudi Devers (Ned Dennehy) finally orders Arm to kill, it becomes clear there is room for only one set of loyalties. Director Nick Rowland and screenwriter Joseph Murtagh adapt Colin Barrett’s short story “Calm With Horses” with a tightly-wound sense of tension and brutality that propels a fascinating curiosity about the lasting effects of violence on the ones dishing it out. While recalling films from the classic (On the Watefront) to the underseen (The Drop), Rowland’s feature debut carves out its own rural identity thanks to an instinct for detail (watching two Irish gangsters debate the wisdom of fleeing to Mexico is perfection) and a marvelous cast. Jarvis makes Arm an endlessly sympathetic brute, providing a needed depth to Arm’s slow awakening about who is and isn’t worth his trust. Much of that trust is given to Paudi’s heir apparent Dympna, an unrepentant manipulator brought to menacing life by Barry Keoghan (The Killing of a Sacred Deer, Dunkirk), who again shows why you don’t want to miss any film with him in it. But it’s Arm’s time with Ursula and Jack (Kiljan Moroney) that reminds him of the kind of man he wants to be, one that knows the difference “between loyalty and servitude.” These moral complexities of a man questioning his sense of the world are what gives The Shadow of Violence its voice, one that speaks most eloquently in the spaces between the bloodshed. #GeorgeWolf

★★★★ Written & Directed by: #SethMagana Starring: #DavidCarbajal #JasonLeeBoyson Short Film Review by: #ChrisBuick In Dallas, Texas, on November 22nd 1963, sometime after twelve-thirty in the afternoon, two men meet in a darkened hotel room, one clearly in distress and on edge, the other simply after confirmation. “Are we at half-staff?” “Yeah, the flags are lowered” And so, it is confirmed. The 35th President of the United States of America, John F. Kennedy, has been killed. Short film The Big Red White and Blue from #filmmaker Seth Magana plants its feet firmly in the aftermath of arguably one of the most significant peacetime events of the 20th century, certainly in American history if not the entire world, perpetuating the not insignificantly supported theory that the aforementioned president’s untimely death was the part of a bigger conspiracy. It’s unclear to us the exact nature of the involvement of these two gentlemen in this tragedy, but when they realise that one of their cohorts has been apprehended after the fact (a man by the name of Lee Harvey Oswald no less), cooler and calmer heads fail to prevail, tensions begin to run high and trust begins to wear thin. Magana’s The Big Red White and Blue delivers yet another impressive character driven piece that you can’t help but get sucked into, imbued with an unquestionably masterful aesthetic, convincing performances and an indelible sense of Americana, coming agonisingly close to being a perfect triumph. As a premise it incredibly fertile ground to work with, the continuing uncertainty of those events on that unfortunate day in Dallas opens up a realm of storytelling possibilities. Yet while it does a great deal with its own take on the widely believed narrative of multiple players being involved, it’s a shame that it never quite seems to hit a defining moment to make it its own, frustratingly ending just before it manages to reach its top speed. But it while it might not quite manage to keep up the drama and intrigue right to the very end, it gives it a damn good go, thanks largely to stellar performances from its two leads. Boyson’s skittish Wayne against Carbajal’s more composed Ray makes for a compelling dynamic in their power struggle that unfortunately is over a bit too soon but with both having collaborated with Magana previously, it's clear to see why the filmmaker would be keen to team up again. However, there is no denying the fact that the impeccable attention to detail given to every visual aspect of this film is remarkable, and if there is one thing that is evident from Seth Magana’s body of work is that this self-made Texan filmmaker is not only a devil with a camera in his hands, but is clearly evolving and pushing himself with each film. The wholly effective lighting, inch-perfect framing and incredibly well-established sense of tone and mise-en-scène doesn’t just feel brilliantly authentic but actually seems to transport you back in time and Magana yet again expertly uses his extremely keen eye not only to establish a sense of tone that is both adequately sombre considering the subject matter, but takes his storytelling to a whole other level. Just like with previous projects Hell to Pay or the undeniably charming if a little rough Bye Bye Miss American Pie, The Big Red White and Blue is a gorgeously crafted #shortfilm from a filmmaker clearly on an upwards trajectory, each film becoming more impressive that the last, spelling exciting times ahead for this clearly talented filmmaker. #ChrisBuick Watch the trailer here:

★★ Directed by #DavidAWeiner Written by #DavidAWeiner Starring #TomAtkins #DougBradley #CassandraPeterson #JohnCarpenter Film Review by Hope Madden The first thing you know about Shudder’s new original doc In Search of Darkness is that it’s an encyclopedic look at horror movies from the Eighties. The second thing you need to know is that it’s 4 hours and 20 minutes long. Right?!! Why filmmaker David A. Weiner decided this had to be a standalone doc rather than a short series is beyond me. Certainly you can (and no doubt will) pause the film and come back to it, which is simple enough to do with Shudder. Still, having devoted about 1/3 of my waking day to a single documentary, I feel as if I should have learned more about Eighties horror than I did. The bright spots: Tom Atkins is as delightful as you hope he is, as, of course, is Barbara Crampton. John Carpenter and Larry Cohen are as curmudgeonly; Keith David’s saucy baritone makes every anecdote extra fun; Alex Winter makes some interesting connections between films and society at large; and some of the industry insider talking heads seem knowledgeable. There’s no real rhyme or reason to the specific titles discussed, but more problematic is the superficial treatment of the genre. In four and a half hours, I should have learned something, should have heard of a movie I’d never known about. In Search of Darkness refuses to connect any dots. Some of the asides about VHS cover art, for instance, are briefly interesting, but other such tangents only emphasize the film’s overall weaknesses. The discussion of the final girl or of gratuitous nudity in 80s horror lacks any kind of insight, but when the piece on horror soundtracks did not mention Goblin, it dawned on me that in early 4 ½ hours, not a single foreign title is discussed. No Argento, no Fulci, no Deodado – niente. A ninety minute doc that contents itself with a nostalgic traipse down VHS store aisles would be fun. A doc series that contextualizes the phenomenal explosion in the popularity of horror in the Eighties, digging into sexism, feminism, foreign titles, changing music, the Reagan influence, the impact of VHS and MTV – that would be amazing. In Search of Darkness is neither. #HopeMadden

★★★ Directed and Written By #PhilipBrocklehurst Starring #PMThomas Short Film Review by Jack Bottomley After building up quite a large body of work, work which has continued during this lockdown period in this most warped of years, writer/director #PhilipBrocklehurst is back with another short film. Like the filmmakers’ other work, his latest short Raindrops takes an idea and does some unusual things with it, being experimental to an extent but not indecipherably so, however it is not quite up to the standard of one of his previous films Haunter (which Brocklehurst has stated is a kind of spiritual predecessor to Raindrops). Raindrops plainly and simply tells the story of a young man (previous collaborator #PMThomas) sat reading in his room, as a droplets of rainwater continue to drip outside the window. What starts as a minor annoyance soon escalates to real extremes. A metaphor of sorts for how issues in life can escalate, going from the mundane to the deadly serious, Raindrops is a dialogue-free short which blends the real and the fantastical. It is likely to divide some tastes as it - much like the written work of the film’s visible (see a visual reference within) influence, author Franz Kafka - blends these two binary oppositions of life. Leaving us with a bizarre, confined and not particularly fully explained story, one which leaves much to the mind, instead of going heavily into backstories or spending large amounts of time setting scenes. As such it is a relatively simplistic watch in theory but not an uninteresting one. Much like his performance in Haunter, P. M. Thomas’ role is one built on his unhinged reaction to the situation, from the initial irksome drips to the grisly finale. The real work is largely, once again, accomplished by the natural home setting (a representation of the real) captured by #BradFletcher’s day-lit cinematography (well shot by #MalcolmBrocklehurst) and by some well done sound design by #VladislavNogin. As there is no score to speak of, Nogin’s sound work does some real heavy lifting in capturing the increasing mania setting in on this every day situation, as the light drip turns to an incessant pounding, before going even further (the film’s representation of the fantastical and horrific). It has to be said, the day light does show up some of the budgetary shortcomings in the final gore shot or some occasional close-ups but it is still good to see more horror work coming along that is a revival of the daytime horror film days (The Birds, Jaws, Texas Chainsaw Massacre), after Ari Aster’s recent sun-bleached nightmare Midsommar reminded us that the day does not hide the danger! Raindrops is an unusual short with a core idea in its head, an idea which it runs with and allows you to think about. While it may not be the most accomplished film from Brocklehurst it is another offering in his ever growing filmography that shows how the writer/director is unafraid to instil his work with some intriguing ideas and take a risk in unleashing them on his audiences. #JackBottomley

★★ Stars Directed by: #JohnBabu Written by: #JohnBabu Starring: #SofiaMattine #KasraRad Film Review by: Alice McGowan The InTEXTigator is an experimental sci-fi thriller, written and directed by John Babu. In a near future or parallel present, the Toronto police have developed ‘Sherlock’, an AI tool that investigates cold cases by reconstructing traces of forgotten smartphone data. The film takes place within the boundaries of a text interview between Sherlock and Liz Brown (Sofia Mattine) as the tool attempts to piece together the events that led to the death of her husband years earlier. The idea is that the viewer watches the film in portrait mode on their own phone, locked into the vantage point of Mrs Brown, who acts in part as an audience surrogate. Largely The InTEXTigator uses its chosen stage well, revealing how emotional frictions are changed by the media they’re enacted through. Sherlock is a black box; processing words and images, pixel by pixel, in a way that we never fully understand. Frequently, his forensic reasoning is at odds with Mrs Brown’s anxious, eager-to-please demeanour, the phone’s artificial pings and whooshes providing the spectral soundtrack to the exchange. A kind of viciousness bubbles perennially beneath the surface, borne not of any deliberate antagonism, but because of a lacuna in understanding that neither character is able to bridge. The film is a medley of carefully planted details, many of which are interesting - but none of which quite makes up for its lack of a flesh and blood performance. Though bookended with glimpses of its lead, the story is told almost entirely through text messages. The technique is doubtlessly intended to erode the borders between audience and character, but it eventually wedges them further apart. Our inability to see or hear Mrs Brown bars us from her emotionally, and with this the stakes are lost, for we know and care so little about the person designed to bind us to story. Moreover, any interrogation of the ethics of using tools like Sherlock is truncated by an ending that seems to imply it is in our interest, even safety, that we do so. It is not wrong per se to lead us here, but it feels out of kilter with what precedes it, such that it kicks you out of the moment and its place within the emotional tapestry of the narrative. I’m not sure that the conclusion the film reaches is one it means to, but the lack of clarity and intention in the storytelling are an issue, regardless. It’s disappointing, because the idea the film presents is an interesting one (and fearfully not remotely far-fetched; all it would require is harnessing the surveillance capabilities a smartphone already has). As our lives are further permeated by digital tools, organised so that the maximum amount of profitable data can be extracted from us, it is exciting to see a film that wants to examine the cost, particularly in so ambitious a way as this one. But in the end The InTEXTigator becomes overly fixated on its chosen method of storytelling, more concerned with the granular elements of its design than what the sum of their parts might look like. #AliceMcGowan