★★★★ Written & Directed by: #AlexRamirez Starring: #JeauxBartley, #JosephRene, #GloriaBueno Short Film Review by Taryll Baker An ALS-diagnosed artist and her husband contend with growing marital problems and diminishing time together over a weekend clinical visit. Writer and director Alex Ramirez’s The Quiet Shore takes a look at a now dysfunctional couple, who are cursed by an unsolvable problem wedged forcefully into their relationship, setting them down a trail no one could ever wish to walk. From beginning to end, there’s a great sense of care within and behind the camera. Firstly, the acting from Jeaux Bartley and Joseph Rene is superb. They have a great relationship on-screen and although a couple moments feel underwhelming, their work overall is commendable. Moving past the acting, the script feels very real. The structure is solid, with most of the film focusing on the two in dialogue heavy scenes. We do see them both individually for short beats, but it’s when they’re together that the film shines. I found the story to be touching and delicately handled, yet part of me wishes there was something more to it. By the end, I felt hungry for a little more - as if the story wasn’t quite over. Nevertheless, one could find enjoyment and have their interest piqued by what is presented. The visuals by cinematographer Mason O’Neill Hunsicker are cold and blue - many dazzling cityscapes and lush sea waves scattered within the narrative. These are combined with a sombre score by Stephen Flores that utilises soft, reverberated piano notes with a mumbling drone underneath. The editing by Jordan Moreno is smart and functional. Smooth cuts between every scene - his work brings together all the technical achievements mentioned before and makes them click. Both the visual and musical styles are wonderfully realised in The Quiet Shore. Of course, with a story involving something as awful as ALS, you’d expect a certain degree of caution. Thankfully, this is a very careful and mindful film. It doesn’t exploit anything or feel forced. Filmmakers these days are constantly pushing the boundaries of what’s possible, and for Ramirez it’s no different. The final few minutes are tragic, but important. Films like The Quiet Shore are a good example of why cinema is so vital to our culture. With more and more being explored every year, I don’t think there’ll ever be a time where it disappears. It can be entertaining, an escape, but with films like this, it can be a tool for education and deep exploration. Watch the trailer for The Quiet Shore below. #TaryllBaker

Star Rating: ★★★ Directed by: #BertonPierce Written by: #BertonPierce Starring: #StephenPatrickHanna, #DavidMasterson, #GabrielleMiller, #RyanJames, #JerryLentz, #DenisLyons, #BrigidPasco, #PeteRiley, #ErrolShaker, #AnthonyStraeger, #NatashaSzabo Film Review by: Thomas Jay 2015’s Adventurados is a sci-fi space tale concerning two ‘down and out‘ shuttle pilots on a particular cargo shipping mission wherein, everything goes wrong. In the process of the failed trip, Frug (Stephen Patrick Hanna) and Spyre (David Masterson) learn more about themselves and their new ship mate Dru (Gabrielle Miller). I think the best place to start with this film is by giving some upfront acknowledgements and points of discussion. The Sci-Fi genre in modern times (lets say post 2000) has significantly deteriorated in terms of both instalments into the genre and furthermore, any outings of quality. As film has become more superhero/drama focused there is little carry over of Science Fiction DNA/conventions/Make Up, however you want to put it. That said however, I think you can chart a period starting in the early 90s, through to modern times where a few key releases in the sci-fi world were released and, from watching Pierce’s film I think it’s beyond fair to say that they had an impact. Firstly is Cowboy Bebop, the anime series mixes elements of the western into more neo science fiction tropes to craft this varied, vibrant and lived in world which is evident in the title that is subject to this review. With the various sub-plots ranging from planetary deterioration, Unions and Non-Unions and the further, inferred world of the story Adventurados really drew heavily off that series as far as I’m concerned and I think it’s guitar riff heavy soundtrack is further proof of inspiration, as the tunes do resemble, in many ways, Western themes Or leitmotifs. Further afield, Alien and Event Horizon spring to mind, they capture elements of cabin fever with success and ease and it’s recycled here into its own style but the main mirroring was Moon. For as much as Science Fiction as a genre has died out a little, Duncan Jones and Neil Blomkamp as an aside, have really made YouTube a platform for original, high concept films of that world and have experienced many a success in doing so. Jumping off from that though is the fact there is a clear audience for ‘Clone’ films and consider this to be your only spoiler warning for each of these films, so do proceed with caution. I’d like to start firstly with some praise, the film and its independent nature had a major task with creating an effective aesthetic that could really be sold as believable and, in praise of Adventurados the films look was on par with if not better than most big budget outings in film and TV and was really a respectable, admirable standard of not elite. Set largely on a single space craft, the cinematography does a good job in selling a layout of that environment so we feel really immersed and aware of it, but also, credit to the designers - that set is impeccable. In all, the effects really added something to the title. Thematically I was very intrigued, however I will say that it is a double-edged sword. The crux of the film relies on the planet having suffered major agricultural loss (not too distant a reality) which results in the moving of society, or at least elements of it, to outer space. Proxy of this struggle, we do spend a prolonged section of the film covering Ireland’s positioning in the situation and whilst it is supposed to humanise and ground our leading men, it struck me as pulling punches. There’s a brief monologue naming some of the nations greatest historical icons and whilst that has some purpose I feel it should’ve been fully committed to so it could really add a layer of commentary regarding Irish and British society and potentially playing that relationship into the plot and just expanding on ideas but ultimately they just missed the target, in fact, to a degree it felt like they never really took the shot. Using the clone/cloning sub-plot also adds an element or at least a possibility of some deep reaching, soul searching perspective but took another road. In fairness it did get the most it could from such a possible decision so I’ll give it a little credit but, and I say this without wanting to detract from this film but Moon covers that in such a solid way. Returning to Adventurados I’ll touch on performance. At risk of repeating myself, it was another double-edged sword. Hanna, Masterson and Miller are responsible for carrying the film and they do a good job, to a degree. Hanna and Masterson were convincing peers, they really sell that sort of brotherly love that the script asks of them but they do overcross into the realm of overacting which I found to be very tiresome and equally disengaging. Despite landing the most minor role of the leading three, Miller, best know for her ‘Trivago’ adverts, in my eyes turned in the best performance. Sadly her character is at times an image so it can craft a darker picture of Spyre as this leering, ominous figure, when given the reigns she rises to the occasion. Playing an unknowing clone, looking back on it whilst writing this now, I better appreciate her outing. Classifying it as ”Sterile”, when watching it with the knowledge of her characters reveal, or even during that maiden viewing, as you learn that dime of information it does contextualise the previous 40-60 minutes of screen time that have involved her. However, and I must say this, I felt there were far too many moving parts and ultimately it was a detriment. A few too many performances that are on the fringes of the film didn’t really add anything for me and if anything sort of ruined the tone. Getting bogged down by a number of sub-plots and all the issues they bring with them it was a let down considering how much I’d enjoyed prior. As for anything else I believe Miller’s Dru deserved a leading role. By giving that character a bigger fraction of the film, you not only flesh out the world to a better extent but have a deeper connection with that particular individual and it felt like a misstep to me, a blown opportunity. In all, there is some enjoyment to be had in Adventurados, be that elements of genre greats, it’s own visual merits or just the general quality to the production. However it does fail to follow up on some of its best elements and generally mishandles some of its subplots. Somewhat undone by its own errors, at a brisk 1 hour 20, you could do a lot worse when it comes to selecting a title. Reviewed by: #TomJay

★★★ Directed by: #MatthewSawyer Written by: #MatthewSawyer #HollyBishop Starring: #WayneEdge #RobinLyons #JackMcGarry #IanRayWhite #EmilyRoseHolt Short Film Review by #ChrisBuick Under the belief that the young man he currently has tied to a chair with a potato sack on his head is the one responsible for the heinous attack on his sister, aspiring hardman Danny (Edge), with the help of his partner in crime Kane (McGarry) and head-honcho father (Ray-White), begins tightening the screws on his captive, demanding a confession. But with young Shane (Lyons) unwavering as he pleads his innocence, things begin to get increasingly complex and messy for all involved. Betrayed is a decent, well-made #shortfilm with a fair amount going for it, but it could have been a great one if it didn't appear to stumble over its own feet in certain places. It starts strong, we get tension, we get intrigue and although it’s pretty hammy at times acting-wise, it’s a tense and entertaining first act to watch, all of which sets the film up really well. Unfortunately, it is at the mid-point that small cracks begin to show and the film starts to wobble. One of the most obvious examples of this is in the writing. The opening movements of the film for the most part succeed in invoking a certain level of tension and drama, enough to get us a little invested at least, while also managing to inject itself with the odd bit of playful humour. However, all that seems to be abandoned at this midway juncture. The dialogue becomes awkwardly stagnant and repetitive, the characters simply going round in circles for several minutes before the film eventually opts to try and move things forward again. This sharp drop in pace means that all that initial hard-work is almost completely lost, the anticipation and intrigue fizzled out and any attempts at humour forgotten. However, the most frustrating thing to see is how the film gives the game away far too early, telegraphing its finale long before the events are even close to transpiring, making it a somewhat long wait until the inevitable finish. It's also at this point that the cast performances also show evidence of a gradual decline. While it's probably unfair to say that there is a direct correlation between the introduction of Ian Ray-White's (mob-boss?) Steve and the beginning of the film's bumpy road to the finish, the two events do appear to conveniently overlap. It may perhaps be due to the fact most of the recycled dialogue appears to be his, but where Edge and McGarry at least are able to instil some elements of light and shade to their roles despite this, Ray-White's is an unconvincing turn to say the least as the alleged hardman that honestly never appears even the slightest bit intimidating or formidable. Lyons' performance however is almost a complete contrast and despite having relatively little to do, manages to really sell his sticky situation with all the gravitas it deserves. Also, credit due where it is due; the film not only looks great throughout (in my opinion the whole piece is lit magnificently) but it’s slick editing, camerawork and use of score in the final scenes does allow the film to somewhat redeem itself in the closing moments. With a decent premise behind it, Betrayed as an idea is solid and actually starts and ends with some aplomb, unfortunately it’s the rather sizeable dip in the middle that stops it realising its true potential. #ChrisBuick

★★★ Directed by: Shane Ryan, Jason Ewert, Luc Bernier, Dustin Ferguson, Aaron Stielstra Written by: Tom Jolliffe, Dean Houlihan, Matti Soikkeli, Jason Ewert Starring: Clint Eastwood, Sarah Dyas, Tom Jolliffe, Chris Gabroy, Mitch Groethe Film Review by: Jason Knight Every now and then a motion picture arrives that is quite different. Awesomely Righteous and Radical is exactly that. It basically consists of several short stories with elements of science-fiction, horror, comedy, thriller and action. To give a few examples, one story involves a man and a few teenagers sitting around a campfire, and he tells them a story about a monster that lives in the woods. Another is about a virus outbreak that has brought humanity to the brink of extinction and a girl struggles to survive in a harsh, post-apocalyptic world. Another involves a woman who finds a wallet and is threatened by the owner. Then there is one about an unlikable man, who has an awkward therapy session and later comically takes drugs in a forest. Then in another a man takes revenge on the thugs who assaulted his wife. It would be fair to say that this film is made out of short films. And each of these films has its own cast and crew, who bring their own creativity to the project, making each story unique. Overall the performances give the impression that they could had been better and the camerawork can appear awkward at times. However this is not necessarily a negative thing, because this is not a feature that intends to take itself seriously. It appears to be paying homage to B-Movies. By having wacky performances, the picture becomes humorous and the unusual camerawork can be entertaining. All the stories are interesting and there is never a dull moment. There are scenes of action and gore and the soundtrack is great. There is even an awesome martial arts sequence that is directed and edited to great effect. As mentioned, this film pays tribute to B-Movies. To be more specific, that would be B-Movies of the eighties, judging by the elements seen in the film. The quality of the film gives the impression that it was filmed during that time. The film often appears scratched and damaged and the music heard thoughout seems to be from that period. And the narratives appear to are set in the eighties, due to the characters' clothing and the equipment they use, such as phones and video cassettes. The beginning even includes an advertisement that was filmed around that time, in which acclaimed actor and filmmaker Clint Eastwood warns people about the dangers of cocaine. Near the end, there is also a trailer of the 1991 B-Movie Samurai Cop, hinting that the short films are indeed honoring the B-Movies of that era. Another interesting feature is that before each story begins, the screen shows the icon: STOP/PLAY while the sound of a cassette entering a video cassette player is heard. Generally the film has 'eighties' written all over it. The experience of watching it is kind of like entering a time machine and going back to the eighties. Awesomely Righteous and Radical will most likely provide satisfaction to fans of B-Movies and beyond. A number of directors and actors came together and created a very interesting piece of work. It provides the audience with an entertaining experience, one that is likely to stay with them for a long time. #JasonKnight

★★★ Directed by #SachinAggarwal Starring #NavjeetSandhu, #DeepankarSingh Film Review by Rochelle Mclaren Directed by Sachin Aggarwal, Seher is a short film about a taxi driver (Deepankar Singh) who meets a woman named Seher (Navjeet Sandhu) as he aims to drive her to her destination without realising he would face some issues along the way. Watching this short film, the audience would learn about the Seher’s job which would make them wonder why she is going to her destination. The audience also learns some of the issues that the taxi man is going through which could make the audience question his lifestyle. The film was left on a cliff hanger which is a useful way to engage with the audience as it allows them to make assumptions on the relationship between Seher and the taxi man. From the beginning of the film, the audience gains an understanding on the taxi man’s character such as him having trouble with money which is noticed from when the audience first sees him interact with another character, the taxi owner. When watching the short film, the audience would question the taxi drivers background. During the film the audience meets the taxi driver’s brother where he asks to lend him some money, this can also question the taxi driver’s character. Seher’s characters comes across intelligent and confident this is noticed when the audience witnesses her fixing the taxi when it breaks down. This again can make the audience question her past, how does she know how to fix a car, would her fixing a car be relevant to the rest of the film? In the film, there is a use of a Hindi poem towards the end, the use of the poem enhances the effect on the scene. This can be a way to identify the director’s creativity. At the beginning of the film the camera captures the taxi driver in his flat from an angle where the audience can see the other flats next to him, which is as an interesting and creative idea for the audience to get a small understanding of the taxi driver’s character. Performance wise, all the actors did a good job with the way they portrayed their characters. When watching the film, the audience will learn that the director likes to focuses on how he can affect the audience with the decisions he makes when creating the film. The script was interesting as it would leave the audience with many questions. This film is worth the watch. #RochelleMcLaren

★★★★ Directed by: #AnnemarieLibbers Written by: #DirkGuntherMohr Starring: #DirkGuntherMohr, #NastassiaFirestone, #MatthijsTenKate Film Review by: Alexander Erting-Haynes Capo di Famiglia, which translates roughly to ‘Head of the Family’, is a Dutch drama written by Dirk Gunther Mohr and directed by Annemarie Libbers. The short film revolves around an Italian family that the audience are introduced to on the day of the youngest son’s wedding. It opens with the soon-to-be-wed couple approaching the altar as violin music plays gently beneath. As they say their vows to one another, the entire scene plays out in one long take and thus, the bar is set. From the very beginning, the film is beautiful both visually and aurally and it quickly becomes easy to forget that it was made on a relatively miniscule budget. Following the ceremony, the family begin their celebrations before Jimmy, the oldest son, is called into his father’s office and told that Vincent, the aforementioned youngest, will be taking over the role of head of family, much to Jimmy’s dismay. To elaborate any further would serve only to spoil some of the twists and turns of the plot, which finds a strange rhythm all of its own. It takes the form of a sort of slice of life piece, a slow-paced exploration of family relations and that family’s darker, unspoken underbelly. Yet, despite this slower pace, there is a central and urgent mystery in the narrative and a tension between the two brothers, Vincent and Jimmy (played here by writer Dirk Gunther Mohr and Matthijs ten Kate respectively) in every scene they appear together. Where this could have potentially resulted in a film that felt somewhat disjointed in pacing and tone, instead it allows the viewer a deeper understanding of almost every character while also subconsciously demanding an investment into the plot. With regards to the characters, every single one of them is performed with a clear passion and conviction. There is not a single dud throughout the whole cast, though there are some standouts. In particular, Matthijs ten Kate uses the subtleties of a stoic look or a fierceness in his eyes to perfectly portray Jimmy, the jealous older brother with a caged anger. There is also Dirk van der Pol, who plays the part of the initial patriarch, who has some real heavy-lifting to do when it comes to some of the bigger plot beats and pulls it off with aplomb. While it is easy to praise almost every aspect of Capo di Famiglia, it deserves noting once again just how gorgeous it so often is. From that opening long take to a wonderful sweeping shot as the two take to their first dance, the directing here is impeccable. As previously mentioned, it is this confident direction, matched with the romantic violin score that plays throughout, as well as the convincing performances that make it so easy to forget that this is a short film with a low budget. Furthermore, beneath this great presentation is a narrative that not only grips the audience with a central mystery but that is also told in a non-linear fashion, affording the viewer a further insight into the familial events that led up to the present. Capo di Famiglia is an accomplished, confident short film that will lure you in with its impressive visuals and keep you hooked with its intriguing and well told narrative that, thanks to a satisfyingly open ending, will undoubtedly leave you wanting more. #AlexanderErtingHaynes

★★★ Written & Directed by #OlivierAssayas Starring #PenélopeCruz, #ÉdgarRamírez, #WagnerMoura Film Review by Lawrence Bennie Writer-Director Olivier Assayas’ Wasp Network is based on the 2011 book The Last Soldiers of the Cold War by Fernando Morais. The film premiered at the Venice Film Festival in September 2019 and, after screenings at other major film festivals, has now found its way onto Netflix. Pilots René González (Édgar Ramírez) and Juan Pablo Roque (Wagner Moura) leave Cuba for Miami in the early 1990’s. Initially, the pair work for the Cuban American National Foundation (CANF) who act against the Castro regime using terrorism. However, Juan introduces René to a secret Cuban organisation, the Wasp Network. René then becomes a spy to observe and infiltrate the anti-Castro organisations operating from Miami. As he has proved before, Ramírez makes for a likeable but largely lifeless lead. Also, Moura is similarly dull and lacks the presence Ramírez at least has in his favour. Instead, the pair are upstaged by a charismatic supporting cast with Penélope Cruz, in particular, shining as René’s long-suffering but unfaltering wife, Olga. Cruz brings an effortless naturalism to her role and her performance is the best thing in Assayas’ film. Another effective turn comes from gorgeous, upcoming Bond girl Ana de Armas, who plays Juan’s love interest and, very soon, his wife (also called Ana). The consequences and impact on the relationships of the two women make for a quietly powerful contrast. Olga is left to fend for her two children, working through a series of menial jobs towards the goal of bringing her family back together. All the while, Olga and her daughter (Carolina Peraza Matamoros also earning a thumbs-up) have to deal with the uncomfortable accusations of the defected René's treachery. Elsewhere, Juan heroically swims across Guantanamo Bay, achieves celebrity status and enjoys a “wedding of the decade” with the glamorous Ana. However, things end up playing out very differently. After years of enduring hardship, Olga learns that René is no traitor, but a heroic life-saver, and is reunited with her husband. The luxury-living Ana wakes up to find the media descending on her home and discovers that Juan has, unexpectedly, returned to Cuba and revealed his role as a double agent. When asked on-air by a reporter what he misses most about Miami, Juan simply replies “My Jeep Cherokee”. Ana gets no mention whatsoever, while Olga reunites with a tearful René when she finally arrives in Miami. With its story of Cuban spies in Miami, enigmatic title and action regular Ramírez (recently starring in The Last Days of An American Crime) along with A-lister Cruz receiving top billing, Wasp Network could forgivably be mistaken for an exciting, popcorn thriller at the outset. Playing close to the facts, and the personal circumstances surrounding events, Assayas avoids the sensational and delivers a grounded, journalistic drama. Indeed, the director achieves an almost documentary-like quality throughout his film. Even the more dramatic events (the shooting down of two aircraft and Salvadoran terrorist Raúl Cruz León’s bomb-planting in Havana hotels) are recreated with a simplicity that makes them seem unnervingly real. Fans of overblown action-thrillers admittedly won’t find many thrills in Wasp Network. Those searching for something more down-to-earth, and true-to-life, may find just what they’re looking for. #LawrenceBennie

★★★★ Directed by: Pascal Payant Written by: Pascal Payant Starring: Abbey Seigworth, Mark Markoff, Matthew Bilodeau, Challen Cates Film Review by: Jason Knight Stolen Season is an indie film written and directed by Pascal Payant and starring Abbey Siegworth, Mike Markoff, Matthew Bilodeau and Challen Cates. The plot focuses on a woman as she attempts to bond with a teenage boy, who she believes is her son that she was forced to give away for adoption when he was born, and the effects that this has on the people around them. Ariane Longwood (Siegworth) is a therapist, who one day provides assistance to a mother named Kristen Webb (Cates), who informs her that she has just told her seventeen-year-old son Logan (Bilodeau) that he was adopted and he is struggling to come to terms with the news. Having being forced to give a son up for adoption just after giving birth seventeen years ago, due to her past drug addiction, Ariane begins to suspect that Logan might be her son. She has therapy sessions with him and at the same time she follows him around town and looks at pictures of him on the internet, believing that he resembles her. She attempts to bond with him, much to the disapproval of her well-meaning brother Nathan (Markoff), who insists that she leaves Logan alone. Ariane spends more and more time with Logan, even goes for fun activities with him, as if she was his mother, becoming convinced that he is her son and ignores everything else in her life. Nathan goes to his sister's home and discovers that she had been celebrating her unknown son's birthday every year, by writing birthday cards and keeping recorded videos on her computer, wishing him a happy birthday. The screenplay is very well structured. Payant creates characters that are interesting and believable and places them in scenes that involve well-written dialogue and actions. The ending also leaves the viewer in suspense, wondering whether Ariane will attempt to contact her son or not. The film is gifted with great performances. All the protagonists successfully bring their characters' emotions to life. Whether a character is feeling joy or sorrow, the actors show the feelings superbly. Particular praise should go to Siegworth, who is outstanding in portraying a traumatized woman who is struggling with losing her son and desperately wants to bring him back into her life. The main theme of the film is family values. The narrative explores mother-and-son relationships, the way Ariane attempts to get to know Logan as a mother and Logan's relationship with his adoptive mother and relationships between siblings with the relation between Ariane and Nathan. The main message seems to be how important it is for a family to stay together, how much a parent needs their children. Stolen Season is a remarkable motion picture. A beautifully shot film that provides the audience with a touching and thoughtful experience. #JasonKnight

★★★★ Stars Directed by: #RebeccaKahn, #AbhishekPrasad Written by: #RebeccaKahn, #AbhishekPrasad Starring: #TerryHe, #SusanaBorosic, #KingsleyNgadi Film Review by: Alicia Moore Who Among Us presents itself to its audience in the form of an ultra-modern game show, watched by billions around the world. The contestants participate in a range of different challenges to eventually conclude by deciding correctly which individual involved is the hidden android amongst the rest of the human contestants; the winner is then awarded $500 million. This short film is centred around the grand finale of said game show, focusing on the last remaining contestants – Seven and Drake. Throughout the duration of the film, mind-twisting events begin to unravel to reveal the show’s own hidden truth. From the beginning of the short, the audience is immediately captivated by brightly coloured settings and enticing cinematography. The colours bring forth a sense of joy and pure entertainment, exactly how you would envision a game show to be, presently and further into the future of television. These bursting colours perfectly contrast with the uncomfortable atmosphere that the show’s intention represents, as well as the invasive dialogue the host, Dr. Nadio (played by Terry He,) speaks towards the contestants without possessing any remorse. Cinematographer, Mike Onley, used this open contrast to his advantage and created a naturalistic game show style whilst still playing with the element of the uncomfortable energy felt throughout the film. The performances are also a wonderfully striking aspect of this short film. Terry He (Dr. Nadio) and Susana Borosic (Seven) in particular show great depth into their character’s personalities. Susana Borosic’s ability to express genuine fear and confusion in her identity was amazing; the emotions didn’t feel forced or over acknowledged, they simply flourish from the personality she built up from the starting point for her character. As an audience member, I was filled with many reactions to her breakdown, I felt sympathy for her and also matching confusion in her identity as well – I was stunned at the fact that I was able to share her seemingly bottomless uncertainty and bewilderment. Terry He presents his host character as having a programmed, over-structured presence, which completely makes sense as his true self is shown at the climax point of the film. His stance in each scene is uniquely unsettling and comes across quite apathetic. The audience are faced with a very different personality to dissect compared to the contestants, adding an interesting level to the short. It is almost as if the character doesn’t have a personality at all, like he has been created for that game show specifically and not to live within our world freely… and all inquiries alike are answered by the end of the film. The most praise-worthy element of this short film is the writing itself. The exploration of the subject being addressed through the game show theme is its greatest possession. The show packs a futuristic presentation but still ties in with present issues. The writers and directors, Rebecca Kahn and Abhishek Prasad, intended to show how the media and pressure from a wide audience can cause a person to doubt what they know for certain to be true, such as their own identity and place within society. Current reality television is seen to specifically exploit and bend the truth in this way – our humanity understands and recognises the damages that media can cause but it is also hard to step away from, especially in an environment so consumed in media and forever advancing technology. Who Among Us uses this relevant issue and places it in a future situation where advanced bots become indistinguishable from humans. It is unclear if the game show’s host is following a script or instead manipulating and pressing down on the contestants for his own sense of power; showing the dangers of different situations and levels of ‘superiority’ in the public eye. “Are we just a glitch away from disaster? Or are we a glitch away from a great discovery?” Who Among Us is an exciting and thought provoking sci-fi based short film. Each viewer will be left with a lot of inquisitive attention towards how our future may progress to be, as well as how our own reality is dealing with the technology and knowledge that we already have. Watch the entire free film below!

★★★ Directed by: #BarnumNixonSmith Written by: #JoshLambie Starring: #KirstenMaguire, #CalumVerrecchia, #DaveAlbany Film Review by: Darren Tilby Set over seven months, Mug Shot follows bored and dejected police officer Karen Baker (Kirsten Maguire), after she is reassigned as a processing officer when an injury leaves her unable to perform her usual duties. But when one of her regulars, a charming and seemingly misunderstood repeat offender named Billy (Calum Verrecchia) begins to show an interest in her, their relationship begins to grow, shifting into dangerous territories. Solid performances from a small cast of three with interesting-enough characters run through this short tale (around ten minutes) of deception. Sadly, all the characters ever were was ‘there’. At no point did I ever feel emotionally invested in any of them: they were there, and I enjoyed watching them, but they couldn’t get my sympathies, and I didn’t really care about what happened to any of them by the end. I also found that Billy’s actions seemed to lack motive. Without trying to give anything away—why did he do what he did? His efforts, seemingly deliberate, defy reason. Over seven months, Billy was arrested on four different occasions: May, June, October and December. He clearly hasn’t been spending much time inside, so what exactly is his end goal here, and why? The narrative here gave me serious Ex Machina vibes, only with the gender roles reversed and considerably fewer robots! This is never a bad thing, of course, as it’s a brilliant piece of science-fiction cinema. And while Mug Shot lacks the same level of character engagement, the underlying idea is handled incredibly well. The story flows flawlessly from beginning to end, and the changes in chemistry between the characters is brilliantly displayed and thoroughly convincing. Aesthetically, the movie is well made, at least for what’s required here. A rather minimalist score from George Oughton places emphasis on the conversations between Karen and Billy, and some concise editing (Simon Fox) allows us time for contemplation before we’re whisked away to the next scene. But it was perhaps Ambroice Leclerc’s cinematography which impressed me the most. It’s a terribly drab and bland affair, and the police station has no discernable distinction from one room to the next. Not the sort of thing I usually look for in cinematography, if I’m honest. Here, however, it’s a huge boon, as it brings out that sense of alienation, melancholy and ennui that’s so important to our understanding of Karen’s motives and the decisions she makes. It’s a shame then that I couldn’t get on board with it more. And, if I’m honest, I’m not even sure why I couldn’t. It’s a well-made piece of work, made by incredibly competent people. I just couldn’t connect to the characters enough or understand Billy’s endgame at all. And that’s so important in a film such as this. As a consequence, it ends up feeling a little flat by the end.

★★★★ Directed by: #EllisEFowler Written by: #EllisEFowler Starring: #EllisEFowler, #EsterJiron, #JohnFThomas Film Review by: Alexander Erting-Haynes #Anniversary is a sci-fi drama set in the not-so-distant future that focuses on a nervous Eric Fuller on the morning of his wedding day. However, what at first appears to be a case of pre-wedding jitters soon reveals itself to be something much more, as Eric makes a difficult phone call to end the affair he has been having with a secret lover. Elaborating any further on the plot would serve only to deny #Anniversary one of its strongest hands. Despite coming in at just over ten minutes, the narrative is full of little revelations and twists that, due to the nature of the semi-futuristic setting, are often difficult to predict. This successful storytelling is helped massively by an impressive script, penned by director and star, Ellis E. Fowler. It constantly fluctuates between snappy efficiency and powerful emotional beats that consistently hit the mark. Tackling topics such as love, loss, letting go and the effects technology may go on to have on our relationships, the short film takes its premise and explores it as fully as possible within the constraints of the time and budget. However, a good idea and script can so easily fall apart if the performances don't sell it. Fortunately, that is not the case here; Fowler does a spectacular job portraying a guilt-ridden man who has to make a painful decision. The real star of the show, though, is Ester Jiron who plays the secret lover, Sarah, with a real conviction. Tears build in her eyes, her voice strains as she shouts, every emotional beat of the story is truthfully sold by her fantastic performance as it bounces off of Fowler's more reserved, sombre acting. These scenes are propelled even further by a powerful original score, also produced by Ellis E. Fowler. The music swells to accompany the most affecting moments and there is an instance towards the end of the film where some real originality is deployed in its method of invigorating the audience. If there is one minor complaint to be made about the film, it is in the execution of some of the more high concept aspects. Taking place in the near-future, the audience sees Eric make the phone call using a digital watch that projects a hologram to form a video call. While the special effects here are certainly impressive, it is in the explanation of the in-universe rules that a very slight issue arises. In having to sell a relatively high concept to the audience in a short amount of time, some exposition does pass through in a way that doesn't feel entirely natural. This, however, is only a very small gripe and doesn't serve to undo any of the otherwise brilliant work that has clearly been put into the film. #Anniversary is a surprising short film, especially when considering its runtime. It confidently introduces the audience to its characters and world, provides effective twists along the way and looks and sounds great while doing it. By now, the dystopian sci-fi story has been told a thousand times and the market has become over-saturated. #Anniversary, however, is proof that talent and quality will rise; Fowler has created an original and gripping film that wouldn't feel out of place nestled away in a season of Black Mirror. #AlexanderErtingHaynes

★★★★ Directed by #Barry Avrich Starring #DavidFoster #BarbraStreisand #JoshGroban #QuincyJones Film Review by George Wolf Imagine being so successful at something that it bores you. After decades in the music business, millions of records sold, 16 Grammy awards, scores of nominations, and multiple careers launched, improved or saved, that’s where legendary producer David Foster found himself. His new passion is Broadway, where he hopes to launch a hit musical and maybe even check off the the T in EGOT (with a Tony award). This career shift has seemingly inspired Foster to look back, talking at length to director Barry Avrich for David Foster: Off the Record. With an introductory promise to Avrich to “be over your shoulder the whole f-ing way,” Foster is very definitely on the record. The ego is healthy but understandable, and some frank self-assessment helps Foster come off as a complex, demanding, uniquely talented charmer who can be a bit of a Richard. His perfect pitch was revealed during a self-described “perfect childhood” in Victoria, B.C., and by the time he was a young man was out-earning his parents through a variety of music gigs. After a year in London, he landed in L.A., became one-hit wonderful with Skylark (“Wildflower”) in ’72, caught the ear of Streisand in a recording session, and the rocket ride began. Obviously, the man’s got some great stories. What Avrich has is a great editor in Eugene Weis, and together they set the perfect pace for a film about a guy who admits to only feeling comfortable in the fast lane. Weis supercuts interview footage to create lively “conversations” between Foster and his colleagues, while Avrich lingers on Foster when he listens hard to one of his creations (such as Celine Dion’s “All By Myself”), drinking it in and relishing the effect. Even if you don’t love all the tunes (and it’s clear members of Chicago aren’t exactly big fans of Foster’s bombastic 80’s ballads that rescued their career), it’s hard to resist the engaging nature of the storytelling. And they just keep coming, from crashing a party at Streisand’s and fighting over The Bodyguard soundtrack to saving a broadway star’s life by almost killing him and helping launch reality TV. But while most of the film is gracefully laced with Foster’s honest introspection on his multiple failed marriages and concerns about being a good father, the final act wavers with a more glossy, choreographed concentration on his personal life. Avrich recovers with a parting nod to Foster’s new focus on Broadway, the unconquered quest in the city he doesn’t enjoy. But hey, at least he’s not bored. Thanks to what’s on the record in Off The Record, you won’t be, either. #GeorgeWolf