★★★★ Directed by: #BrianLTan Written by: #ChristinaBurlison Starring: #ToshiToda, #MickTolbert, #WeslyJohn Film Review by: Darren Tilby We’ve all heard the story of Hirō Onoda, the Japanese soldier who didn’t surrender until almost 30-years after the war had ended. What many people may not realise is that during his time as a holdout, he and his two companions (Shōichi Shimada and Kinshichi Kozuka), carried out guerrilla raids on local fishermen and police after refusing to believe Japan had surrendered. His two companions would later be killed in firefights. In fact, Onoda himself only eventually surrendered in March 1974 when his former commanding officer flew out to formally relieve him. But why? Why would anybody refuse to stop fighting a war that had ended almost three decades prior? This is the question director Brian Tan asked himself while making Holdout, his “gritty, dark dramatisation of another soldier who didn’t surrender.” Japanese soldier, Matsuo Ohori (Toshi Toda), refuses offers of surrender as he continues to fight on in the Philippines against local police forces. That is, at least, until he meets Sean (Mick Tolbert). A Japanese-American student in need of help, whose very being coerces Matsuo to re-evaluate his choices. But after 30-years, is it too late? The whole movie acts as an exercise into isolation and loneliness (which seems weirdly relevant at the minute), as well as examining the futility of wartime idealism. It’s no easy task, but Christina Burlison has written a fantastic screenplay, teeming with tragic undertones, which director Brian Tan beautifully puts to screen. The characters and their situations are also brilliantly realised, and all performances here are solid. But it’s Toshi Toda’s interpretation of a man suffering from PTSD and on the brink of psychosis that deserves much of the acclaim here. Holdout also benefits from Cedric Fujita’s outstanding work on production design: props and uniforms are exceptional, and the movie profits greatly by being shot-on-location. In Hawaii, to be precise. It adds tactility to Ohori’s environs, making his situation and his clothing and armaments look suitably battered and worn. This combined with excellent visual and audio work makes for a film which looks and sounds considerably more high budget than it probably was. The excellent writing and direction have allowed Holdout, which could quite easily have been an exaggerated mess, to evolve into something appreciably more understated and profoundly thought-provoking. All the while, Toda’s performance imparts an empathetic and tragic undercurrent to an already deeply affecting story. Indeed, there are issues here and there: some of the dialogue falls a little flat, and the added visual effects don’t look great, although they are used sparingly. Still, this is quality short filmmaking that really stays with you.

★★★★ Directed by: #PeterDornRavlin Written by: Peter Dorn-Ravlin Starring: #KathyOGrady, #MitchellRitter, #KenKrauss Short Film Review by: Tomhas Jay A short and sweet film that‘ll give you a boost during lockdown. The 2019 short film Ruben & Ethel, documents a month in the life of Ruben (Mitchell Ritter) as he undergoes a spell of community service to repent for crashing his car under the influence of drugs. Choosing purgatory over what would be “hell” (a month in prison), we watch the 30 days unfold a little like a Christmas advert, bringing together our lead and Ethel as they spend more time in each other’s company. Touching on that sentiment, that whole heart-warming arc is a genuine pleasure to watch and the comedic aspects come off as sincere and extremely charming. Its hardly an original idea pitting polar opposites against each other for laughs, there is the whole ‘buddy cop’ genre after all, but I must admit, having people of different generations opposite each other was something I hadn‘t encountered prior to this film but it was nonetheless a novel and pleasant surprise. Relying more heavily on the major differences and diverging interests, it could be seen as veering a little heavily into the world of stereotypes as Ethel pronounces hip-hop to be the ‘Devil’s music’, whilst Ruben is a casual drug user who‘s jeans sag, ticking practically every box of the hip hop fan Pre-conceptions. With that in mind though, as I said earlier, the chemistry between the two is genuinely quite heart-warming and culminates in Ruben celebrating Ethel’s birthday with her, going beyond his required commitments of the community service. Performances were quite impressive, Ritter, who plays Ruben has a rather detailed character in what is an exceptionally quick narrative based short film, but still plays him to a good standard. Ruben’s music taste is evident as new wave hip-hop/rap populates the soundtrack in its entirety, it’s made explicitly clear he’s a habit of casual drug use, and it doesn’t take Sherlock Holmes to notice he’s a pretty bad driver. His arc is based solely on relenting from this bad boy persona and when the duo finally warm to each other, it shows the mastery of the short film medium from a directing perspective, all character information is inferred, save from one or two details and it really creates a thoroughly fleshed out world and believable characters. Additionally, Kathy O’Grady in her role of Ethel is similarly brilliant. Though her character is more reliant on exposition, her largely physical, slapstick performance gives a motive as to why she’s a little defensive at first and makes her wish for a company a little more heartbreaking as we learn of her ex-husband’s cheating, and her son who makes very little contact. This was genuinely a special watch, especially in the current circumstances, this slice of normality is perhaps just what the doctor ordered for some potential viewers out there. That said, it’s not the most perfectly crafted film of all time, which is a little harsh to say but is to an extent, just. At times the cinematography dropped from its solid standard and became a little jarring as pull focuses and other shot transitions were just a little clunky and badly executed. Furthermore, the editing was very noticeable, yes at parts this is intentional, there’s a greatly structured montage but the rest of what is meant to be continuity editing was a little too on the nose for me personally and again jarring. With that in mind though, having had firsthand experience in both of these fields, it’s an incredibly hard job to replicate professional standards and is likely just a matter of personal preference. A resourceful and sweet film which left me desperately wanting more from the characters with its criminally short run time, I’d recommend you give this a watch whenever you can, short, sweet and free (Currently available on YouTube) there’s a lot to love about this title! Reviewed By: #TomJay

★★★★ Directed by #AndrewPatterson Written by #JamesMontague #CraigWSanger Starring #SierraMcCormick #JakeHorowitz Film Review by George Wolf The Vast of Night wastes no time in transporting you to another world. Opening with vintage Rod Serling welcoming us to "Paradox Theatre," director Andrew Patterson unveils an incredibly polished debut, one that's full of meticulous craftsmanship, effective pacing and wonderfully engaging storytelling. Picture the small town of Cayuga, New Mexico in the 1950s. As the gymnasium stands are filling up for the night's big high school basketball matchup, a smooth-talking radio DJ and a wholesome teen have stumbled onto something very, very big. Fay Crocker (Sierra McCormick) is filling in for the local telephone operator as WOTW's nighttime show with Everett "The Maverick" Sloan (Jake Horowitz) playing in the background. But a strange transmission is also coming through the radio, and Fay lets Everett know about it. Everett opens the mic to ask if any of his "five listeners" can identify the sound, and Billy (Bruce Davis) calls in with a mighty big story to tell. Mabel (Gail Cronaur) has one, too, leading Everett and Fay off into the New Mexico night to search for answers. Peterson's commitment to production and sound design results in a totally immersive experience. The period details - from costumes to recording equipment - are more than just historically correct. Paired with the rapid-fire, comfortably lived-in dialog from screenwriters James Montague and Craig W. Sanger, they create a throwback setting that charms without the tell of undue effort. Peterson also flexes confidently behind the camera, moving from extended tracks to slow pans to quiet stills, all in service of the film's wondrous tone. With McCormick and Horowitz leading a stellar ensemble, what could have been a generic sci-fi time filler becomes a smart parable with an eerie grip. The Vast of Night is a film about listening. To each other, to the stars, to the ugly secrets of our past and to the great possibilities of our future. And speaking of the future, Andrew Patterson has a bright one. #GeorgeWolf

★★★★★ Directed by: #HideoNakata Written by: #HiroshiTakahashi, #KȏjiSuzuki Starring: #NanakoMatsushima, #HiroyukiSanada, #RieIno’o, #RikiyaÔtaka Film Review by: Darren Tilby Hideo Nakata’s Ringu (1998) holds a very special place in the dead and blackened void, which once held heart. For it may well have been my first foray into foreign-language film. But one thing I am sure of is that Ringu was my introduction to Japanese horror. I remember watching it one night when I was far too young and far too naive: I regularly followed the classic horror movies of old and hadn’t been scared of Jurassic Park, unlike all my friends, and so thought this made me a seasoned horror-movie veteran. I was wrong. So yeah, I didn’t get much sleep for quite a while after that. You live and learn. But it opened up a whole new and horrific world for me; the world of the Japanese ghost story. In many ways, it opened it up to the rest of the world too. It was followed shortly by the excellent Ju-on: The Grudge and Dark Water and helped to bring Japanese horror into the mainstream, and in the process, spawning a string of crap Hollywood remakes. We should all know the story by now: a reporter investigates a mysterious, and cursed, videotape said to be linked to the deaths of anyone who watches it. Once viewed, seven days is all you get. And so, like any good investigative reporter, Reiko Asakawa (Nanako Matsushima) decides to put herself into the firing line by watching it too. Her plans backfire though, when her young son, Yȏichi (Rikiya Ôtaka), also finds and views the tape. Now racing against the clock, Reiko enlists the help of ex-husband, Ryȗji Takayama (Hiroyuki Sanada), in a desperate race to save her son’s life. Both Matsushima and Ôtaka are instantly likeable in the lead roles and wholly believable as mother and son; sharing brilliant chemistry. And Sanada, when he finally comes into the film, adds plenty to the proceedings and never once feels like an afterthought. But, of course, it’s Rie Ino’o as the ghostly Sadako who leaves a lasting impression in the mind of the viewer: she’s iconic; one of the most easily recognisable creatures of horror. Based on the legendary ghost of the Onryo (someone, usually a female, who’s died in the grip of intense rage, and whose spirit returns to seek vengeance on the living) and novel by Kȏji Suzuki, she’s the epitome of the classic Japanese ghost. And she’s terrifying! While the movie has its basis in Japanese ghost mythology, it also boasts more contemporary threads of thought, one with a distinctly more feminist vibe. Predominantly, it’s an extended commentary on women surviving – or not – in a patriarchal society. Sadako’s backstory is one of tragic misfortune at the hands of men, her father among them. And there are definite parallels to be drawn between Sadako’s horrifying past and Reiko’s own experiences with male-dominated society. No-one forgets seeing Sadako emerge from that well, or clamber out of the TV for the first time. It’s an image almost anyone can recognise, and it’s one that stays with you for years after. It’s as iconic as Giger’s bio-mechanic designs are for the Alien franchise, or Michael Myers unnerving face mask is to Halloween. And justifiably so, Ringu is a visual experience, as surely as A Quiet Place is an aural experience. The very fact Ringu can still elicit such dread from an audience, and has, even after 22-years, imprinted perpetual and terrifying imagery onto the psyche of many horror-movie veterans, speaks volumes for it’s worth as a horror classic. Ringu is one of the best and most influential Japanese horror films of all time. If you still haven’t seen it yet—what are you playing at?

★★★★ Directed by: Luke Allen Written by: Luke Allen Starring: Alexander Westwood, Helen Austin, Margot McClane , Steve Shinners and Peter Terry Short Film Review by: Rachel Pullen Unstable Movie Review Of course, many of us experiment with drugs in our teens and come out of the other side, titling it ''just a phase'' but some of us flop off the wagon like a wet fish and can’t find our way back to reality, and this week’s triple threat of a dandy filmmaker, Luke Allen, decides to tackle such a subject with his short film. Unstable tells the story of a young man who, after a series of bad events in his life, falls deeper and deeper into his drug addiction, daddy dies, his girlfriend has had enough of dating a junkie, he hangs around in a tunnel and someone thinks he is homeless...bad times. And while some of us would simply choose to not sit on the piss soaked floor of a tunnel, thus not being confused with a homeless man, drugs seem like the more fun way to tackle these issues for our leading man. But after he hits rock bottom he is able to ask for the help he needs, he is able to face the real world and understand drugs are not the answer. Now while this all sounds a little played out, yeah we have seen this storyline time and time again, we have to ask what makes Unstable a short film worth a watch? The simple answer is the environment in which this movie was made; with no budget, only his friends as his cast and production, direction and writing all on his shoulders, Luke Allen creates an immersive world, one where his youth and zero budget actually complement the teenage kicks he is trying to portray on screen. Straight out the gate, you feel 16 again, that nervous exchange with a girl you like on a park bench, the feeling of needing independence but also needing guidance from your parents as tedious exchanges are made around the family dinner table, this was British youth perfectly captured on the screen. The acting was as good as to be expected for a group of young people who were unpaid and doing this project out of love, I was surprised at some of the performances, clunky at points sure, but still able to portray the emotions required to fill the scene, and let’s face facts: that clunky exchange is something that reminds us so much of our teenage years, bringing home a more developed relationship with those on screen. Although the storyline lacked anything original or unique to engage with, this is still an enjoyable and relatable piece of short filmmaking. Allen displays dedication to his craft and if he is able to continue this then a promising future may be ahead of him...as long as he does not hang around too many tunnels. #RachelPullen

★★★★★ Directed By: #BrianLTan Written by: #JonathanHirsch Starring: #DanaLee #NikkiSoohoo Short Film Review by #ChrisBuick Short film Sensor sees an aged Vietnam veteran finally decide to face his demons head on. With his life having been forever haunted by traumatic memories of conflict, it seems (as far as he is concerned at least) that these ghosts have now not only manifested themselves as a psychological threat, but also a malevolent physical presence. After resolving to placing motion sensors all around his property, he takes up a position to make his final stand. But unfortunately, making the brave decision to try to exorcise oneself of the past doesn’t always mean that you will succeed. Despite only running for almost exactly three minutes, this highly successful #shortfilm from #filmmaker Brian L. Tan accomplishes more in that short time than many entries in the horror/thriller have with much a more generous duration. It’s secret? Applying the basic ethos of "keep it simple” across the board, a mantra that clearly echoes throughout all areas of the production. At its core, Sensor is the quintessential “monster in the house” concept executed in such a thought-out way that it gives the film such a strong blueprint to work from. It’s a great piece of writing from Hirsch, its storytelling is purposefully subtle, the details deliberately vague, its dialogue almost completely absent, yet it still materialises the right amount of subtext needed to fully comprehend our subject's situation. Little touches throughout such as a simple sketch or a barely audible hushed word all help invoke a sense of depth and highlights the obvious care and thought that has been applied here. Asides from all that, not only does it hit every necessary beat and note that a short horror needs to in order to captivate and hold an audience's attention for a very tense few minutes, but it also works as a tremendous metaphor for the unsympathetic monster that is PTSD. Every aspect of this project in fact seems to play together like a brilliant orchestra and again; simplicity is the key. From the actual score itself, which builds the sensation of dread so discreetly before exploding into a thunderous crescendo, to the honestly fearful performance from real life veteran Lee, all the way through to the elegant cinematography, where in wielding nothing more than the dark backdrop of nightfall broken spontaneously then frantically by the fiery red glare of the motion sensors, Tan manages to create such a vivid and frankly creepy atmosphere that ensures the film has its full weight behind its punch at the end. Whether the film was intended to be the powerful allegory that it creates is irrelevant. Sensor not only is a shining example of short horror done right, but brilliantly shows how formidable a monster PTSD can be by literally turning it into one. #ChrisBuick Watch the entire film for free below.

★★ Directed by #TomsonThomas Starring: Unknown Film review by Nathanial Eker Since the unexpected runaway success of Christopher Nolan’s Inception the ‘dream-thriller’ has become an increasingly common sub-genre. Sometimes it follows generic tropes typical of the dramatic thriller, with minimal fantastical iconography. At other times the dream-scape becomes a playground for the horror writer; a place where their character’s demons can be confronted in excruciating detail without hope of absolution. Lucid Dreaming is one such film; an ambitious and thought-provoking indie short with big ideas, but a lacklustre execution. While many films can be considered a mixed bag, few get so much right yet so much wrong in just under a quarter of an hour. Two scriptwriters and roommates discuss their stagnating careers and overdue rent payments. When one raises a potential concept called ‘lucid dreaming’ the conversation devolves into a sinister world where reality and fantasy become difficult to differentiate. The biggest problem with Lucid Dreaming is its insufficient explanation of what exactly its titular concept is. Vague notions are offered, but the expectation that one should have to do their homework to properly enjoy it is a frustrating one. This unfortunately isn’t aided by sloppy translations that make the already clunky exposition almost impossible to follow. Characterisation of the two leads is somewhat more successful and we do at least get a bit of a sense of who these chaps are. While the acting is dangerously close to being hammy, occasional moments of subdued facial expressions and formalist intonation ultimately save both performances. Though this doesn’t excuse the grating performance of the character that ends up the victim of the bizarre hell-scape as they spend most of their torturous experience shouting unconvincingly and employing eye-roll inducing crocodile tears. Though this agonising irritation does carry the advantage of firmly putting the audience in the same hellish situation. Writer-Director Tomson Thomas has a better handle on the technicalities of crafting suspense than they do delivering compelling dialogue or adequate pacing. Once we actually get into the dream itself the film finally begins to get interesting as the hypotheticals of the dull conversation dissipate into genuine action. Unfortunately, despite some impressive lighting and a decently foreboding score, the aforementioned screeching and an anticlimactic final stanza mar what could’ve otherwise been a satisfying trip into the depths of a psychological breakdown. Still, if we had gotten there the characters are so skin-deep that the conflict would’ve likely felt equally unearned. Unsurprisingly, the script is what most heinously damages the film’s credibility. Everything is ambiguous, and yes; Inception is a little ambiguous. But Inception also boasts characters with understandable motives and a clear, well-defined concept. That’s not to say there’s no merit to Lucid Dreaming, but when its core concept is so frustratingly nebulous, it becomes difficult to overlook its faults. Regardless, there is some joy to be found in the latter half of the film, with its spooky atmosphere and delightfully macabre mise-en-scène. That dream sequence grants the filmmakers the opportunity to flex some impressive cinematography and lighting muscles; the symmetrical imagery is astounding, and delicately hints at the unworldly and cyclical nature of this bizarre realm. Equally, the use of a tighter aspect ratio allows for an immediately claustrophobic viewing experience that grips us from the beginning. More irritating is the interjection of overlong title cards, ridding Lucid Dreaming of a precious thirty seconds to instead necessitate the audience staring at a still image. Bafflingly, there also seems to be no record of the two actor’s names, as in spite of the overlong production credits, no performer information is given. (If this can be resolved, please get in touch and we’ll update our review). Lucid Dreaming is a frustrating affair that squanders its obvious potential. It’s a thriller that shakes its amateurisms to become momentarily compelling, only to ruin it with an overexplained line of frazzled dialogue. Perhaps it fares better in its native tongue, but the poor translations make it difficult to either understand or enjoy the clumsy narrative. While it boasts excellent lighting, cinematography, and especially music, the poor pacing, confused script and barely passable acting cannot be overlooked. Lucid Dreaming is an admirable effort at a horror short, but is sadly too clunky to be at all thrilling. Do yourself a favour and wake up from this dull nightmare. #NathanialEker

★★★ Directed by: Triden V Balasingam Written by: Keith Glover Starring: Rick Comes, Kannan Imman, Amarya Stenson Film Review by: Darren Tilby Toaster is a 10-minute long piece which scrutinises the consequences of the west’s involvement in the middle east, and the creation of a terrorist on an individual level. It sees a young Muslim man, angry over the hardships wrought upon him by western military action in his own country, moving to Canada to exact his revenge. Procuring the necessary materials and building his homemade bomb (hidden inside a toaster - hence the title), our unnamed man wraps it up like a present and prepares to carry out his mission. But a chance encounter with a man on the subway forces him to reconsider his actions. The characterisation here is a little bare-bones; the lack of development (at least beyond the lead’s tragic backstory) doesn’t give much room for the actors to really showcase their talents and the narrative dialogue near the beginning of the film is a little overplayed. In fact, dialogue delivery is one of the more significant issues with Toaster—it just feels a little off, tonally. However, the dialogue is well written, and the physical performances are solid. Here, far more is said with a posture or a look; a reaction or the lack thereof. Toaster obviously has a lot to say on the war on terrorism and, more specifically, the consequences of western military intervention in that part of the world. But there’s also an attempt to probe the effects (psychologically) of loss and grief, and the anger and resentment they can cause. But it’s not wholly successful in this department: it is an emotional film, but it’s not as affecting as it should be. But what we do find here, is a very visual film – unfortunately, I found the sound design somewhat lacking – with excellent direction (Triden Balasingam) and weighty cinematography (Rankan Ponniah). Ponniah’s framing, in particular, is always on point and (for me at least) carried the majority of the movie’s emotional clout. The CGI, where used, are poor. But Toaster doesn’t demand much of this sort of thing, and so, when visual effects are used, they are used sparingly and, while noticeable, don’t impact massively upon the film. While Toaster falls short of being the hard-hitting drama it wants to be, there’s still enough reasoned, well-articulated and provocative content here to give most viewers pause for thought. Toaster is available on YouTube, and it’s well worth a look.

★★★★ Directed by #DanSallitt Written by #DanSallitt Starring #TallieMedel #NormaKuhling Film Review by Hope Madden Mara (Tallie Medel) and Jo (Norma Kuhling) make an odd couple, or so says Mara’s one-time dinner date who remembers the pair of best friends from high school. Mara’s quiet, no-fuss. And Jo? “She’s cutting.” In fact, Mara and Jo resemble any number of very real relationships, those that maneuver childhood and the dramatic complexities of adolescence to settle into something adult that may not be sustainable. Jo is flashy, passionate, needy. Mara is level-headed and supportive. Dan Sallitt’s understated character study Fourteen picks up their relationship somewhere into adulthood and follows it from Mara’s point of view with a detached but caring comment on how life, responsibility and surrender finally look. Matter-of-fact performances eliminate any hint of melodrama as Fourteen wades through a series of the duo’s scenarios across about a decade. The performers’ delivery and the director’s style undercut any artifice, nearly every scene focused exclusively on a conversation, most of which feel improvisational. It offers a loose but relentless progression, a regrettable erosion focused on growing up and growing apart, caring for each other and caring for yourself. Sallitt rarely focuses squarely on big moments. Jo’s breakdowns and histrionics remain almost entirely off screen, and what we see is Mara’s inevitable response as well as quietly significant moments: the first dinner with a new boyfriend, a trip back home for a timely visit. The progression of time told in haircuts and apartments is handled more gracefully in Fourteen than what you might expect, but again, Sallitt’s style is not showy. More than the visual backdrop to mark a new era, it’s Medel and Kuhling’s recognizable reacquaintance, first halting then quickly entrenched in familiar patterns: this is who we are. Medel’s performance, aided by her enormous eyes, is deceptively compelling. As the friend less likely to draw notice (she mentions at one point that, in Jo’s presence, she sometimes feels as if she’s not even there), she’s comfortable in the background. At the same time, Mara is clearly and constantly observing, making a mental note, internally balancing what’s best for Jo versus what’s best for herself. Kuhling is a bit weaker, her believable amalgamation of tics in early scenes do not translate well to her climactic breakdown, which at times feels like a student actor’s workshop. It’s a minor flaw, though, in a film that feels quietly courageous in its interest in one of life’s great heartbreaks. #HopeMadden

★★★★★ Directed by: #AlessiaGalatini Written by: #AlessiaGalatini Starring: #PaigeGilmour, #MichaelaMackenzie Film Review by: Darren Tilby There’s a lot of pressure to look a certain way these days, particularly for women. You can’t go to the beach unless you have a ‘bikini body’, you can’t be too thin because that must mean you have an eating disorder, but neither can you be curvy because that means you overeat. It’s a veritable quagmire of crap; a minefield that far too many women (and men) negotiate each and every day. And what’s worse, this way of looking is often dictated by celebrities rather than people with actual qualifications. Be they actresses, musicians or influencers (whatever that is), everyone wants to sell you their own brand of perfection; of fitness; of happiness. Nina (Paige Gilmour) works for one such weight loss company (Diet Plus - Less cals for happy gals). A company that suggests you don’t drink water with a meal as “you’ll get bloated”. She’s the very epitome of a sales representative: overly familiar, overly casual and entirely false. She flitters from one phone call to the next, distributing company slogans and handing out questionable health advice—hey, it’s a job! But what seems like a typical day at the office will soon be turned on its head, after Nina receives a phone call from Amanda (Michaela Mackenzie), an upset customer with some complaints. Out of the film’s cast of two, only Gilmour appears onscreen, with Mackenzie only existing as a voice over the phone. What’s impressive is how much each actress can convey with just a tonal shift in her voice (in Mackenzie’s case), or a slight glint of realisation in her eye (in Gilmour’s case). There’s an interesting dynamic at play here, also: with Nina dominating the first half of the film with her confidence, before then getting knocked back in the wake of Amanda’s heart-wrenching cries for help. Whatever you think of the message it’s trying to impart, or of the film in general, there’s no denying that these are two incredibly strong performances. The movie is also surprisingly layered, at least for a 7-minute long short. There’s ample metaphor to be found here: such as the red dripping nail varnish that Beatriz Delgado Mena beautifully frames and lingers so heart-achingly on, and Nina’s constant primping, selfie-taking and insistence on talking in hashtags. Of course, anything like this is up to interpretation from the viewer. What is dealt with, rather explicitly here, is the psychological effects that can be caused by these fad diets - the ones that promise big results and fast! And, of course, by our society’s unrealistic conception of beauty, which is often, it has to be said, sold by women’s magazines. But what makes this all the more tragic is, at least judging by Nina’s actions, I don’t think this is the first time she’s had a call like this. And she knows it won’t be the last. Alessia Galatini’s Happy Gals is an irony; an antithesis of its own title. Because, actually, this is a harrowing piece of work, one I fear accurately represents the feelings of far too many women. What Galatini has achieved here in an incredibly short runtime is nothing short of astonishing. This film needs to be seen.

★★★ Directed by #HunJongHo Written by #HunJongHo Starring #KimMyongMin #LeeHyeRi #ChoiWooSik Film Review by Hope Madden Very little in life brings me joy quite like a decent creature feature. Even the silly ones where a big, boil-riddled muppet winds up slathering pus leakage all over Korean mountain people in the 1500s. Especially those. Hun Jong-ho’s new import takes us back to 1506, a time when the king is beset by troubles: his disloyal prime minister, a plague across the land. That is a lot for one man to handle, and an even larger load once his most loyal guard, Yoon Gyeom (Kim Myong-min), abandons him to save a little girl’s life. Fast forward a decade or so and strife still divides the nation, but that strife has a new name: Monstrum. But is that monster really there? Or is it all just a figment of mass hysteria planted by a conniving prime minister? The sleuthing sets up a clever-enough through line and the deception creates space for plenty of gory action sequences. Jong-ho’s story, which he penned along with Byeon Jeong-uk and Heo-dam, offers a relatively simple “the people have the power” narrative elevated by some nice set pieces and a handful of choice performances. Myong-min cuts a properly heroic figure: quiet, savvy, handy in a fight. Kim In-kwan makes the perfect sidekick, his comedic moments (though often anachronistic) offer welcome moments of levity. With K-pop’s Lee Hye-ri (of the band Girl Day), Jong-ho delivers a little 16th century girl power via one spunky adolescent who’s smart, capable, irreverent and fearless. (Another anachronism? Probably, but again, it’s a movie with a giant, pus-dripping puppet. You came looking for realism?) And hey, who’s that handsome young man beguiled by Hye-ri’s badassedness? It’s Parasite’s Choi Woo-sik, charming as ever. The film looks great, thanks in part to some exceptional costuming but mainly to cinematographer Kim Dong-Yeon’s capable maneuvering through interiors and exteriors, false backdrops and lushly wooded hills. Monstrum is no masterpiece—go in expecting The Host and come out disappointed. But for creature feature fun and just a touch of flatulence humor, Monstrum delivers. #HopeMadden

★★★★★ Directed and Written by #LeonLopez Starring #SaeedFarhat, #LeonLopez, #TerryGeorge, #EllenPryce Short Film Review by Jack Bottomley As confusion and uncertainty are becoming a constant in many of our lives and the coronavirus pandemic continues to dominate the year and destroy so much we hold dear, a wave of filmmakers are using this time not just constructively but meaningfully. This is an issue that has affected us all in varied ways and so many voices are already emerging from the shadows with a hopeful word of comfort but if “Hey Google” is any indication of the films that will inevitably tackle the COVID-19 era of our world, then we can indeed anticipate a future of emotionally shattering work. For director and writer #LeonLopez’s film is an absolutely astonishing story of isolation, the horror of loss and the toll of survival. Set entirely in an apartment in Leeds, this film was inspired by real lockdown and isolation stories, and sees young man Nader (#SaeedFarhat) living out the same routines on his own but we soon find that things were not always this way and discover the devastating effects this virus has had on Nader and those he cares for the very most. Told from a LGBTQ+ perspective, this wonderful film is a universal story of what it is to lose and the hopelessness that follows, but also a consoling voice that suggests why it is vital to stay strong and to stay alive. From the early moments of the film - and from its very title - you initially think this may be a Her-esque tale of people’s connection to technology but instead technology here is a comfort more than it is a cure. The real cure can be found in love. Love is a double edged sword sometimes, in that it can weaken you and leave you in a scary place when all goes wrong but it can also be the most powerful feeling and driving force to continue. This poignant and beautifully human story certainly captures the true essence of love and more importantly love at a time when it is so important to have someone in your life. Excellently shot, with great cinematography that makes perfect use of the everyday and is accompanied by profound music from #TomFletcher, “Hey Google” is a highly impressive achievement. The confined apartment setting is far from grim but the grimness comes from the reality that seeps in through TV news, radio or even memories of that which has been taken. However, in the final scene of this film we see that such memories are in fact not grim but a salvation. They are a beacon guiding us forward in the harshest of times, sometimes reality well and truly sucks but we cannot change it, all we can do is do our utmost to care for what (and who) we have and do those that we don’t anymore the honour of walking forward in the toughest of times, honouring their memory and strength by doing so. Saeed Farhat is tremendous in the lead and he makes these messages all the more impactful, with an emotional performance that will speak to the souls of so many viewers. He is so strong and yet so in pain, with only the voice of his Google device keeping him company but as the film shows, he will never really be alone thanks to the love he has experienced. Lopez also has a fantastic audio part to play in the film as character Sam, and the connection between these two characters will just grasp your heart. “Hey Google” is a powerful and moving story that will mean so much to so many and it is a superbly shot and crafted film, that slowly unfolds, using its concept and quarantine setting with deft deploy. Absolutely incredible and utterly moving. #JackBottomley