★★★★ Directed by #GuillaumePierret Written by #GuillaumePierret, #AlbanLenoir, #KamelGuemra Starring #AlbanLenoir, #NicolasDuvauchelle, #StefiCelma Film Review by Amber Jackson Mechanic Lino (Alban Lenoir) is passionate about making and using ram cars, but when he is confronted by dirty cops, he is forced to push his passion to the limits to avoid a lengthy prison sentence. Amongst the violence and noise, Guillaume Pierret’s latest film exposes a more human side to the action genre with its Blockbuster style containing actual substance. Its French language creates a little more intrigue and certain other qualities make the film stand out more than others of its genre. For one thing, this film is fairly succinct, packing copious amounts of drama and suspense into a modest ninety minutes. The script is easy to follow, even with subtitles (reader, please watch in its original French) and has an unexpected plot that keeps the audience guessing. All contribute to Lino’s feeling of not knowing who to trust. Pierret has sharply directed this film so that performance is the main focus of the story and this is brought out through the acting. Each character was multi-dimensional with both their individual storylines and their existence around protagonist Lino. It would have been nice to see a bit more background to the women in the film such as Julia (Stefi Celma), but she was still very well included within the story and her actions towards the end of the film added a fresh twist to the story. Sounds creates an intense atmosphere throughout the film, with the music always building as though danger is constantly looming. Indeed, Lino is always on edge, which is always exaggerated even through his breathing. As the film crescendos, the car chases get louder and faster. There are lots of car chases and crashes to consider when watching and this added layer of action within the story is well edited together with the special effects of explosions and debris. Unlike a typical American action film, each fight sequence had meaning and was well-worked into the story. There was purpose in every punch, particularly from Lino as he tries to escape injustice, and the stunt work was great – although a little fake in parts. What is important to note is that there was creativity in the violence featured, which added to the story behind the action even more. The camerawork builds on this mood so that the film is even more intense. Fast action shots contrast well with the slower, shakier scenes which makes it feel more raw. A particular style that was really effective were takes that were filmed through a window, or reflection, which worked well to expose certain characters’ vulnerability more. Another great note about the look of the film is that the use of colour was very vibrant throughout. Red blood and orange fire combined with dark smoke creates a brutal atmosphere. Each scene was also awash with different levels of light and shadow to really make a distinction between the more ominous scenes. It is refreshing to see a different type of action film, especially on Netflix. Guillaume Pierret and Alban Lenoir have created a film that adds another dynamic to the genre, with an unpredictable plot and excellent dialogue. It will be great to see how well Lost Bullet continues to be received by audiences. #AmberJackson

★ Directed by #JeffordHumes Starring #JeffordHumes Film review by Nathanial Eker Ever since 2014's The Lego Movie, filmmakers have looked to capture the next big toy-inspired way of making movies. Such is the case with Jefford Humes, a director - screenwriter - actor - and pretty much everything else, who has made a film set entirely in the online world of Roblox - a game creation system launched in 2006. While the effort is certainly there and the documentary segment at the film's end presents a man bursting with passion, Angel is regrettably a snooze-fest, and a baffling one at that. Alex is a seemingly normal boy, haunted by dreams of strange angelic knights that warn him of a great catastrophe to come. He discovers there is more to humanity than meets the eye in a story that blends science fiction with mythological fantasy. Describing it in those few sentences may deceptively make it seem like this genuinely compelling premise would be the film's focus. Sadly, the screenplay feels more like a stream of consciousness than a well-thought out map of intent, as random transitions lead to pointless scenes and so much filler that the actual plot barely raises its head until about thirty minutes in. Everything presented prior to this point is dreadfully dull, with obvious jokes, stereotypical characters, and dialogue so on the nose it's practically up the nostril. The Roblox format also does nothing but distract, as important scenes are ruined by basic animation faults or the name of a player hovering above our lead character's heads, reminding us that this service was not meant for making films. Though it seems trite to say, there is no semblance of a mise-en-scene present. Every setting is a hasty recreation which - while impressive as an in-game creation - is not a satisfactory representation of what is meant to be happening. Characters fare just as poorly, as each are offered only a few facial expressions which do nothing to give us a sense of who they are, a problem not aided by Humes' questionable desire to voice every single one. It becomes difficult to invest in a love scene when it's clearly just a man speaking to himself using a higher pitch, for example. The message behind Angel is also unfocused, yet well-intended. The notion that everyone can change the world is a respectable MO that is good for children to hear. However, that does assume that they haven't already switched off thanks to the film's horrendous pacing, which allows for arduous scenes that both serve no plot function or adequately present anything resembling character development. However, there are moments of genuine entertainment, such as a few drole jokes that stick the landing and well-implemented music. It's also worth noting that nothing in Angel will negatively impact your child, though it may send them straight to sleep. As a tool to keep very young children busy it could hit the mark, though the complicated exposition that blends reality with fictional mythology may lose them. Angel is clearly a passion project with a tonne of love put into it. Unfortunately, love can't save it from committing the primal film sin of just being boring. It offers only the most basic requirements to be classed as a film and its thinly veiled plot is transparent from the beginning. The models may be three-dimensional, but this film is anything but. #NathanialEker

★★★ Directed by: #GabrielCaste Starring: #FionaBaqai and #JohnNiemiec Short Film Review by: Shrubaboti Bose From the perspective of the current quarantine situation, the film brings up an important question about love and trust. Social distancing has made it very difficult to sustain a healthy relationship through virtual or online means. Sometimes all we yearn for is the gentle touch of another human beside us. Even the silent warmth of a physical presence can give us much comfort in such times of crisis. When the protagonist loses the last thread of connection with the love of his life, anxiety grips him by the throat. He is extremely troubled by the thought of what might have happened to her. It’s the month of July and he feels left behind trapped in his room alone, sinking deeper into his own misery. Love in the Time of Quarantine portrays the consequences of the absence of communication on the psychology of a person in a typical relationship, with special emphasis on the quarantine situation. While he tries to distract himself, to avoid thinking about why she hasn’t contacted him yet, he cannot escape the reality. He keeps himself busy, spending time to cut his nails, grooming himself, dressing up and even pretending to have a party all by himself, dancing to the music blaring from his speakers and smoking up. But the next morning, he is back in front of his computer, waiting for some sign from his missing partner. The obvious conclusion that he reaches is that maybe she has left him, but it hurts to even consider it. The very fact that he uses the word ‘obvious’ in the dialogue, shows his conviction to find her ultimately safe and healthy. What makes it easier for him to accept the abrupt end of their relationship is the other possibility of her having fallen gravely ill. He would rather believe that she had essentially ghosted him than imagine she was so severely sick that it made her incapable of calling or talking to him. The director leaves this ambiguous as the scene shifts outside and focuses on the firecrackers exploding in the sky in celebration of the 4th of July. One is left to wonder if the closing scene signifies a kind of parallel freedom from emotional attachments, the sense of independence drawn from the American context of the 4th of July itself. Perhaps the end is the new beginning or maybe it was purely incidental. Although the question of what was the depth of their relationship seems to rise and the justification behind what led the man to assume his partner has left him for good within a span of just four days had been slightly unconvincing, but the music plays a commendable role in heightening the tension during the climax period. It is also possible that the relationship itself was probably not the vital most aspect of the film even though the name seems to suggest that. Overall, the film captures the nuances of the isolation experience quite succinctly.

★★★★ Directed by: #LuanaDiPasquale Written by: #LuanaDiPasquale Starring: #NadiraMurray, #CameronMurray, #RichardLilley Film Review by: Alexander Erting-Haynes Keep Mum is a psychological horror/drama short film from director and writer, Luana Di Pasquale. Horror is a famously difficult genre to tackle in film, let alone in a short film with a small budget and short runtime. However, with clever use of setting, concise yet layered storytelling and wonderful central performances, Di Pasquale has gone against all odds and created a piece that is haunting and sure to get under your skin. What makes this all the more impressive is the fact that this is Di Pasquale's directorial debut. The film opens with our nameless protagonist as she silently digs a hole in her garden. A Christmas tree clues the audience in to the time of year before they are whisked back in time to images of this woman dancing in a drunken haze, wearing a white shirt covered in blood. From the instant the short film starts, every detail is shrouded in mystery and intrigue and the audience is left no choice but to jump on board and try to piece things together. This method of storytelling is wildly effective, immediately creating an atmosphere of unease and incentivising active viewing. The way the film handles its horror is equally successful. This isn't a story about the supernatural; it tells a dark and twisted tale of domestic abuse and the effects it can have on family and mental health and this ensures that the film, like any truly great horror, isn't forgotten as the credits roll. Instead, this is a film that has themes and beats that are sure to stay with you long after it has ended. What helps to make the events convincing and thus chilling are the two performances at the heart of it. There are only two characters in the piece, the protagonist - who is known only as 'Mum' - and her son, Danny. These two are played by real-life mother and son, Nadira and Cameron Murray and the choice to cast genuine relatives in a familial horror is one that has paid off in droves. The anguish seen in the mother and the young, confused anger seen in Danny feels painfully real and the on-screen relationship is bolstered unimaginably by their real world connection. On top of this, the setting is something of a master stroke. Switching from repeated use of intensely claustrophobic rooms to large, sweeping shots of the English coast makes for some interesting viewing. By turn, it throws the audience straight into the centre of the unpleasant action before opening up into beautiful wide views with no real distinct sense of place or explanation. This is a fantastic way of disorientating the audience and allowing the sense of confusion to carry all the way through until the film's powerful final moments. Keep Mum is a haunting short film that takes everything good about horror and condenses it into a snappy, thrilling and disturbing package. Everything here works, from the auteristic lighting to the brilliant performances and the unflinchingly dark themes. It is a film that is satisfying to piece together yet the answers revealed sit heavy after the credits have rolled. For a horror short film, this is an impressive piece. For a debut, Di Pasquale has worked miracles and instantly carved her name into the genre and the industry as one to watch. #AlexanderErtingHaynes

★★★ Directed by: Waylon Bacon Written by: Waylon Bacon Starring: Waylon Bacon Film Review by: Jason Knight This is a short film that many people are likely to identify with. That is because the plot is about the COVID-19 pandemic that, at the time of writing, is still active all over the world. The story takes place in the United States during the coronavirus lockdown. An unidentified man is in his apartment, wearing a surgical mask and gloves for protection against the virus and is about to go out to the pharmacy, in order to pick up a prescription because he has a heart condition. When he reaches the door he hears someone coughing. He looks through the spyhole and sees his neighbour, Larry. Larry is constantly coughing and does not appear to be acknowledging that there is a deadly virus outbreak. He refuses to leave, so that Bro (what Larry calls him) can go to the pharmacy safely, insisting that they go together and starts singing the Star Spangled Banner. Eventually Larry passes out and Bro, believing that Larry is dead, phones the emergency services who inform him that he must remain at the scene until the body is removed. Bro stays inside then suffers a heart attack and dies, while Larry regains consciousness and carries on singing. Despite the fact that the narrative involves a real-life virus outbreak, the film could be categorized as a dark comedy. It could be viewed as a satirical look into the stupidity of covidiots. Just to clarify a 'covidiot' is a word used to describe the individuals who ignore health advice about COVID-19. Larry is shown to be a covidiot because although he seems to have the virus as he has a continuous cough, he is outdoors for no serious reason and does not keep a distance from other people. By remaining outside Bro's door, he causes his death, and although that is depicted humorously in the film, it is also a sad reality. The reality being that not following the rules against the virus causes lives. Although the film is less than three minutes long and was shot and edited in three days, Waylon Bacon's creativity deserves a great deal of praise. He played both characters seen in the film and he did so very convincingly. He effectively manages to present Larry's character as another individual by only showing him through Bro's point of view shots from inside the spyhole and by having Larry wear a beard and a cap. He then had fellow filmmaker Elias Santos provide the voice for Larry. It should also be pointed out that the point of view shots through the spyhole are very well constructed as is the rest of the film, especially if one takes into account that Bacon used his cell phone camera in order to film this entire project. Bro is a very short film but it contains elements that people from all over the world will understand, as one way or another everyone is affected by the coronavirus outbreak. It is a comic tale that has a strong message: that ignorance is dangerous. #JasonKnight

★★★ Directed by: #HarvardJohn Written by: #HarvardJohn Starring: #GenevieveLewis, #CharlieHoward, #AbiWatkinson, #EmmaKateBarry, #SamuelNicholls, #CallumHenderson, #SophieMay, #SamuelGCaple Film Review by: Darren Tilby Can you remember when you spent your youth at the Catholic boarding school your incredibly wealthy parents paid to send you to, wallowing in your own privilege, drinking and doing class A drugs far too often? I mean, we’ve all been there, right? No, me neither. But that’s where we are in Harvard John’s feature-debut, Sticky Toffee Pudding, a Cruel Intentions meets Skins concoction which never feels as strong or as assured as either of its influences. 17-year-old Shelby (Samuel Nicholls) returns to boarding school shortly after the death of his best friend, Hephzibah (Abi Watkinson), to an undisclosed disease. Grief-stricken and haunted by the memory of his friend, he struggles to re-adjust back into school life. Until that is, head girl Lilibet (Emma-Kate Barry) takes him under her wing and introduces him to her contemptible little clique: exposing him to a world of parties, sex and substance abuse. It may sound harsh, but believe me, when I say these people are entirely detestable and deeply unlikable, I mean it. The performances themselves are good, although there are a few delivery issues in places. Unfortunately, the only characters I ever felt anything for (that wasn’t disdain) were Ariel (Samuel G Caple), Shelby and Hephzibah. The writing is a little messy and repetitive for the most part. It quite often doesn’t make sense. Margot (Genevieve Lewis) is angry when she finds out she was the subject of a sexual bet but is quite happy to “slut-shame” other girls for the same thing. At the same time, Roisin (Sophie May) provides Margot with the tools needed for revenge, only to then spend the next scene telling Margot not to do it. Funnily enough, though, the underlying theme of loss is well-executed, sincere and very touching. Told through Hephzibah narrating excerpts from her diary (a gift she bequeathed to Shelby after her death) – which ring with a beautiful Shakesperean-like poeticism – and flashback scenes of the couple one happy summer. The relationship between these two characters was considerably more enjoyable and heartfelt than any of the others’ – although the scene where Roisin comforts Ariel towards the end of the film was beautifully acted – and I’d be lying if I said I didn’t get a little emotional in places. With Eloise Roitman’s graceful camerawork and Hum Chandna’s superb coming-of-age genre soundtrack, you have a film which is, quite frustratingly, more than capable of eliciting feelings of sympathy from its audience. I think the main problem here is that I’m not sure what the point of the film is. Sadly, Sticky Toffee Pudding doesn’t accurately represent the experiences of the majority of British students, and so can’t be considered a universally relatable coming-of-age tale. The characters – mainly a display of white upper-class privilege – are bereft of any endearing quality, and any semblance of development is severely lacking and seemingly pointless. But there’s a sharp display of talent onscreen here, from all avenues of the filmmaking team, and for a feature-debut, things could certainly have been much worse. Sticky Toffee Pudding isn’t a bad film; it’s just a little frustrating.

★★★★★ Written & Directed by: #KashmirLeese Starring: #KashmirLeese Indie Film Review by Taryll Baker Kiwewe Nyeusi is Swahili for the words “black trauma.” Kashmir Leese’s self-written, produced and directed short feature stars himself in a film about isolation. As we begin to leave the UK’s dreary lockdown, with restrictions being eased and places of business reopening, it’s fitting to take a look back at the past few months and reflect. With Kiwewe Nyeusi, we’re shown the severe effects of trauma within the Black community. After the deaths of many innocent Black people — including the most recent and unjust Breonna Taylor and George Floyd cases — people in several cities in the U.S. planned peaceful protests and rallied to make a stand against police brutality. With the useful tool of social media, including Twitter and Instagram especially, evidence of the inhumane way Black people are treated is widely accessible. Though useful for those not yet educated on systemic racism and how it’s embedded into our world, it can be especially traumatic for those within the Black community. To see displays of violence every day, not just in the streets but online through imagery, I can’t imagine how that would feel. I’ll never understand. Thankfully, Kashmir Leese’s film is a window into that experience. He uses the UK’s lockdown as the casing for a deep character study. The film begins with him humorously accepting the challenge of remaining inside for the entire duration, however long that may be. But as the days ticked by, it became less relatable to me as a white person, and more of an educational piece. Scripted in a way that feels incredibly natural, allowing every line to sink in through long, intimate shots. The budget is something that didn’t cross my mind past the first 10 minutes, once I realised how smart the film is thematically. One line stuck with me and I’ll quote it here: “How do you love a person’s culture so much, but not the people?” It’s an interesting question. One that I think many white people should be asking themselves. I don’t think I have the answer yet. This scene — starting with his mother checking in via text message — ends with Kashmir replying with a simple: “yep I’m fine.” As if everything has become so numb to him. There are a handful of skilfully performed scenes within the film, and because we’re watching a single person the whole time, it really works. The location never changes, we’re always inside the confines of a studio apartment. The film of course does a much better job of describing all this than I ever could, so I hope that whoever is reading this gives it a watch. It’s a very simple but incredibly well handled film and Kashmir’s natural talent for storytelling is clear. The Black community needs our help, so don’t stop here. Continue the fight and prove that Black lives do indeed matter. The time for change is now. #TaryllBaker

★★★ Directed by: #LauraMac Written by: #LauraMac Starring: #AndyJohnBradford, #CathyBrennanBradley, #EmmaMcCaffrey Film Review by Lucy Clarke Doves are often thought to be the bringers of hope, but who would have thought that you could have put pigeons into the mix too? While Laura Mac’s pigeon in When Birds Fly doesn’t bring an olive branch back but a note instead, Mac demonstrates how a domestic pigeon can be a beacon of hope and recovery as well. Thomas (Andy John Bradford) is a farmer and pigeon fancier in rural Northern Ireland. The bills are creeping up, dishes and glasses are left in the sink, and empty spirit bottles roll around on the floor. Lonely and depressed, there isn’t much Thomas wants to live for. His wife has left him, and Thomas suffers as he remembers things that happened a long time ago. His gossipy neighbour, Dorothy (Cathy Brennan-Bradley), isn’t as helpful as she’d like to think. Thomas contemplates taking his life, but his prize pigeon Trudy flies into the room with a note tied to her leg and interrupts him. The letter is a cry for help, and Thomas becomes determined to solve the mystery. Thomas dwells on the painful moments in his past, and really, he’s still living in those old moments. Old newspaper cuttings and photos surround him. Director of Photography, Austen Irwin decided to entomb his shots in sepia, cleverly representing a man so unable to move on from his personal history. Actor Andy John Bradford gives an arresting performance as a man rendered so powerless by his depression, and Bradford invites you to understand and empathise with Thomas within minutes. Thomas struggles with suicidal thoughts, depression and alcoholism. There are money issues too. There are themes of child abduction, child murder and marriage breakdown. For a piece with so many sombre themes, When Birds Fly goes in a bizarre direction. As it becomes crystal clear that there’s a mystery needing to be solved, Thomas and Dorothy morph into characters from Enid Blyton’s Famous Five. The film becomes strangely saccharine as if it has forgotten Thomas’s initial state of mind. The story is even resolved with a cheerful Blyton-esque ending, complete with a home-cooked pie. While the initial exploration of Thomas’s deep depression and his past is done well, the latter half of Where Birds Fly undercuts the severity and the darkness of those themes. Hope really can come from anywhere, as Laura Mac’s film suggests, but a sickly sweet ending isn’t needed to understand that things can be good again.

★★★★ Directed by #BillRossIV #TurnerRoss Starring #MichaelMartin #ShayWalker Film Review by George Wolf Similar to the hybrid reality it creates, Bloody Nose, Empty Pockets is an oddly compelling cocktail. It’s like a foul odor you step back from quickly, then find perversely comforting once you’ve had time to soak in it. And no matter how many of the film’s most effecting moments are manufactured, there’s much authenticity to be found in the smoke-filled haze of the Roaring 20’s lounge. “This is a place you can go when nobody else don’t want your ass.” Sitting unceremoniously at the edge of Las Vegas, the “20s” is down to its final day. Directors Bill Ross IV and Turner Ross drop us off before noon, when grizzled regular Michael (Michael Martin) is cleaning up in the bathroom and daytime bartender Mark is hanging up some cheap decorations for the farewell party. “What kind of party is it if an Australian guy doesn’t take his pants off?” As drinks are poured, ashtrays are emptied and daytime TV gives way to nighttime jukebox singalongs, we get to know the parade of souls that have come to call this dive bar home. What The Florida Project was to Disney World, Bloody Nose is to Lost Wages, eschewing tourist playgrounds for the world weariness of an existence in exile, and of outsiders no longer bothering to look in. “You think I’m better than Fireball? I’m not!” The Turner brothers shot their exteriors outside Vegas, but couldn’t find a suitable bar for filming until they landed in a New Orleans dive. Their cameras don’t always make it out of the frame, but the film’s mood is so encompassing you hardly care. This is a storytelling experiment left to its own ends, which end up being delightfully and desperately character-driven. “You know how much I love you?” As the night bartender (Shay Walker) tries to keep her teen son and his friends from smoking weed and stealing beer, we’re reminded how quickly the outside world will move on, scattering these barflies without mercy. My friend Jason recently remarked that “bars are the only enduring sacred human places,” and these 98 minutes at the Roaring 20s are full of that sacred humanity. There may have been a few strings pulled at setup, but those tears – both theirs and yours – will feel plenty real. “I always come to this bar…and feel like family.” #GeorgeWolf

★★★★ Directed by: #AaronZomback Written by: #AaronZomback Starring: #RodneyFerrer, #RobertBella, #TomislavNevistic, #RobertONeill, #AnniePisapia Film Review by: Alicia Moore The Experience comes from the mind of a true creator; a person who has the ability to explore all areas of creativity – this ‘true creator’ is writer and director of the short film, Aaron Zomback. Starting off this piece of writing with a synopsis seems almost useless when talking about this film and the style it holds, it is also incredibly difficult to do so. This is not a downfall, it is far from a weak point in any sense. Not being able to collectively summarise the plot and the intension of the content perfectly shows how wonderfully complex this short film actually is. It is very open to interpretation and can be viewed from many perspectives by its audience, extending its sophisticated nature. As a viewer, you are lead directly to witness an experience unlike any other, a journey that will leave your eyes blinded but your mind knocked open. This film heavily links with the use of digital technology and the impact of social media, adding a sense of relevancy even through its intense scenes. The main character, credited as TFM_CEO - TheFinalMan (portrayed by Rodney Ferrer,) depicts an underlying thirst for validation and global attraction through social media. This is hinted at throughout the film’s duration and then clarified eventually. He visits extreme ideas to quench his thirst, acting upon them with a slight artistic and ‘professional businessman’ approach. The evolution of technology is never ending, digital devices are gaining more knowledge and abilities with each update, meaning that the need for verification of worth and existence through social media can only increase with each update too. Towards the end of the film, it struck me that the content presented somehow plays with the phrase ‘quality over quality’ by swapping the two words and applying it to levels of recognition. The more the merrier when partying at a friend’s house, but the more the messier when dealing with the impacts of mass social media statistics. Rodney Ferrer gives an astounding performance, immediately pulling the audience into his grasp from the first moment he appears onscreen. His character is mysterious, viewers lack almost no knowledge of who he truly is and what life he leads. This is a captivating element and is definitely one of the greatest aspects of the film; the character leaves the audience begging for more information, holding their complete attention throughout. Ferrer speaks with a soft yet darkened tone of voice which is incredibly enticing. I felt intimidated by him as he spoke and I knew that this intimidation was exactly how I was supposed to feel – his personality may be mysterious but the surrounding energy of Ferrer is definitely not. The only obvious component of the character that a viewer can solidify from the start is that he is domineering. Most of this character’s appearances onscreen are not of his face but of his hypnotic hands instead, so I was truly amazed by how much characterisation was built simply through voice. I really cannot speak highly enough of Rodney Ferrer’s performance in this short film. Overall, one of my favourite details of this film is the cinematography (also by Aaron Zomback.) Each shot is beautiful in its own right, the chosen placing of the camera for each scene presents a distinct atmosphere that perfectly matches with the eerie content of the script. However, in particular, the camera angles change frequently throughout the film to create a ‘viewer’ point of view; the audience suddenly become the character as the camera is placed facing the landscape that said person was once seen facing themselves. Some viewers may find scenes in this film disturbing or unnerving, indicating that the course of events unfolding are primarily set to be immersive, but this technique used within the photography makes the film even more mesmeric than it already was set to be. The Experience is frankly an experience in itself. It is like a puzzle that you find joy in while piecing together to reveal its core. To entirely grasp the concept of this short film, one must pay close attention and live within the characters’ bodies when given the chance. The cast and crew show great dedication and ambition through this project and Aaron Zomback as an individual is a multitalented, powerful addition within filmmaking; I would love to see more work from him.

★★★★★ Directed by: #ToddDrezner Starring: #BoCopley #LaurenCopley #JarydCrum Film Review by #ChrisBuick On November 8th 2016, in what might be one of the greatest political upsets in American history, a man by the name of Donald John Trump became the forty-fifth president of the United States, leaving many all over world asking one question... How? One such person was New York City #filmmaker and “committed liberal” Todd Drezner. Astounded as many were by Trump’s victory, Drezner wanted (perhaps needed) to understand not just how but why. It appears he found his answer in the most unlikely of individuals, an unemployed coal miner and Christian conservative by the name of Bo Copley. A blue-collar West Virginian man, married with two children and God in is heart, at first Bo Copley seems about as ordinary as one man can really get. However, Bo catapulted himself into the public eye during a publicity round-table with Hillary Clinton, where he called out the former first lady regarding her comments seemingly advocating the cutting of jobs in the coal industry, a massive faux-pas in a state where coal-mining is so rooted in its tradition its even on their state flag. But it was the fact that not only was he able to get his point across so strongly and concisely, but that he did so with the utmost respect and dignity (something rarely seen in politics anywhere let alone the U.S.), that drew Drezner to Bo Copley and led him to document Bo’s unique run for the 2018 Republican nomination for U.S. Senate in West Virginia in his latest outing, The Campaign of Miner Bo. A firm liberal making a #documentary about a staunch conservative might raise the eyebrows of those maybe expecting parody or obvious bias, but Drezner isn’t the least bit interested in any liberal versus conservative debate. He doesn’t care whether your political affiliations align with those of his subject. The point of The Campaign of Miner Bo is to shine the light on a greater universal truth; that there is something fundamentally flawed with the U.S. political system. Bo is a man tired of people always being forced to choose between the lesser of two evils and is simply looking to give his fellow West Virginians a different option, a sentiment clearly echoed by those who chose Trump perhaps because they were simply desperate for change to a system they felt had failed them too often for too long. And The Campaign of Miner Bo is certainly revealing in that aspect. It doesn’t matter that his opponents are a veritable rogues’ gallery of problematic characters (one was even responsible for the death of twenty-nine people), they all have better credentials than he does. Bo, driven by what he believes to be God's will, is also unwilling to play dirty, talk shit, or compromise his values in any way, so with almost no money, donations or connections, it’s a battle up the steepest hill from the outset, which makes this fascinating film equal parts inspiring, frustrating and saddening. You can call it an underdog story, you can call it a fish-out-of-water story, you can even call it a David vs. Goliath story, but what Drezner has really set out to create here is a damning indictment of U.S. politics, where money so often speaks louder than words, and I believe he has done a fantastic job in doing so. #ChrisBuick Watch the trailer here:

★★★ Directed by: Steve Dawson and Jason Lee Fraser Written by: Jason Lee Fraser Starring: Jason Lee Fraser, Dominika Zybko, Ashley Katherina Hunking Film Review by: Jason Knight Dessert is a short film directed by Steve Dawson and Jason Lee Fraser who also stars alongside Dominika Zybko and Ashley Katherina Hunking. The story takes place at a restaurant during night-time. The boss goes home, leaving a waitress named Diane (Hunking) and another waitress alone with a couple who are dining and are the only customers. The couple who are Sebastian (Fraser) and Helen (Zybko), appear to be arguing and Diane takes an interest in them and spies on them. It appears that Helen is accusing Sebastian of infidelity and ignoring and disrespecting her. The other waitress goes home too. Eventually they appear to reconcile and are about to kiss, much to Diane's disapproval. She interrupts them and asks them about their meals. They say they are going to have dessert. When Diane asks them what they would like, they simultaneously reply 'YOU!' and both produce fangs and the film ends just as they are both about to bite Diane's neck. The twist that ends the film is truly mind-blowing and utterly catches the viewer by surprise. It could be compared to the scene in From Dusk Till Dawn in which Salma Hayek's character suddenly transforms into a vampire, turning the film from a crime thriller to horror. Both twists are unexpected and add great value to both films. For Dessert it briefly changes the genre from comedy to horror and it does so very effectively. And the blood-splattered end credits are a real treat and look really cool. When viewed for the first time, the conversation between Sebastian and Helen gives the impression that he is an awful man who cheats on her, as he admits that he brings women from brothels back to their home. However a re-watch brings a different perspective to the dialogue, because this time the audience realises that he brought women to their home in order to eat them/drink their blood, not to sleep with them. By watching the film again, the viewers get the same experience that they got when they re-watched The Sixth Sense, by being affected by the revelation that the main character is actually dead. By viewing Dessert again, the audience interprets the couple's words differently, because they now know that they are vampires. Unfortunately it should be pointed out that the film does have flaws. The acting gives the impression that it could had been better. The audio also has issues because at certain moments the characters' voices sound awkward. According to Fraser this is due to the fact that while shooting, a spray-painting crew was also working on the same location. The sounds of spray-painting were removed from the audio and voice-over was used in order to complete the dialogues. Despite the filmmakers' efforts to make improvements, the result is far from great and adds negative qualities to the film. In the end Dessert provides a pleasant and of course surprising experience. As mentioned above, it is a film that has to be watched again in order to completely appreciate its value. #JasonKnight