★★★★ Written by #SteveHerold #JamesLPalmer Directed by #SteveHerold Starring #KevinKolack #SabrinaGennarino Film Review by Jasmine Holly Bullock Death of an Umbrella Salesman is a 2019 short film, written by Steve Herold and James L. Palmer. The umbrella salesman in question is Stanley Grimp, although he doesn’t enjoy his job nor is he very good at it. We see Mr. Gimp go door-to-door desperately trying to make a sale. With each door shut in his face, the stronger the desperation grows. The film is seemingly set in the modern day, judging from the use of mobile phones and online shopping, yet the rest of the film feels very vintage. Initially, I thought his film was set in the 40s or 50s, this was mostly likely due to the way some people speak and more so because of the black and white filter over the film. For some reason, this filter was very refreshing to see, and I appreciated the old-school feel of the film. Steve Herold also directed this film, whilst Jessica Gurney and Logan Hodson were directors of photography... so I’ll give the credit to these crew members for the great shots and locations used for the film. Some of the locations used were really eye-catching, such as the walls with graffiti, and usually relevant. Even the regular locations were still perfect for the moments in which they were used. I also really liked the shots used; they were just fun and varied, especially the first scene which consisted of various shots of doors being slammed into Stanley Grimps’ face. This is definitely a farcical film; which becomes more evident as the film goes on with the use of slow-mo shots, as well as the obstacles that the salesman faces. Admittedly, some things are over the top cringe-worthy, but most of the humour is actually humorous. The main cast members were Kevin Kolack and Sabrina Gennarino, respectively playing Stanley Grimp and Miss Betsy May Morgan. The character of Stanley Grimp is such an unfortunately pathetic one, that you can’t help but sympathising with him. Kolack had mostly good comedic timing and was able to pull off poor performance skills during a scene where he makes a bad sales pitch. Being able to convincingly perform an intentionally bad performance ironically requires a lot of acting skills, so well done to Kolack! Gennarino’s southern accent was very charming and she certainly played the role of a polite southern lady very well. Aside from one scene that played out to the sound of some sort of marching drum roll instrumental, the soundtrack of this film mainly consisted of a single little ditty that was produced by John J. Yohimbe. This piece, also an instrumental, was very simple but this worked so well with the mundane and disappointing events occurring for Mr. Grimp. Although, during more serious moments, the light-hearted music became uncomfortable to listen to; I don’t think this was a bad decision, sometimes the stark contrast between two elements of a film draw more attention to the scene and what could happen. It keeps the audience engaged and on the tips of their toes. Death of an Umbrella Salesman won Best Screenplay at the Sydney Indie Film Festival and was awarded with a Special Merit at the Fort Worth Indie Film Showcase too, this doesn’t surprise me. I really enjoyed watching this short, the shots were engaging and the story made you wonder what was going to happen next. Although, the film has a tendency to make light of some serious and sensitive themes, this could be considered distasteful to some viewers. Nevertheless, overall it was a skilfully made production and I do recommend giving it a watch! #JasmineHollyBullock

★★★★ Directed by: John Giorgio Written by: John Giorgio Starring: Erika Chase, Hanna Schwab, Sydney Silver, Tabitha Rowan Film Review by: Jason Knight Where the Forest Meets the Field is a short film directed, written and produced by John Giorgio. The plot focuses on a young girl named Anna (Erika Chase), who appears to be tormented by the suicide of a friend, Shelsea (Tabitha Rowan). The film starts of as a mystery, showing close ups of disturbing drawings and part of a letter written by Shelsea. The film then cuts to a scene in a forest where two female children are having a picnic, while another person is seen in the distance, whose face is out of view. The film then cuts to Anna waking up suddenly, apparently after having a bad dream. A television news broadcast reveals that a girl has been found dead in the woods. Her father then goes to work and Anna has a brief argument with her mother. She then meets two female friends, one of which is called Sara (Sydney Silver), at a coffee shop, where it is revealed that the name of the deceased girl was Shelsea and that she hung herself. The film again cuts to images of the letter and a forest. Later the three girls are walking along a neighbourhood, when the two friends disrespect Shelsea, causing Anna to argue with them and walk away. In the next shot she is suddenly seen alone in the forest. Later Sara goes to visit Anna at her home, only to discover that she is not there. Instead she is greeted by Anna's mother and the two of them go to her bedroom, where they find disturbing drawings (the ones seen previously) and the letter from Shelsea (now revealed to be addressed to Anna), which appears to be a suicide note, due to abuse by Anna's father. The film cuts back to the picnic scene, showing the person in the distance to be Anna. She then commits suicide by hanging herself. Later on another news report reveals that Anna's father has been arrested for child abuse. The final scene shows Anna waking up suddenly, just as she did at the beginning of the film. Where the Forest Meets the Field is a film that communicates information to the viewer primarily through images instead of dialogue. As mentioned above the narrative begins as a mystery with shots of disturbing drawings, the letter by Shelsea and the two girls having a picnic. As the story progresses, it reveals how all these are connected. The television news reports a girl found dead in the woods. Later in the coffee shop it is revealed by the girls that the deceased girl was Shelsea and that she hung herself. When Sara and Anna's mother find the drawings and the letter in her bedroom, as the letter was addressed to Anna, it is implied that the two were close friends, that Anna's father had done something bad, and that the drawings were done by Anna, also indicating that she was troubled and deeply moved by her friend's death. Then in the shot where the two children are seen again having a picnic, this time Anna's father is shown assisting the girls, and the camera pans up, revealing that Anna was the person in the distance. This is a key scene in the film because it indicates that the two girls are younger versions of Anna and Shelsea and that the father had abused them in the forest, and by having older Anna present there, this becomes a sequence that overlaps the past with the present, because in the end it is a memory of Anna's. The film then shows Anna taking her own life and the news report of her father been arrested. With the exception of the revelation that the dead girl's name was Shelsea, which is revealed verbally by the girls in the coffee shop, this film guides the viewers though the story with the use of visuals, making them pie the information together in order to make sense of the narrative. The film's main protagonist is Anna, supporting characters are her mother and her friend Sara. The antagonist appears to be her father, who (by taking the contents of the letter into account) appears to have abused both Shelsea and Anna, resulting in Shelsea's suicide and reducing Ann to a sad state. There are two main plot points in the story: the first takes place in the coffee shop when Shelsea's name is revealed and as the girls disrespect her, Anna snaps at them, indicating that the two of them were close. The second plot point takes place in the bedroom, when the drawings and letter are found. The letter suggests that Anna and Shelsea were abused by the father and that Shelsea intended to take her own life by writing that she will meet Anna where the forest meets the field, as she hung herself in the woods. The disturbing drawings, which appear to portray sketches in the likes of a monster attacking a little girl and words repeating 'kill it', suggest that Anna was deeply traumatised and therefore decided to choose the same path as Shelsea. Interestingly the final scene which shows Anna waking up could mean that is was all just a bad dream. As stated this is a film that relies mostly on images to tell the story and therefore with the final shot the audience seems to have the power to decide whether what they have just witnessed was reality or just a dream that Anna had. In conclusion Where the Forest Meets the Field is filled with strong performances, a dramatic, powerful score and a cleverly written narrative and editing that provide the viewer with a pleasant, thoughtful experience. #JasonKnight

★★★★ Stars Directed by: #NeoBryceLargo, #CrisJohnDavidManero, #IvanRomarCabanial Written by: #NeoBryceLargo, #CrisJohnDavidManero, #IvanRomarCabanial Starring: #AndrewTenajeros, #DianneCalamba, #LizaSaludaga, #NeoBryceLargo Film Review by: Alicia Moore You must practice what you preach to avoid the possible consequences of internal and external conflict. Are we truly in the presence of karma as we walk among others? What Happened To Andrew Magsilang is a short film centred around a modern-day ‘vlogger,’ Andrew, and his film crew. The crew in working relations with Andrew recite the story of his internet fame and sudden disappearance following unusual events through this documentary-style production. Not only does this style show maximum individuality with its approach; it also has the ability to appeal to a wide range of audiences. It has a modern perspective and so, captures the attention of the younger generation of film lovers. But, because of its progressive nature, it draws in the attention of an older generation of film lovers who can find newfound interest or perhaps nostalgia in its cameraman/interview points of view. The film carries a general sense of ‘found footage’ due to its plot and obvious cinematography decisions which combines its unique properties. The acting standards within the film are extremely high. It is of great importance when making films of this style that the acting is realistic and flows appropriately throughout – this is expertly achieved by everyone involved. From start to finish, each character has a distinctive stance within the plot and of their views on the occurrences being discussed. There is never a dip in the story; it continues to add layers of suspense which is then wonderfully supported by the actors’ talent. Andrew in particular, played by Andrew Tenajeros, stands out within the plot; not only as he is the main character but because Tenajeros is able to fully place himself into the role without the need for exaggeration in characteristics. Andrew is shown as a fame-hungry individual, he wants all attention on him and expects all of his needs and wants to be met immediately by his crew or others surrounding him. Tenajeros is not stifled by the expected standards of the performance and presents the character’s personality perfectly. His greed is believable and not over the top, following through with the realistic side of the film. As briefly mentioned, the plot does not have any dark spots. The script builds layers to an exciting climax and leaves the audience wanting more to be revealed about the life of the characters. Linking to this, characterisation is cleverly designed through each character’s words. Following the documentary-style technique, the characters do not have room to talk about themselves other than their occupation and how they were closely associated with Andrew. This signifies that each sentence a character speaks will present specific personality traits to the audience. Viewers become accustomed to each character’s presence quite quickly during the course of the film due to its stunning writing. Overall, What Happened To Andrew Magsilang brings attention to a global problem; single-use plastic and the exploitation of good deeds for fame. Through film artistry, attention is brought to how single-use plastic harms the environment, as well as how a sense of false superiority can harm the environment in another spectrum. The consequences of such are bestowed upon the audience in a marvellous mass of creativity. I’m not surprised at all that this short film has won awards thus far, it truly deserves recognition.

★★★ Written and directed by #JörnThrelfall Curated by #BFI London Film Festival for #WeAreOne: A Global Film Festival Short Film Review by #HannahSayer Jörn Threlfall’s #BAFTA nominated short film Over is a unique affair, as it presents a crime scene in reverse chronological order. A quiet suburban neighbourhood is captured in nine wide shots, as each shot works backwards to the scene of the crime, starting from 11:45pm to ending at 7:45am on the same day. Threlfall’s experimental angle engages the viewer in a new and exciting way by not allowing the incident that has taken place to become the film’s main focus. Instead, a quiet suburban street takes centre stage. The film opens on the aforementioned deserted street. Everything seems normal, however there is an eerie quietness emanating from the darkness. The scene changes to 7:30pm, earlier that same evening, when a passerby notices that flowers are laid out on the side of the road to mark that someone has died. The scenes continue in this way, as fragments of information are laid out to the viewer by the police and members of the public at the scene. Threlfall’s filmmaking style in this short feels detached and procedural, leaving the viewer completely in the dark but engaged, as the scenes move from the street to static shots of evidence bags from the crime scene. One piece of evidence hints at something more sinister than first expected, as the label reads ‘Evidence M. Victim, right and left EARS’. The camera never stays in the same position, so Threlfall captures the crime scene from different angles throughout the day. The viewer feels distanced from the incident through the use of the wide shots, and filming from all angles like a CCTV camera positions the viewer as both detective and voyeur. By also choosing to have no specific characters in the short, just passersby and police at the crime scene, Threlfall further reinforces the idea that the viewer is intruding on this scene. The film succeeds at defying all expectations, as the unbelievable incident that has actually taken place would have been impossible to predict. For a quiet film, the use of the car alarm sounding repeatedly like a deafening siren at this moment of revelation is unsettling. This is an incredibly effective use of sound to signal how overwhelmingly bleak the story has become. This stands in stark contrast to the preceding scenes in the film, where Threlfall has expertly honed in on distance, quietness and order. Over depends heavily on the viewer not knowing the revelatory conclusion beforehand, making it hard to imagine a rewatch of the film being as engaging. Threlfall’s meticulously slow filmmaking demands patience and the forced distance from the subject does leave the viewer feeling cold and removed. However, this further reinforces the voyeuristic theme established throughout and the coldness does feel deliberate. Overall, Over succeeds in using the reverse chronological timeline in a way which is effective and engaging and the film’s surprising conclusion makes it one to seek out. Over is now streaming on YouTube as part of We Are One: A Global Film Festival

★★★★★ Written & Directed by: #DerekWayneJohnson Documentary Film Review by: #ChrisBuick Rocky is a film whose legacy is carved indelibly into cinema legend. Winner of three Academy Awards out of ten nominations, grossing over $225 million upon its release in 1976, not to mention creating one of the most iconic movie characters of all time, it all started with just one man who had nothing to his name except a dream and the determination to make it a reality. That man being of course the only and only, Sylvester Stallone. Now, through a collection of intimate and mostly unseen archive footage, narrated by none other than the Italian Stallion himself, Becoming Rocky (40 Years of Rocky: The Birth of a Classic in the US) is a fantastic celebration of one of cinema’s most respected films and a wonderful insight into the making of what might be the greatest underdog story ever told, both on and off the screen. Prior to this project, director Derek Wayne Johnson had also produced and directed the 2017 documentary John G. Avildsen: King of the Underdogs, a film celebrating the life and works of the late and great director including of course Rocky (Avildsen personally took home one of those Oscars after winning Best Director), so Johnson is no stranger to the world of cinema’s most famous boxer. In fact, it was Stallone who hand-picked Johnson to also helm this project, evidently seeing the same passion for the movie that he has. And it’s a fire that clearly still burns bright after all these years. As the old footage plays, we find ourselves captivated by Stallone’s dulcet tones as he talks us through what we’re seeing, often getting lost in his own thoughts like he’s seeing it all for the first time too. It’s at times almost mesmerising, to the point where you get the sense it’s just the two of you sitting in a couple of big comfy chairs with an old projector running, while Stallone beautifully reminisces about the character he describes as his “best friend”, and the feeling you get from the way he talks about the film makes it incredibly hard not to become at least a little bit emotional. There are a lot of great details shared throughout, some that are maybe completely revelatory to even the most ardent of fans, others probably less so. But even if you do already know that Rocky was made on a considerably meagre budget of just over a million dollars (that, by the way, means it gained a worldwide percentage return of over eleven thousand percent), or that it was one of the first ever uses of the Steadicam shot (now a firm staple of film production), or that Stallone wrote the script in just three and a half days, there is most likely going to be something else here for you to discover. But ultimately, it doesn’t matter. Becoming Rocky isn’t really concerned about what you know about the film, it cares what you feel about it. Whether you’ve only seen Rocky once, maybe twice or you’ve re-visited it a thousand times or more, Becoming Rocky has something for everyone and feels like one of the sweetest love letters imaginable to an undeniable classic of cinema history. And if for whatever reason you haven’t had the privilege, you know what to do. #ChrisBuick Watch the trailer here:

★★ Directed by #DannyGibbons #AlexScott Starring #ShianDenovan #PhilipGyford Film review by Nathanial Eker Indie horror and the city of London go together like peas and carrots. Perhaps its the ready-made mise en scène, characterised by dingy lighting, urban sets, and darkly dressed protagonists. Or perhaps its the years of spooky stories and urban legends that have bestowed it a mystical quality that many a British horror filmmaker have attempted to adopt as part of their raison d'être. Last Dance looks to capture the horrors of walking through London after midnight by delivering genuine scares; 'jump' or otherwise. However, a lack of narrative focus courtesy of a misplaced adoration for its internet-folkloric source material irreparably damages what could have been a wonderfully creepy short. Daisy walks home from a night out alone to find her parents missing and the house deserted. After receiving terrifying pictures of herself in the shower, she runs back into the dark night, before encountering a spectral dancing man with an eerie smile. Directors Danny Gibbons and Alex Scott want the underlying tragedy of Last Dance to be the disturbingly familiar story of an innocent girl missing, taken by an unseen force. However, the true villain here is a poor script that takes its Creepypasta roots too literally and fails to craft anything resembling a three-act structure. Things happen without rhyme or reason and for most of its runtime, the film can't decide whether its a supernatural haunting or a grounded, gritty stalking. While technically impressive, fast-paced editing and an obscuring depth of field can't save Last Dance from its own mediocre storytelling. However, there is an unnerving build of tension throughout, as Gibbons and Scott certainly know how to establish an atmosphere. Slow pans of the camera and a frighteningly effective soundtrack utilising high-octave stringed instruments hint at a talented crew, making it all the more frustrating that the film never builds to anything. There are hints that Daisy may be in some kind of hell-scape, as a short radio bulletin tells us that she's been missing for three days, but this is a reach as long as the dancing man's unnaturally wide smile. Spoon-feeding expository information is one thing, but the audience needs more to work with than this. Then we get to the man himself, waltzing around a quiet London park with a horrifying grin and an alarming penchant for the 'clown charge'. Yes, he's creepy. Yes, Philip Gyford delivers a stunning performance purely through abnormal physicality. Yes, this situation would be undeniably horrifying if one encountered it in Hyde Park at 3am. But none of this matters when we have zero alignment with Daisy. Who is she? What are her thoughts, fears, and regrets? The character isn't aided by a weak performance by Shian Denovan who serves as an adequate lead, but fails to convincingly sell what little dialogue she's given. While the filmmaker's obsession with telling this urban legend as faithfully as possible is problematic, their love of canonised classic horror shines through this portrait of darkness. Intertextual references are aplenty and are skilfully placed to not becoming distracting, while giving the initiated few the chance to excitedly recognise their favourite horror iconography. While many will spot the reverent cues to Hitchcock in a certain shower scene, the lighting department's shadowed homage to Nosferatu will likely go missed by the layman viewer, while simultaneously giving the film's imagery a welcome splash of german expressionism. Undeniably, Last Dance reeks of misplaced adoration for its source text. Creepypastas are not seen as high art for a reason; they are by their very nature amateurish, and while a skeletally thin man or one with an unnaturally large grin may be striking images, they require a spectacular screenwriter to craft a convincing narrative around them. See 2018's Slender Man for an example of how not to adapt internet folklore. It feels spiteful to compare this indie short to that film, as with a budget in the millions it had no excuse. However, as much as I liked the slow build of Last Dance, I was ultimately left befuddled and frustrated by its conclusion; and I've read the source material! Ultimately, it's an excellent showreel piece for its cinematographer, composer, and editor, but when taken as a whole, it fails to tell a convincing story. #NathanialEker

★★★★ Directed by: #SteveReeves Written by: #SteveReeves Starring: #LainyBoyle, #NigelBoyle Film Review by: Darren Tilby Like everyone else at the moment, Fiona and Martin are two people stuck in an endless cycle of good days and bad days; days of being productive and days spent binge-watching TV; days you feel like the world is your oyster and days you can hardly bring yourself to get out of bed. On one of those better days, Fiona (Lainy Boyle) has dragged herself out of bed, pulled on her sportswear and braved the horrors of the virus-ridden city streets for her daily exercise. Unfortunately, so has Martin (Nigel Boyle) and within seconds of leaving her apartment, Fiona accidentally runs out in front of him. The two collide, and Martin sprains his ankle. Fiona, feeling guilty about causing the accident, invites Martin into her apartment to rest his leg. Suddenly, in what should have been 10-minutes of small talk, we see the pair opening up to one another as they contemplate the current situation. There’s very little in the way of characterisation done in the first half of the film - we don’t even get to see their faces. Who are they? What do they do? Who do they know? But none of it matters. The viewer feels almost instantly connected to both Fiona and Martin, regardless. Why? Well, it comes down to empathy. Take a look at Christopher Nolan’s war-epic, Dunkirk. A film with hardly any dialogue and almost zero character development. Yet it doesn’t matter, because we connect with its characters on a basic human level. These are people, like you and me, going through something awful; something real. And it’s precisely the same thing in Unmasked. My main issue with Unmasked is that, tonally, it’s a little all over the place. We constantly flutter between this sort of quiet, understated humour and moments of deep and emotional introspection. And, in all fairness, it does both of these things rather well. It’s just that switching between the two states as often as we do, can leave the film seeming somewhat confused with how it wants to present itself - particularly in a movie which runs at only around 12-minutes in length, anyway. What never gets muddied, however, is the film’s aim; its intent. Unmasked serves as an examination of loss, wrapped up in a Covid-19 lockdown skin—and it’s a damn fine one to boot. Whether it’s the loss of something significant like a marriage or merely missing the ability to hug another person, Ian Anderson brilliantly accentuates the atmosphere with his superbly framed and intimately designed cinematography, bathed in a beautiful muted blue hue. Unmasked – the “shot at a safe distance” short film – is solid, if slightly messy, filmmaking. But while it’s a little erratic, it’s also a well-written and poignant piece on an important – sadly ongoing – topic, that’s mostly held together by our connection to its characters.

★★★★ Directed by #MouniaMeddour Written by #FadetteDrouard #MouinaMeddour Starring: #LynaKhoudri Film Review by George Wolf Though it carries the mantle of “inspired by true events,” Papicha works best on metaphorical levels. In her feature debut, director and co-writer Mounia Meddour profiles young women who lean on their friendships amid growing oppression in their homeland, skillfully revealing themes of identity and freedom in the process. Lyna Khoudri is positively electric as Nedjma (aka “Papicha”), a university student in late 1990s Algeria. Her passion is fashion design, which is in sharp contrast to the extremists who demand that females to cover up and submit to archaic methods of control. As terrorists gain more leverage in the Algerian civil war and the dangers of resistance become more stark, Nedjma is determined to unite her fellow classmates in brave defiance. They will stage a forbidden fashion show, taking the fabric from their required haiks and reworking it for beautifully revealing new designs. Meddour logically paces the growing passion for the show alongside the increasing threat from religious extremists. As the creeping march of oppression comes closer, Nedjma’s talent as a designer, and as an organizer, becomes an obvious (but effective) metaphor for the women struggling to retain any measure of control over their own bodies. This layer of “defiant art” may bring to mind various other films – most recently And Then We Danced from last year – as will Meddour’s thoughtful treatment of female friendships under religious thumbs (The Magdalene Sisters). But even in the film’s most familiar moments, Khoudri’s wounded ferocity is always there to give Papicha it’s own sharply resonant edge. The third act brings a sudden and unexpected tonal change, one that teeters on obscuring a loving and graceful narrative. But what you’ll ultimately take away from Papicha is how it finds intimacy in waves of social change, revealing moments of helpless joy in the fight against them. #GeorgeWolf

GRIMMFEST TV offers movie entertainment for free while the world is in lockdown. A new online TV channel dedicated to horror films of all types, through which viewers can access exciting award-winning features and shorts from the Grimmfest archives. GRIMMFEST TV is available at: Grimmfest.com/TV. New titles are being added every week and this week is no exception. Feature film WHAT LIES WITHIN (AKA THE PERFECT HUSBAND) goes live at Midday, Friday 5th June 2020. This festival favourite from director Lucas Pavetto focuses on a married couple who decide to spend a weekend in a remote cabin, but when the romantic journey takes a turn for the worst; a sneaking suspicion builds into total and violent insanity. Festival Director Simeon Halligan said “WHAT LIES WITHIN is a twisty turny thrill ride that will keep you guessing till the very end and it’s our feature-length choice of the week on Grimmfest TV. If you are enjoying watching horror films on Grimmfest TV, please do us a favour and subscribe to the channel”. GRIMMFEST TV launched in late April and currently hosts nine quality features and over thirty award-winning shorts, all available to watch for free while we are all stuck at home. Films include Grimmfest 2018 best short award winner, WE SUMMONED A DEMON, Grimmfest 2014 hit, WHITE SETTLERS (Staring Pollyanna McIntosh from The Walking Dead), and the suitably virus themed LA CONTAGION. The most popular title on the channel so far is the half-hour retro creature feature, LOOM. All are still available to watch for free right now.

★★★★ Directed by #JosephineDecker Written by #SarahGubbins #SusanScarfMerrell Starring #ElisabethMoss #MichaelStuhlbarg #OdessaYoung Film Review by Hope Madden I’m not sure which thrilled me more, that Elisabeth Moss was set to portray the great Shirley Jackson, or that Josephine Decker was slated to direct. If you’re not familiar with Decker, give yourself the gift of her 2014 minor miracle Thou Wast Mild and Lovely. Decker’s languid style seduces you, keeps you from pulling away from her films’ underlying tensions, darkness, sickness. She specializes in that headspace that mixes the story as it is and the story as it’s told, which makes her a fitting guide for Susan Scarf Merrell’s fictionalized account of this slice of Jackson’s life. Which brings us to Moss, quickly ascending the ranks of “best actors of our generation” into the rarified air of “genius.” Moss has proven time and again that she can inhabit any character with a fearlessness that allows her to disappear and the character to emerge, fully human. Such is the case with the enigmatic, damaged and brilliant Jackson. Shirley takes us into the period where the already reclusive writer begins work on her novel Hangsaman. This stretch of time coincides with the arrival of some help for Jackson’s husband Stanley Hyman (Michael Stuhlbarg). The couple will be opening their home to Stanley’s new teaching assistant (Logan Lerman), and his pregnant wife, Rose (Odessa Young). The film’s plot follows Jackson’s relationship with Rose, which develops in tandem with her newest manuscript. The friendship unveils unkind truths about power, sexual politics and other uglinesses that Jackson always mined so formidably in her creepiest work. Decker manipulates the pacing, melancholy and sensuality of her tale beautifully, drawing a stirring performance from Young. But my god, what she gets from Moss and Stuhlbarg. To witness two such remarkable talents sparring like this, aided by a biting script that offers them ample opportunity to wade into the sickness and dysfunction of this marriage—it’s breathtaking. The result is dark and unseemly, appropriately angry and gorgeously told—fitting tribute to the author. #HopeMadden

★★★ Directed by: #MaximBessmertny Starring: #KelseyWilhelm, #RicardoBrito and #MeiIengLeong Film review by: Brian Penn The publicity material for Dirty Laundry pitches the story as a take on the myth of Sisyphus. Yes, the king of Ephyra whose deceit and arrogance was punished by the onerous task of rolling a boulder up a hill, only for it to come crashing down when it neared the top. This analogy isn’t entirely convincing and feels more like the classic ‘two men walked into a bar scenario’. Convention demands that three elements follow the intro with the final piece hopefully delivering a punchline. Either way, it produces a likeable if lightweight tale of a washing machine known affectionately as R3D2. Ethan (Kelsey Wilhelm), a musician and Richard (Ricardo Brito) a film student share a flat in Macau with the said washing machine. For reasons that are never entirely clear, they need to get rid of their beloved R3D2. The pair embark on a quest to make themselves understood in a foreign climate. In the course of their journey the two westerners exchange anecdotes about their dreams and aspirations. Presently, they come across the mysterious lady in green (Mei Ieng Leong) who seems to have something on them. She jumps into her mini car and doggedly follows them. But will we ever find out what (if anything) was in the washing machine; and why exactly they had to get shot of it? Generally it works reasonably well on the basis of foreigners abroad struggling with the language, food and culture. But they tend to leave a lot unsaid and too many blanks for the viewer to fill. Nevertheless, Dirty Laundry is a well-constructed piece that uses a great location to add aesthetic detail to the humid atmosphere of Macau. And a really useful pointer when you need to move a washing machine at short notice.

★★★ Directed by #JonathanMilott #CaryMurnion Written by #NickMorris #RuckusSkye #LaneSkye Starring #LuluWilson #KevinJames #JoelMcHale Film Review by Hope Madden Finally, someone truly understands what it’s like to be an incredibly angry adolescent girl. At the very least, Jonathan Milott and Cary Murnion’s film Becky understands enough to be afraid of her. The titular 13-year-old, played with convincing charisma by Lulu Wilson, is a handful for her widowed father (Joel McHale). Still, dad has decided this is the weekend to take Becky for a getaway with his girlfriend (Amanda Brugel), and her 5-year-old (Isaiah Rockcliffe). They head to the old vacation cabin for a big talk. He soon finds that his 13-year-old may not be the scariest thing on earth. Or, you know what? Maybe she is. Kevin James plays against type as a swastika-tatted up inmate, leader of a band of escapees. James may be hoping to catch the same mid-career fire Vince Vaughn has been fanning, mainly portraying the heavy in various indie thrillers. Early scenes play well, James cutting a solemnly menacing figure as he quietly organizes and orchestrates. But as the film wears on it becomes clear the actor can’t manage the sinister energy needed to really make an impression. I’ll take this over Paul Blart, though. Robert Maillet’s a lot of fun, though. At 6’10”, the one-time wrestler dwarfs even the gangly McHale. He’s no master thespian, but his arc creates a spectacular punctuation for Becky’s own transformation and his sheer immensity brings a little needed anxiety to the film. The writing team, which includes Lane and Ruckus Skye of the brilliant and as-of-yet undistributed Devil to Pay (originally titled Reckoning), cheat a little with this script. Backstories, motivations and mysteries—particularly as they articulate the villainous characters—feel less undefined than lazily obscured. Between that and James’s inability to truly sell the viciousness in his character, the family’s jeopardy lacks the intensity it needs for this film to truly impress. Wilson does not. In her hands, Becky is a fascinating character, and it is with this character that the writing team and directors score the most points. The film is bloody, angry and, even for its fairly formulaic premise, unpredictable. #HopeMadden