★★★★ Directed by: #MichaelNguyen Written by: #JoEnaje Starring: #TrevorRitchie, #JennaReich, #JeromeBocuse Documentary Review by Taryll Baker A young and ambitious team of chefs face the life-changing challenges of competing in the world's most prestigious culinary competition. Described by the film’s producer as the Oscars of cooking, the Bocuse d’Or is a high-key competition held every two years in Lyon, France — bringing together the finest chefs from around the globe. Following the candidates of Canada, from humble beginnings all the way to the intense final in Lyon, Merci Bocuse is a fine treat for lovers of cuisine. For those who enjoy food on a more moderate level, there is still enjoyment to be found in this charming documentary. Merci Bocuse has all the elements of an underdog story. Heart, drama, drive, blood, sweat and tears. It doesn’t try anything new in regards to its traditional structure. Unlike the beautiful platters and food that the candidates work tirelessly over, the documentary is pretty formulaic — but I like to believe there’s a solid reason for this; it works. I’m no stranger to this structure and I actually enjoy it a lot, so I found myself having a pleasant time watching this. Trevor Ritchie, Jenna Reich and the rest of the team are all very likeable people due to their immense skill and motivated personalities. Covering a jam-packed couple of years, Merci Bocuse shows them in their element and ready to take on the competition. Though overwhelming, with an intense amount of work to be done, they pull through with the wonderful support of their country’s people. With any documentary, there’s always a spot of drama and of course it’s here as well. The pressures of cooking within a limited amount of time with power outages and not being able to fly due to platter issues are a couple examples of situations the Canadian team find themselves in. Filmed and edited to a great standard, these events are well documented and although frustrating for the candidates, it’s one of the main reasons people watch. A bunch of well selected music from Artlist (a royalty-free library) provides the underscore for much of the duration of the documentary. Editors Jo Enaje and Michael Nguyen (whom also takes the cinematographer credit) collaborate to ensure the candidates’ journeys are captured and displayed in an entertaining and interesting way; thankfully succeeding. As someone who loves food but can barely cook a decent meal, Merci Bocuse is a great look at the people who can. It’s a thorough dive into the lives of competitive chefs, and the ravishing display of food is enough to make you crave something unique. Merci Bocuse isn’t particularly original in its approach but it’s an appealing and inspirational watch nonetheless. Watch the trailer for Merci Bocuse below. #TaryllBaker

★★★★ Directed by: Todd Theman Written by: Todd Theman Starring: Stephanie Lynn, Nick Ballard, Todd Theman, Casey O'Keefe, Scott Speiser Film Review by: Jason Knight Filmmaker Todd Theman writes, directs and stars in Little Black Lie, a drama film that focuses on an act of infidelity and the effects and consequences that it has on the people involved. Ethan (Theman) and Bobby (Scott Speiser) are two friends who are in a bar for a night out. They spot two women coming in and decide to approach them and have a chat. The two women are Rachel (Stephanie Lynn) and Suze (Casey O'Keefe). Ethan manages to charm Rachel and convinces her to go to a party in a house with him. There they take drugs and have consensual intercourse. The next morning Rachel returns home, accidentally leaving her engagement ring behind and tells her fiancé Jake (Nick Ballard) that she was raped and that her ring was taken. Meanwhile Ethan finds her ring and puts it on a website for missing rings. Rachel discovers the site and contacts Ethan. They meet and he returns the ring and they begin an affair. Theman has clearly worked hard to create a well-structured screenplay that includes interesting characters and a plot the viewer will want to follow. The scenes, dialogue and revelations that take place in the narrative are well thought through and they effectively move the plot forward and built up towards the devastating ending. As the story progresses, so does the tension and the audience will be intrigued and in suspense right until the end. Theman himself delivers a believable performance as the charismatic, talkative and optimistic Ethan. Lynn is outstanding as the cheating fiancée Rachel, who is cheerful when she is with Ethan and quite a different person with Jake, as she shouts and cries in his face. Ballard plays the character that goes through the most significant character development through the film, as he changes from a successful, happy, soon-to-be-married guy to a distressed, vengeful man, obsessed with finding the culprit who raped Rachel. Ballard portrays a man who is about to snap and he depicts this transformation very convincingly. Editor Collin Crawford has done a brilliant job with this project. He uses many interesting techniques that make the scenes look very appealing. Among the techniques he uses are jump cuts, fast cutting, voice-over, parallel editing and split screen, all of which are effectively placed into the film. Some sequences worth mentioning are when the split screen is applied. Crawford makes great use of this technique in order to create beautiful scenes of people communicating via e-mail and doing other everyday activities. And with the addition of Jason Pelsey's remarkable piano score, which plays throughout the film, the scenes become even more powerful. The end credits are also quite clever as they are constructed as if they are just then being typed on a black screen and the sound of typing is even being heard. This is an obvious reference to the many scenes in the film where characters are using a computer of phone. Little Black Lie is definitely worth a great deal of praise. The performances and editing are impressive, the script is very engaging and the music is dramatic and evocative. A very impressive achievement. #JasonKnight

★★★★★ Directed by: #JohnnyODonnell Written by: #JohnnyODonnell Starring: #JohnnyODonnell #GeorginaMinterBrown Film Review by: Bruna Foletto Lucas Shocker was written and directed by Johnny O’Donnell, who also stars alongside Georgina Minter-Brown as Gary and Lisa. Gary uses an electricity machine to basically get high –he is cautious about it though, he uses the voltage and the current he knows he needs, and doesn’t exceed it – it is pure recreational. When he introduces it to Lisa, however, things turn south, as she gets hooked on it, always wanting more. Despite being six minutes, Shocker has an incredible depth to it and a sense of continuity and time that is achieved through camera and sound. One can say that the short film is about an evil machine, but on the other hand, one could argue that Shocker is about Lisa and her journey through addiction. When Gary uses the machine, Lisa observes it with a certain degree of fear, but she is also seduced by it. After the couple experience it together, they dance and Lisa describes it as ‘bliss. Pure bliss’. After that, Lisa starts pushing the boundaries despite being warned by Gary. As I mentioned, the story, although told in mere minutes, is a story that is better developed with time – the process of becoming addicted, betraying the other person and pushing boundaries is not something that happens in minutes. However, here the camera serves as time, creating depth and continuity to the story. Often times, short films created in one small location, such as Shocker, can become boring, but Matt Harris, the cinematographer, indulged in camera movements and different angles to give an edge to the film. Harris starts the film with close-ups of the machine setting up its evilness; the longest sequences are when Gary and Lisa are being electrocuted – the camera lingers on their faces and their frozen arms and upper bodies, focusing on the time spent on the activity, this can be sensed even more when contrasted to the entire film, as both O’Donnell and Harris opted for fast cuts. Further, the film establishes a routine every time the couple is about to ‘get high’, much like the ones in Requiem for a Dream, thus by taking the time to establish this routine and the time given to the experience of the characters, the film builds up its importance for both characters and gives depth to their actions. Together with the cinematography, the soundtrack and the colour grading are worth mentioning here – both done by Monika Pul. First, the bleak and even dull blue colour conveys melancholy and depression. Not even when the characters are high does the colour change, begging the question of whether the characters are indeed experiencing bliss of if there’s something amiss in the midst of their actions. And secondly, the score, which starts with the close-ups of the machine in the beginning of the film, is followed throughout the short, communicating that even through Lisa says she’s experiencing bliss, things are not really changing for her, not for the better, at least. Moreover, the continuous score is the common denominator here as the cinematography presents various angles and effects, once again questioning the safety of the actions while linking them all together. Johnny O’Donnell’s short is a really enjoyable short – the premise is interesting, though the dialogue at times explains a bit too much, the camera is well-explored, especially to serve a purpose in the film, as well as the score. And both O’Donnell and Minter-Brown embrace their places as two contrasting points in the narrative, making it clear that the future will not bode well for them!

Interview by Chris Olson You are back with a new piece, Pill. How would you describe the film to an audience? Pill will leave you thinking. There are endless possibilities with this concept and I have chosen to tell just one of these stories through three teenagers in London. You are not in the director's chair this time but writing and starring. What's the reason for that? I think taking on too much can be detrimental to the final result. Writing and producing was something I could do during pre-production however once I hit the set I knew I had to embody the character and just have my acting hat on. Having the incredible Dan Lowenstein to direct really helped and I felt just like any other member of the cast, viewing the script as if I had not written it. Your short film One Night Understanding did well. How has the journey for that been? I launched Two Letter Productions in late 2018 and I was completely inexperienced in the world of filmmaking. Teaming up with Dan Lowenstein again for that project was a masterclass in learning the process. The film did very well in festivals and sparked me to take on more projects. What's important to you when writing a film or series? Is there a set process? Concepts tend to come to me, a strong concept will have 100s of stories that could come from it. I then just tell a story that I could relate to through that concept as I always write from what I know. What advice would you give to new filmmakers? Don’t just say you’re going to do it. Do it. Reach out to professionals as they are always willing to work and collaborate. Know what your expertise are and employ people to do what you’re not good at. How do you envisage your filmmaking career going from here? As I gain more attention as an actor, more doors will open with filmmaking. A lot of the creatives I collaborate with have been people I have met through acting work so networking has been essential. I hope my production company can start to co-produce with others and work on scripts that I haven’t written myself. Who would you love to work on a film with and why? Spike Lee and Christopher Nolan are two of the greatest filmmakers of all time. I feel like I take inspirations from Nolan’s concepts and Lee’s shooting style and narrative. What would you say if you were a dolphin? I would say...go watch Pill! Which you can do right now! We have embedded the full pilot episode below.

★★★ Written and Directed by: #ChasHarrington Starring: #AlexMarchi, #JasonFarries and #RoyTsang Film review by: Brian Penn The increasing sophistication of technology brings robots to the forefront of our lives more than ever. They build cars, perform operations and fly planes; a Japanese hotel is reputedly staffed by robots. But have you ever tried building your own robot in a suburban semi? That seems to be premise in Calamity Bot when Creator (Alex Marchi) finds that eureka moment. His robot (Jason Farries and Roy Tsang) has flickered into life with green blinking eyes. The robot (or Robo to his friends) has the body of a Judge Dredd character and a 1970s portable black and white TV for his head. Creator excitedly sets a series of tasks for Robo with the expectation of a proud parent. However, it doesn’t go entirely to plan as a robot with limited drive capacity goes mad in the kitchen and bathroom. But Robo has sufficient programming to notice the big wide world outside. He dreams of discovering this new environment but he first needs to please his creator; fresh out of the workshop is he really up to the challenge? There are parallels with Frankenstein’s monster, but this particular creation is infinitely more likeable with its chaotic oh shucks approach to life. A black screen shudders with green lettering to indicate the test number, but you kind of sense what might be coming next. It’s also strange how Robo has intellect to query the outside world but struggles to make a cup of tea. I guess that’s always the way when you’re building a robot, you always forget something. Calamity Bot is a truly great title for a film with real potential. Alas it presents few surprises but is nicely executed with more than a hint of sardonic wit. https://www.ukfilmchannel.co.uk/free-films/Calamity-Bot

★★★★ Directed by: #KristianYoung Starring: #AnthonyLewis and #LeeHunter Film review by: Brian Penn So what would you do if you were confronted with someone teetering on the edge of a tall building preparing to jump? Run for help, call the police or try and talk him down. This is the dilemma faced by Terry (Lee Hunter); an ordinary office cleaner who was happily clearing the debris left by passing pigeons. But then comes across Colin (Anthony Lewis), a city trader who has experienced failure for the first time in his life. For reasons that soon become clear Terry tries to dissuade Colin. He sits down beside him as they look out across the London skyline. The cleaner and trader, at opposite ends of the company explore each other’s lives. Colin seems to have it all; the salary, suit and energy of a young professional. Terry seems content to jog along, covering his expenses and making a bit extra when he can. But is Colin really listening to the refreshing logic of someone whose life seems infinitely simpler. Terry eats his lunch from some tupperware as they discuss the merits of a cheese and ham sandwich. On My Own is the essence of simplicity and the stuff nightmares are made of; both for the person threatening to jump and the Good Samaritan trying to do the right thing. The story is concise and chimes perfectly with the Every Mind Matters initiative. The interplay between both characters is funny, sad and extremely moving. There are periods of silence within the piece adding elements of reflection. We are indeed complex and too often maintain a stiff upper lip when we should be able to express ourselves honestly. It’s a common on screen scenario shot with panache and sensitivity. Colin could have used a touch more depth as Terry is the character we know better by the end of the piece. Aside from that it’s a smartly written and observed film that deserves much credit.

★★★★ Directed by: Sam Plommer Written by: Sam Plommer Starring: Sam Plommer, Sofie Bland, Ross McNamara, Sam Toller Film Review by: Jason Knight Sam Plommer writes, directs and stars in Plastic Boy, a comedy, drama film that focuses on a gay man and his relationships with the people around him. Sam (Plommer) is a naive, insecure, aimless, homosexual man who works as an office assistant for a designer company. He dislikes his job but does not know how to move on and do something else. He shares a flat with his friend Zoe (Sofie Bland) and is in a romantic relationship with Max (Sam Toller), although at the same time he finds himself attracted to co-worker Lawrence (Ross McNamara) and makes attempts to be with him even though Lawrence does not feel the same way. Sam ends up losing his job, being evicted from his flat and terminating his romance with Max. Sam is a guy who means well, however he struggles to get along with people and does not seem to have found his purpose in life. Plommer created a screenplay that contains interesting characters, whose lives and situations are well explored. He effectively placed these characters in scenes with clever dialogue that often involves adult humor, embarrasing situations and funny and awkward conversations. He also brings sufficient character development to the protagonist and the supporting cast. He wrote a story that revolves around self-discovery because the main character attempts to find meaning in his life. Plommer delivers a very entertaining performance in his portrayal of a man who appears to be socially awkward, slightly childish and does not appear to take matters very seriously. He generally makes his character seem likeable and the audience wants him to succeed. The rest of the protagonists are equally amusing and do a great job in bringing their characters to life. The film also deserves recognition for its direction and interesting, enjoyable soundtrack, that successfully accompanies the mood of the situations. Plommer has clearly put a lot of passion into this project and has developed a feature filled with clever and cheeky humor and well-developed characters and the viewers are most likely to be entertained. #JasonKnight

★★★★ Directed by: #ARUgas Written by: #ARUgas Starring: #DominicThompson, #JaySandhar, #TevAnderson, #JoshmaineJoseph Film Review by: Darren Tilby Continuing with the Writer/Director’s penchant for gritty socio-cultural storytelling, AR Ugas’ latest short-film release, Martyr, tackles racial tension in modern-day Britain. When a Birmingham-based weapons dealer (Dominic Thompson) sells an assault rifle to a young Muslim man (Jay Sandhar), he must face up to his own criminal life choices when he later suspects the man to be an ISIS terrorist. Ugas has a knack for writing incredibly layered representational characters and dialogue and finding actors good enough to bring it all to realisation. Martyr is no exception. The film’s cast excels in their respective roles and delivers their lines with a conviction and finesse rarely seen in short films. It’s not all plain sailing: there are moments when the writing quality drops off slightly - Sandhar’s character reveal towards the end of the film is a good example. And, while well-performed, the character’s behaviour in this scene doesn’t come across as plausible. It’s not a big problem in itself, but for a movie that relies on its authenticity, it does feel a little off. Another of Ugas’ talents is his ability to get to the nitty-gritty of complex social and cultural issues: in this case, it’s racial and religious tensions caused by terrorism, specifically in Western society. The way it’s handled; its commentary on racial profiling - it’s possible (easy, in fact) to draw parallels between it and the black lives matter movement that has been sweeping the US and UK since the unlawful killing of George Floyd in Minneapolis. In this way, Ugas’ work has never seemed more pertinent or timely than here, in this tale of presumption and mistaken identity. A fact he drives home by instilling that same conjectural attitude in the viewer. When we look at the technical side of the film; the aesthetics, I think it’s fair to say that it’s a no-frills affair. Not bad, but basic. Everything here is competently put together and entirely acceptable, but it’s not remarkable in any way - which is fine, of course. What is impressive, however, is how ably the camera can capture the look and feel of the film’s setting: the city of Birmingham. It provides the foundation for our characters, their way of life and their beliefs, and it adds credence to the world they inhabit. Martyr is the second of Ugas’ films I’ve had the pleasure of reviewing and it’s great to see how he, as a writer and a filmmaker, has developed. This is a brilliant slice of independent filmmaking, one that’s unafraid to tackle head-on the complexities of the socio-cultural quagmire of modern-day Britain.

★★★★ Directed by: #SimonTate Written by: #ChristopherHatherall Starring: Christopher Hatherhall, #CiaranKellgren, #NancyClarkson, #IanVirgo, #RajJames Indie Film Review by: Corey Bulloch Although not groundbreaking in its portrayal of themes about veteran readjustment to civilian life and PTSD, the passion from writer and star Christopher Hatherall and the terrific direction from Simon Tate make Weapon an engrossing viewing. Adam Smith, a soldier turned electrician with a tragic past both on the battlefield and the Homefront is the focal point of this dramatic thriller that explores society’s dereliction to its veterans and subsequent manipulations of them by the government. Following Adam’s relationships with members of his veteran’s group and their shared trauma, Hatherall’s script examines the grim reality of veteran support and its spiralling effects. Adam being unemployed, his best friend Steven living in a hostel, all these layers of pain, bravado and the belief that they were used and deceived by their government in an immoral war and then cast aside. While Smith himself never subscribes to any of the beliefs, Weapon does thread in xenophobia, islamophobia and conspiracy theories into its narrative. Tate and Hatherall don’t deliver this as an endorsement of these hateful ideas but acceptance to the amorality of our post-terror society and the survival instincts that drive it. We know now the falsehoods which catalysed the conflicts in the Middle East and these characters are rightfully questioning the reasons they risked their lives and sacrificed so much for. Smith is skilled but vulnerable and the film creates tension in how veterans can be radicalised by different facets, continued to be manipulated as they are still seen as just weapons. The connections followed in the veteran’s group show the available paths; bigotry and hate as seen affecting Steven, or private security and corruption through Daniel. Smith caught in the middle just wanting to do the right thing, trying to grasp on to a sense of decency and honour in his existence. The performances of Weapon are stellar keeping what could be exaggerated melodrama grounded as Hatherall’s performance gives humanity to Smith when he could just be another cliché. The supporting performances are also brimming with fidelity from Ciaran Kellgren as the boisterous but tormented Steven to Nancy Clarkson as Smith’s counsellor and love interest Sarah. The scenes where Hatherall and his co-stars depict their character’s anger and the consequences of their PTSD are some of the film’s best and Weapon never feels like an exploitation of a substantial issue. When the film’s thriller elements come more into play in the third act, its the performance that keeps it all the more believable and tragic. Complimented by Mark Pullon’s cinematography which captures the intimacy of Hatherall’s most emotional moments, escalating tension and intrigue and makes the most mundane of settings compelling to watch. While initially, it seems to be transforming into a Death Wish-esque tale of vigilante revenge, there is so much more to Weapon with its characters souls and depiction of brotherhood among veterans. The ‘action’ elements almost seem outlandish in comparison to the strong character work but Tate’s direction keeps the story flowing smoothly with compassion without ever feeling preachy. Smith wants answers and resolutions to his pain and Weapon always focuses on this humanity even when the film takes focus to its larger themes. #CoreyBulloch #IndieFilm

★★★★★ Written & Directed by: #SamOMahony Starring: #LisaDwyerHogg, #EleanorMethven, #DawnSievewright Short Film Review by Taryll Baker I Don’t Find Any Of This Very Peaceful is a low-key psychological thriller about the darkness we must embrace before we can truly accept who we are. With echoes of Haneke and Hitchcock, the film’s heightened cinematic style attempts to draw the audience into Katharine’s small world and experience her journey out of the darkness. I’m genuinely blown away by the massive amount of creativity oozing out of filmmakers throughout the UK’s lockdown. I sound like a broken record at this point, but that amazing streak continues with Sam O’Mahony’s brilliant I Don’t Find Any Of This Very Peaceful. An intimate look at the life of its main character, Katherine, as she struggles with her demons. The apartment’s plain aesthetic assists the dark story, creating a moody ambience from the opening shots. Katherine (Lisa Dwyer Hogg) searches for purpose when her abusive partner disappears, until a little visitor shows up at her doorstep unannounced. Lisa Dwyer Hogg’s held-back performance is subtle and nuanced. You feel yourself peeling back layers trying to find out what’s happening inside her mind. She’s supported by one of the most well behaved co-stars ever; her real-life pet dog. Over the short runtime the two form a wonderful bond, heading out on walks and taking time for cuddles. But of course, with this being a psychological thriller, there’s something else a little deeper… With it being such a small production, like most that I’ve been able to watch during the pandemic, it’s mind-blowing to feel so invested. The way filmmakers are finding new ways, or using old tricks, to tell a story visually is so refreshing. In some sense, as terrible as it is, I’m grateful for the moments this pandemic has given me to appreciate the little people. And by that I mean the undoubtedly underrated talents that aren’t included in the overstuffed machine that is Hollywood. I Don’t Find Any Of This Very Peaceful is a smart film. The shots of the buzzing flies around Katherine’s apartment became something vital. O’Mahony mentions the echoes of Hitchcock and I can absolutely hear those echoes, clear as day. But it’s not all visual; Daniel Whibley’s music supplies a mysterious tone for the story — very basic but immensely affective. Paired with Tim Bamber’s pristine sound design and mix, everything audio is also incredibly well cared for. There’s nothing else I could say without potentially spoiling the experience I Don’t Find Any Of This Very Peaceful creates, so I’ll stop at this; It’s incredibly exciting to me, knowing that there are creative people like O’Mahony and Hogg, real-life partners, who will not let a pandemic keep them from experimenting. This is a visually and audibly rich film with fine strokes of classic cinema icons. Watch the trailer for I Don't Find Any Of This Very Peaceful below. #TaryllBaker

★★★ Directed by #RomolaGarai Written by #RomolaGarai Sarring #CarlaJuri #AlecSecareanu #ImeldaStaunton Film Review by Hope Madden It’s a comforting notion, the idea that we each need to forgive ourselves for the wrongs we’ve done in order to heal and move forward. Everyone deserves to be happy, right? But is that forgiveness ever really ours to give? Tomaz (a remarkable Alec Secareanu) doesn’t think so. Making her feature debut as writer/director, Romola Garai delivers an entrancing horror show concerned with sexual politics, cowardice and proper punishment. Tomaz is living a destitute existence as a day laborer in London, picking up gigs as he can and sheltering at night with others like him—mainly refugees wordlessly sharing space in an abandoned building. He used to live in an unnamed but war torn European nation, and his dreams are still haunted by the experience. A chance encounter puts Tomaz in the path of Sister Claire (Imelda Staunton, relishing her small role). She introduces Tomaz to Magda (Carla Juri, Wetlands), who needs help with the house that’s falling down around her and her ailing, bedridden mother. From there, Garai toys with familiar horror elements—the decrepit building as metaphor, the horrifying relative hidden away—but you can never predict Amulet’s secrets. Juri is hypnotic as the reluctant, wearied, lonesome Magda and her slow growing chemistry with Tomaz creates a quietly seductive force for the film. Clearly Tomaz should leave, there is something powerfully unhealthy happening in this house. But maybe this is his path to happiness? Maybe he can help? That’s how the film traps you, because Secareanu is terribly empathetic and because it is his point of view we share. His performance is full of understated power and, paired with Juri’s resigned sensuality, it holds your interest. Garai braids two mysteries together, the one Tomaz is living and the one he’s keeping from us. That second secret haunts his dreams and, little by little, he convinces himself that unraveling the mystery in this house might free him from his past. The delivery is measured and creepy, and though the final act feels simultaneously tidy and nonsensical, the mysteries themselves—not to mention a trio of excellent performances—more than satisfy. #HopeMadden

★★★ Directed by #ChrisFoggin Written by #PiersAshworth #MegLeonard #NickMoorcroft Starring #JamesPurefoy #DanielMays #TuppenceMiddleton Film Review by Seth Troyer If you’re looking for a low stakes, feel good film to watch with your family, you could do a lot worse than Fisherman’s Friends. The film is loosely based on the true story of a men’s a capella group consisting of tough-as-nails men of the sea who were eventually signed to Island Records and became a surprising success. Witnessing the transformation of a group of old men who like to sing traditional music while drunk at a pub on a Friday night into performers with sold out shows is undeniably interesting. The a cappella performances in the film mix the voices of original members and the actors portraying them, and the results are surprising. Even if it’s not your thing, Fisherman’s Friends will remind you that a cappella music can send shivers down anyone’s spine. Names have been changed and the story is clearly expanded and fictionalized to better suit the arc of a feel good movie. One of the real events left out is the 2013 stage collapse that resulted in the deaths of member Trevor Grills and promotor Paul McMullen. The film is respectfully dedicated to these men and seems to be an attempt to celebrate the good times before the tragedy rather than letting it define the band. I can’t help thinking that a more honest and candid portrayal may have made for a more engaging film, but the choice to avoid the tricky task of translating such a painful event into cinematic drama is understandable. In the end, director Chris Foggin succeeds in doing what he sets out to do. The film is a charming story of friendship and ambition—nothing more, nothing less. It follows all the familiar narrative beats, with a sweet but predictable love story thrown in, and plenty of montages that will make more cynical viewers roll their eyes. But honestly, this simply isn’t the film for a cynical viewer. If you want Ingmar Bergman, go watch The Seventh Seal (it, of course, rules). But if you want to watch something with your extended family and maybe smile a bit, what you have here is some Cornish cinematic comfort food that will do the trick just fine. #SethTroyer