★★★★ Directed by #KarenMaine Written by #KarenMaine Starring #NataliaDyer Film Review by Hope Madden A few years back, Gillian Robespierre and Karen Maine co-wrote Obvious Child, a whip-smart subversion of rom-com tropes that went on to be our nation’s first and still best mainstream abortion comedy. How did it succeed? It lived in a low key, non-sentimental world and gifted a remarkable comedic talent (Jenny Slate) with an outstanding character. Fast forward half a dozen years and Maine has moved on to directing the solo writing effort Yes, God, Yes. But she’s clearly learned from the previous experience, crafting an unsentimental but tender coming-of-age film—a teen sex comedy, if you will—from the female perspective. And again, she relies on a genuine talent to deliver the goods. Natalia Dyer (Stranger Things) is Alice, a Catholic high school junior who has done absolutely nothing (regardless of one persistent rumor), but still thinks she may be a budding pervert hurtling toward eternal damnation. It seems a lot of people may harbor that same suspicion of Alice. Alice, like basically everyone in high school, is in for some awkward times. Dyer is wonderfully expressive, especially in her most quiet moments. Her understated comedic energy belies a gawky sweetness that makes Alice easy to root for. Maine’s script is equally insightful, funny and tender. The humor rarely gets too crude, although there’s no question of the film’s R rating. Still, the film never loses its relatively innocent sensibility. Yes, God, Yes is occasionally hampered by broad stroke depictions and the story ends up feeling fairly slight. What Maine principally points out, though, is not the insidious problem of sexual repression festering inside Catholic education (because that too easy a target). Rather, the filmmaker offers a clear eyed if forgiving picture of human beings, each one struggling to “figure out their own shit.” Honestly, I can think of no lesson more important for a teen to learn (although that bit of advice about protecting your online passwords is solid, too). #HopeMadden

★★★★ Directed by: Thomas Elliott Griffiths Written by: Thomas Elliott Griffiths, Duane Williams Starring: Lew Freeburn, Michael Robert Leonard Film Review by: Jason Knight Filmmaker Thomas Elliott Griffiths created Captive, a short dark comedy horror film which (as the title suggests) is about a man being held against his will. A man (Lew Freeburn) wakes up to find out that he has being kidnapped and brought to an unknown, interior, dark location that appears to be an abandoned building. He is tied up on a chair with a bag over his head. Around him are sharp tools on a table that appear to be used for torture and small pools of what appears to be blood. Through the bag he can vaguely see a sinister-looking figure (Michael Robert Leonard), dressed in black, wearing a black ski mask and dark goggles. The bound man pleads with him to let him go, only for the fiend to respond by grabbing a knife-like tool and telling him that he is going to mutilate him. The man manages to untie himself and when his kidnapper isn't looking, he grabs what looks like a long piece of metal and uses it to strike him in the face. He then makes a run for it and exits the building through a door. And what does he encounter outside? He sees three of his friends welcoming him to his bachelor party. They are about to start a barbecue and they have put up a large banner on a tent with the words: ''Dave's Stag Do'' written on it. Then the kidnapper appears, having removed his mask, blood dripping from his mouth and Dave realises that he is his friend, Steve. The mise-en-scene, music and opening credits deserve a great deal of praise because up until the twist they effectively convince the viewer that they are watching a horror film. The film begins with a sinister score by Thomas Forfar and the title appears in red letters. The 'torture room' is dark and appears old and seems to have been abandoned for ages. There is fake blood here and there and sharp, menacing tools all around, giving the impression that things are about to get nasty. And when the audience first gets a look at the 'maniac', dressed in black, wearing a ski mask and goggles, they instantly realise that he is up to no good. When Dave leaves the building, there is a point of view shot that changes the entire mood of the story. It shows his three friends smiling at him, two sitting on chairs around a table, one tending to the barbecue and the 'stag do' banner on the large tent. The mise-en-scene in this shot immediately makes it clear that was all a prank. A prank gone badly wrong. Captive is one of those films that after they are viewed for the first time, they will never be viewed from the same perspective again. That is due to the plot twist. When the audience watches it for the first time, they believe it is a horror film, until it is revealed that it was a joke. Therefore when viewed again the audience will most likely be amused by the way the 'killer' taunts and threatens poor Dave. The film also gains by impressive acting. Freeburn is great in portraying a man who initially is frightened and desperate only to quickly be shocked and surprised, having realised that he was a victim of a joke and that he smashed his friend's face. Leonard delivers a frightening performance as the deranged psycho and then makes one feel sorry for him as he exits the building holding his bloodied mouth, pain and agony written all over his face. And the actors who play the three friends at the barbecue also deserve praise as they are convincing when they happily welcome Dave to his party and when they are shocked after they realise that Steve has been injured. The cast and crew have managed to create a feature that is highly likely to remind people of the 1986 slasher film April Fool's Day. #JasonKnight

★★ Directed by: #Mohan Singh Gaharwar Written by: #Mohan Singh Gaharwar Starring: #Chirag Mandawaria #Sunanda Singh Film Review by: Joshua Calladine A film with such potent subject matter usually demands a lot to be said about it, but Mohan Singh Gaharwar's SHE does not seem to do much to offer discussion. Some conversations are one-sided, and this is one of them. In fact, with the one-and-a-half-minute film consisting of only two characters in a limited scenario, all shot in disturbing proximity to actors Chirag Mandawaria (He) and Sunanda Singh (the eponymous She), the film is not so much a conversation as a hurried command. The minimal setting offers vast possibilities, as filmmakers have often exploited. However, here the minimalism feels more like a lack than a benefit. The characters are virtually unexplored. Their motives, other than a suggested drinking problem in a shot of He with a glass of what seems to be bourbon, are equally vacant. Nonetheless, the overall thematic message is clear. This film is against domestic abuse. The staccato editing helps to convey this, with the intercutting of the two characters becoming increasingly claustrophobic. This pushes the film into a space of paranoia, intended no doubt to convey some of the fear of the situation. But the situation itself is not one that can be plainly dramatised and still understood with sensitivity. It is not enough to achieve this with editing tricks and close-ups, not without substantial skill. Because no real examination of the characters is made, the film is left feeling more like a TV spot, or a PSA on the psychological aspects of domestic abuse. But the ending remains confusingly unclear. Locking the door, She reaches for a gnarled wooden stick, hefty enough to do some damage if swung at a human face. Is Gahawar suggesting that victims of domestic violence should react with more violence? Or is the character simply trying to defend herself? Either way, if taken as a public service announcement, the conclusions are worrying. Whatever criticisms should be thrown at the film, the film itself should not be thrown away. It is crucial that films such as SHE are produced in the continuous present, as they display a topic of real threat, of real relevance. Sadly, the old melodramatic tropes can be used as a template, copy-pasted from previous material, meaning that the plot can be non-existent, the characters hollowed-out. In any case, the advice such a film might take upon itself to offer must be transparent. SHE is a conversation that should be had, but must be had properly.

★★★★ Written & Directed by: #AndrewBurdette Starring: #AndrewBurdette #DanteSingleton #AlexisAbrams #JuliaMeadows Film Review by: #ChrisBuick Tyler (Burdette) and Robbie (Singleton) are two internet stars on the rise, famous not only for their plethora of ridiculous short videos chronicling a series of stupidly silly skits but also for their eloquently chosen catchphrase “bruh”. After amassing an impressive fanbase of over two hundred thousand followers, they now find themselves desperate to figure out how they are going to take their shtick to the next level. As fame and attention causes tensions to mount between the apparently not so inseparable pair, their attempt at one last big prank ends up pissing off the wrong guy, with horrific consequences. Bruh.mp4 marks the directorial debut from aspiring multi-hyphenate #filmmaker and actor Andrew Burdette who along with his work and life partner Brianna Burdette, presents a film that deftly manages to avoid simple parody to become an impressive piece of work with something meaningful to say about the larger impact the internet and our ever-increasing need for digital validation and attention can have on our ability to be mentally healthy human beings. What's perhaps most notable about this film and definitely deserving of credit is Burdette’s approach in how he goes about trying to faithfully represent the online world that Tyler and Robbie reside in, without looking to insinuate too much derision of the culture. Our introduction to our two social media up and comers comes through a highlight reel of sorts showcasing their “talents” for entertainment, which very accurately and brilliantly depict the kind of short-form nonsense you might see time and time again on TikTok or an Instagram story, each video emblazoned with their @tyler_and_robbie branding and accompanied by a veritable onslaught on comments and emojis. The screen-life genre may still be in its relative infancy as far as cinema is concerned but moderate box office hits such as Unfriended and Searching have shown success can be had with this modern approach to story-telling if done right. Unfortunately, it is also a style that when not executed properly, can quickly descend into gimmickry. Luckily though, Bruh.mp4 knows just how far it can go with it in order to avoid that pitfall, opting for a more conventional but far more effective story-telling approach for the remainder of this unique drama. It’s also bolstered by a flurry of decent performances from the whole cast, especially its young main players who all manage to accurately personify the attitudes of the new internet generation, but again without having resort to caricature or stereotype. But it’s Burdette’s show, both on and off the screen. Tyler, like a lot of today's internet stars, is a complete narcissist, concerned more with increasing numbers of faceless fans than his relationships with the tangible people around him, while also unwilling to accept responsibility for his own selfish behaviour. Burdette’s performance not only fully embodies this, but also highlights a detriment of empathy and basic human-to-human connection often attributed to the nature of young Gen Z adults growing up in the digital age. It gets a little shaky in the third act, but overall Bruh.mp4 not only works as the piece of satire on internet culture it sets out to be, but also delivers as a pretty entertaining thriller. With more than a few twists and turns along the way, audiences who might think they have it all figured out could be in for a few surprises. #ChrisBuick Watch the trailer here:

★★★ Directed by #JokoAnwar Written by #JokoAnwar Starring #TaraBasro #MarissaAnita #ArioBayu Film Review by George Wolf In a remote Indonesian village, a garden of small headstones marks the effectiveness of a Shaman’s curse. Newborn after newborn dies, the one survivor growing to endure a mysterious, painful existence. Creepy, right? Shudder’s Impetigore scores some definite points there, which help to offset a narrative often hampered by convenience and confusion. Maya (Tara Basro) and Dini (Marissa Anita) are best friends trying to make a go of it in the city. With no family to speak of, they scrape by with menial jobs while dreaming of a better future. Though raised by her aunt, Maya learns of a spacious home left behind by her wealthy parents. Maya could very well lay claim to this valuable property through inheritance, so she and Dini make their way to the remote village, unaware of the curse and their place in it. Writer/director Joko Anwar (Satan’s Slaves), an Indonesian genre veteran, seems to know he’s got some solid benchmarks here while not worrying too much about the strength of what binds them together. Dialogue can range from awkward to WTF-worthy, amid a few convenient plot turns and one humdinger of extended curse explanation that strains coherence. But when Anwar hits his creepy marks, Impetigore can leave one. The atmospheric isolation in the village feels authentic, and once blood begins letting, the tension is well-paced, bolstered with some satisfying visual payoffs. There will be eyerolls, but if you’re keeping score, also enough frightful eyebrow-raising to make Impetigore a winning dive into twisted family values. #GeorgeWolf

★★★★★ Directed by: #DavidETolchinsky Written by: #DavidETolchinsky Starring: #SaraBues, #JohnFennerMays, #RubyDalton Film Review by: Alexander Erting-Haynes Last Summer, in Illinois, a series of gruesome murders took place. Left at the scene of each murder were sketches signed by a 'Cassandra' that depicted a series of different houses. It soon became apparent that the houses in the sketches were where the next killing would take place, though officers repeatedly failed to identify them in time and thus, the murders continued, growing ever more bizarre and brutal in nature. That's until the latest sketch is recognised as a farm in Monroe and Crawley, a police officer patrolling in the area, is sent to investigate and get the homeowner out as soon as possible. This is the premise for Cassandra, a new psychological thriller from David E. Tolchinsky, who takes on the role of writer and director. It's an original and instantly gripping setup that appeals to the same morbidly curious corner of our brains that finds us so attracted to the true crime genre. However, without spoiling the increasingly unexpected events that unfold, it is as the film veers further from this genre into more probing and real-life inspired psychological horror and even the supernatural that it truly becomes a formidable beast all its own. With a mere twelve-minute runtime, arguably Cassandra's biggest achievement is how genuinely chilling and downright scary it is. Tolchinsky makes incredibly effective use of silences and a creeping, piercing score (also produced by Tolchinsky) to bring a sense of tension to the piece almost as soon as officer Crawley enters the farmhouse right up until the end. While a lot of the horror takes the form of some truly disturbing imagery, there are a few instances of more traditional jump scares present. Where this would normally act as something of a red flag, the constantly unnerving atmosphere means these jolts of sudden fear are effective and feel earned. To elaborate further on the aforementioned disturbing imagery, special mention must go to Sarah Sharp, the SFX artist as there are some wonderful practical effects used in the film. It's difficult not to say too much and ruin some of the dark surprises Cassandra has in store but rest assured, there are some brilliantly spine-chilling designs here that have been executed to a professional standard. In fact, that goes for the whole film; everything about Cassandra looks and sounds slick, with production values that make it feel like a high budget feature film condensed into a short narrative. With everything in this film working to such a high standard of quality, it would be a huge shame if the actors at the heart of it did little to sell it. Fortunately, every performance here is strong and convincing. Sara Bues, who plays officer Crawley, does a wonderful job of expressing concern yet remaining stern, with a brilliant scene towards the end of the film. Meanwhile, the homeowner, Dr Field, is instantly recognisable as a man who is stoic yet ravaged by some form of painful history, thanks to an understated turn by John Fenner Mays. It is these two central performances that help lend the film a believability that makes the horror feel that much more effective. In all, Cassandra is a fantastic psychological horror that is difficult to find any fault in. From its simple yet fluctuating premise to its omnipresent haunting score, from the impressive practical effects to the believable performances, from some truly original designs to thrills that feel earned, the film hits every beat and does so with aplomb. Tolchinsky has created a piece of horror that scares you, makes you think and leaves you amazed. Not bad for twelve minutes. #AlexanderErtingHaynes

★★ Directed by: #KundanSad Written by: #ZackAkers Starring: #JaiGokhale Film Review by: Shrubaboti Bose It is one of those films where the cinematic motifs are oversimplified and as a result the nearly non-existent story-line falls flat on its face along with the ridiculously predictable filler music, which kills the element of surprise and thus fails in delivering the promised impact of horror to its audience. This film can be considered at best a good attempt bad luck, a hilarious end to a miserable plot. What with hardly any light direction involved, the whole film having been shot in the convenient darkness of the room which suggests a power cut due to the heavy rains, (definitely a perfect atmosphere for the uncanny, though it is unclear as to why the study table lamp is still working until the ghost appears) the protagonist later uses the flash light from the back of his phone as a torch. In the beginning of the film, the camera pauses on several objects such as skulls perhaps signifying our protagonist engages in occult practices but immediately afterwards we notice a tiny bust of Mahatma Gandhi and it is left unclear as to what is its relevance in the film. Music intensifies every time we are shown the white apparition, however it goes so over the top in trying to be terrifying that it loses its touch. In fact the simple noise of the pencil scratching on the surface of the paper as he sketches brings about more suspense. The bloody mark of an infinity loop left on the glass door is equally cliche and the consequent red footprints that the protagonist finds on the floor do nothing to scare us but instead reinforce the comic effect. Perhaps the only saving grace was the clever idea of using the sketch in the end to show the white ghostly apparition missing from the graveyard and then as the camera closes in on the landscape again, we realise it has transported our protagonist back to the graveyard where we find them both trapped in the drawing itself. Unfortunately, this idea is far from being an original invention because one has seen similar incidences of the hero becoming trapped inside an inanimate object featured in films time and again. An example that easily comes to our mind is the short film, Ahalya directed by Sujoy Ghosh where the protagonist gets trapped inside a wooden miniature doll. However despite the brevity of the film, lasting for a duration of barely 5 minutes, the acting is commendable for the fact that a story is narrated without using a single dialogue.

★★★ Directed by #DaveFranco Written by #DaveFranco #JoeSwanberg Starring #DanStevens #SheilaVand #AlisonBrie Film Review by Hope Madden Dave Franco has made a movie. James Franco’s younger, less creepy brother has been a welcome, smiling face in films since his teens. Directing his first feature, he sidesteps the more obvious choice of a comedy – given his background – and instead delivers a tense horror about jealousy, deteriorating relationships, and the dangers of Airbnb. Dan Stevens stars as Charlie, handsome and successful older brother of Josh (Jeremy Allen White). As if Josh doesn’t have enough to live up to, his beloved and brilliant girlfriend Mina (Sheila Vand) is Charlie’s work partner and the two just really click. Together Mina and Charlie land a big deal. To celebrate, they and their significant others—Josh, plus Charlie’s wife Michelle (Alison Brie, Franco’s real life wife)—rent a gorgeous, off the grid place for a weekend getaway. If you’re thinking this is an incredibly common premise jazzed up with a couple of impressive actors, you are correct. But there’s a lot to be said for a good cast. All four convey a lived-in chemistry that gives the relationship conflicts more resonance. Brie and White, in particular, deliver believable warmth as big sister-in-law/little brother-in-law. Both are dealing with some jealousy, each lending support and guidance to the other. Secondary characters in indie horror are rarely given this kind of opportunity to breathe, but drawing the audience into these relationships benefits the tensions Franco is working to create. Stevens and Vand work wonders as the morally conflicted central characters. Vand (exquisite in A Girl Walks Home Alone at Night—see it!) blends righteous indignation with guilty conscience. This helps her build believable motives for what could, in lesser hands, feel like conveniently poor decision making. Liberal guilt, entitlement, questionable morality and selfishness rarely come packaged as sympathetically as Charlie, but Stevens is a solid character actor and here he creates a nicely complex character. Rounding out the small ensemble, the always welcome Toby Huss also finds layers in a character that could easily have been one note. So, performances are solid and Franco delivers a decent sleight of hand by Act 3. The film feels imbalanced by then, though, as if it wasn’t until  the 11th hour that Franco decided this was a horror movie. There’s enough suffering in the final reel to clarify The Rental’s genre, but that doesn’t mean it entirely works. #HopeMadden

From November 13–15, UK Film Review (the UK's premier film review site) is running its first film festival: The UK Film Review Festival! The UK Film Review Festival is an international online film festival in partnership with our sister VOD platform, UK Film Channel. 2020 has been a bad year for filmmakers (particularly independent filmmakers). When the Covid-19 pandemic earlier this year caused the cancellation of hundreds of film festivals worldwide, many filmmakers were left without an avenue of distribution for their movies. But filmmakers and film lovers alike need not despair, we at UK Film Review have you covered! Our festival event will take place over a weekend in November, whereby all the official selections will be available to watch online via our VOD platform - UK Film Channel. By making ours an online festival, we're able to bring you the very best in short and feature films, of all genres, from the safety, comfort and convenience of your own home - with far fewer people to spoil your film and the ability to pause and watch any movie in your own time (for a period of time after release)! Quite apart from that...with no need to worry about theatre capacity or accessibility issues (with no need to travel, subtitles on most of our showings and any imagery posted having alt tags), we can ensure the movies are seen by as wide an audience as possible. But of course, the benefits don’t stop with the viewer! Ours is a unique movie event, as not only do we showcase filmmakers from across the globe, we also provide a film review for EVERY film that enters. So even if you don't get official selection, you still get something by submitting. And if you have already had your film reviewed by us, we will promote your trailer or interview one of your cast/crew instead. And, for our filmmaker friends whose movies are officially selected, we offer a host of fantastic rewards at an unbeatable value for money: - Guaranteed Online Distribution Deal (non-exclusive) through UK Film Channel for all films officially selected and winners - Filmmakers will be able to receive 50% of the revenue raised from the screening(s) of their movies during the festival - Official Selection and Winner logos - Winners receive a plaque - Placement on the IMDb page for Winners and Official Selections - Featured Review on the UK Film Review Magazine by one of our brilliant film critics - Filmmaker Interview Opportunity for ALL Winners Winners will be decided by a jury of our experienced and impartial film critics who have a passion for watching and reviewing all kinds of movies - no matter the budget. We accept short films and feature-length, of all genres, and have a range of categories for you to enter: - Short Film - Feature Film - Documentary - Best Director - Best Script - Best Performance - LGBTQ+ Film - Animated Film But please...do not submit your film if you are unable to provide us with the following by October 1st 2020: - Digital copy of the film - Digital copy of the trailer - Portrait poster - English subtitle file in .srt type. Terms & Conditions Entries must be submitted before the *deadlines*. Filmmakers are responsible for providing working viewing links. SUBMISSIONS The non-refundable entry fee must be payable in GBP to UK Film Review via FilmFreeway. When submitting to the festival you are agreeing that, if selected and the invitation accepted, to screen the submitted film during the dates of the festival. UKFRF will not pay any screening fees for the presentation of the film during the festival. The only exception would be if there is a negotiated agreement preceding the submission of the film to UKFRF. Screenings will take place online via the UK Film Channel platform. ENTRY REGULATIONS The UKFRF is a competitive showcase for domestic and international feature films, documentaries and shorts. The UKFRF reserves the right to determine the eligibility of any project submitted. There is no limit to the number of entries. FILM/VIDEO ENTRIES All foreign language entries must have English subtitles. Projects must be submitted for consideration as an online screener. PAL format will not be accepted. Works in progress will not be considered for the UKFRF. Works in progress will not be screened at the festival. Screening material, press and any application materials sent to UKFRF will NOT be returned. If you did not receive a confirmation of submission, please email info@ukfilmreview.co.uk. COMPETITION The UK Film Review Festival is a competitive event and unless notified otherwise, all films officially selected are eligible for competition. For a list of competitive categories, please see our FilmFreeway page in the categories section. All films are nominated and voted upon by an impartial jury of UK Film Review critics and/or guest judges from the industry. PRESS MATERIALS If selected, the UKFRF will require an Electronic Press Kit (EPK) to include high-resolution production stills, key art, bio and filmography of the director, production notes and full cast and crew credits. Public trailer links and relevant social media links will also be useful. SHIPPING We only accept digital screeners. No prints or physical copies can be accepted. REPRODUCTION AGREEMENT Submission of an entry gives the UKFRF permission to have excerpts of accepted work, including film trailers, shown in all promotional activities related to the festival. NOTIFICATION Films selected for the UKFRF will be notified no later than November 5th, 2020. We at UK Film Review are extremely excited about our first film festival and want it to be the best it can be. We sincerely thank you all for your support and we know you’ll love it when we go live! Please visit *https://filmfreeway.com/ukfilmreview* for more information (including deadline dates) or to submit your movie, thank you.

★★★★★ Directed by #AllenCoulter Starring #RobertPattinson, #EmilieDeRavin Film Review by RochelleMcLaren Directed by Allen Coulter, Remember Me is a film about a young student Tyler (Robert Pattinson) who struggles to face reality after experiencing a traumatic event. When he meets a young girl Ally (Emilie De Ravin), the two realise they are not that different from each other especially when the audience learns that Ally has a heart-breaking past of her own. The two build a strong relationship where they help each other deal with their struggles. The message of the film is to cherish and accept what you have, and to also realise that your past does not define you. From the beginning of the film the audience will assume how the film will end, however when being introduced to each characters the audience will then question their motives and the plot of the film which isn’t a bad thing as it leaves the audience interested. The film flows well and includes mind blowing plot twist at the end which will leave the audience feeling a certain type of way. Tyler can be seen as a loving, caring and sensitive boy. He can also be looked at as “messy” as he is clearly still affected by his past. Tyler loves those around him however sometimes his actions can lead to some consequences. In the film the audience gains an understanding of the relationship between Tyler and his Father Charles (Pierce Brosnan) who seems to be more interested in his work than his own family. Charles’ place of work is very important and significant as it relates the heart-breaking plot twist at the end of the film. When the audience is introduced to Ally, the audience can see that she is a bright intelligent girl who cares very much about her studies, she is very focused on her work. She is also loving and caring especially when her and Tyler’s relationship becomes stronger. Throughout the film the will audience learn about Ally’s past which will make them feel sorry for her. When watching Remember Me, there are a few significant moments that would affect the audience. The first is the beginning scene, the audience may be confused and would wonder how it relates to the rest of the film, they may seem that they know where the film will lead, however the director has another plan in mind. The second is the ending, leading up to the plot twist, the audience will be shown a few signs that will give away the ending, some audience’s may not realise until the end and some audience’s, who are educated around that event will pick up the pieces and realise how the film will end. The plot twist at the end is not something that the audience will see coming when watching the film, which is an interesting technique that the director used to engage with the audience. Performance wise, all the actors did a brilliant job, their performances would give an effect on the audience and will make them understand the characters perspective. Overall the plot can be seen as realistic as its based around a person’s struggles, the plot twist at the end is realistic as well as it is something that had taken place in real life however there are no records of the characters in real life that show they had anything to do with the plot twist. This film is worth the watch and would recommended for the audience that they may need a tissue box next to them. #RochelleMcLaren

★★★ Directed by #AdamStein and #ZackLipovsky, Starring #EmileHirsch, #LexyKolker, #BruceDern Film Review by Rochelle McLaren Directed by Adam Stein and Zack Lipovsky, Freaks is about a little girl Chloe (Lexi Kolker) who has been kept hidden inside her house her entire life by her overly protective father (Emile Hirsch) due to a worldwide secret he has kept from her. The message of the film is that it is okay to be different, everyone is special in their own way and that is okay. The movie overall flows well, from the beginning of the film, the audience gains an understanding of the dad’s character, the audience learns that he is very protective of Chloe, which would get the audience questioning why he does not allow her outside. When Chloe is seen opening the front door, her dad immediately grabs her and shuts the door out of fear he mentions that “the bad men” will get to her, after hearing the dad say this the audience this will questioning who the bad men are and will question Chloe and her dad. The opening soundtrack plays a creepy broken ice cream truck noise, which fits into its genre, a thriller. The film also explores the sci-fi genre due to the use of human experiments. Chloe is stubborn and bright however she can be considered a bit uneducated as she has never been let out of her house to socialise and learn about life from the outside. The dad is overly protective and can come across suspicious, his actions would get the audience questioning his character, if he really is related to Chloe, why he the way he is, and what is he hiding. In the film the audience are introduced to the last main important character, the ice cream man. The ice cream man first comes across creepy, suspicious and intelligent. The way he treats Chloe will make sense towards the end of the film as the audience will understand his motive. Camera shots- sometimes the use of the camera can confuse the audience and can make them question what is really happening and what isn’t, which isn’t a bad thing as it will make sense at the end of the film, this is due to the lighting, camera angles and the script. Performance wise, all the actors did an amazing job portraying their characters. Their performance will give an effect to the audience and make them questioning every single character’s motive and will also question the plot of the film. . This film is worth the watch. The plot is not so realistic however it can be based around conspiracy theories which is very interesting. RochelleMcLaren

★★★ Directed by #LudwigShammasian #PaulShammasian Written by #GeorffThompson Starring #OrlandoBloom #JanetMontgomery Film Review by Seth Troyer Written by Geoff Thompson, a survivor of sexual abuse, Retaliation is a loosely autobiographical descent into the pain and violence that can come in the aftermath of trauma. Orlando Bloom steps up to this challenging material with surprising ease. Any Lord of the Rings jokes you may want to make will be silenced within the first few minutes as you see Bloom fully embody the character of Malky. He has been tormented all his life by the memory of being molested as a child by a local priest. Malky is a powder keg ready to blow, attempting to channel this energy into his construction job, demolishing dilapidated churches with vengeful satisfaction. Where the film truly amps up is when he realizes his abuser has returned to preaching in Malky’s hometown. What follows almost feels like Ingmar Bergman making a John Wick film (in a good way, for the most part). Bloom and the film itself may not perfectly execute every complex maneuver they attempt, but they often reach heights that are undeniably moving. Brothers Ludwig and Paul Shammasian are a competent directing duo, though they make some choices that threaten to turn the film into an exploitive, bass pulsing thriller that doesn’t suit the material. In addition, several characters—Malky’s girlfriend Emma (Jane Montgomery) among them—often feel less like characters and more like plot tools despite the actors’ best efforts. In the end, what does shine through is the writer’s personal story, offering a brooding character study rather than a simple revenge thriller. Thompson has stated on his website that, like Malky, he struggled with a thirst for violence and revenge. His demons are clearly being exorcised here. The film’s intense conclusion, where Malky and his old priest finally cross paths, has been understandably divisive for audiences. Regardless, the questions this showdown raises are well worth discussing. While you will probably never find a Retaliation DVD for sale at a Christian book store, the film’s sentiment seems far from atheistic. It unflinchingly condemns the corruption that can come from organized religion, but also appears to have a strange sort of reverence for the idea of God and biblical teachings. It’s a brutal concoction that makes for a fascinating and unique experience. #SethTroyer