★★★ Directed by: #DigantaDey Starring: #DeepBasu and #AnamikaSingha Short film review by: Brian Penn Director Diganta Dey takes a highly original shot at storytelling in Monsoon Clips. It relates the final conversation between a mortally injured MIG 21 pilot Hussain (Deep Basu) and his wife Ila (Anamika Singha). The Indian Air Force has used MIG fighter jets since 1963; a once formidable machine has now caused the death of over 100 IAF pilots leading to the grim nickname of flying coffins. The film begins with a harrowing news report of a MIG21 crashing and realisation the pilot is in a coma. A variety of images flash across the screen as Hussain and Ila communicate on a presumably sub-conscious level. Hovering between life and death, Hussain confides his deepest thoughts to Ila. We learn he is a poet with strong convictions on life, love, politics and religion. Coming from opposite sides of the religious divide the couple share a special bond. They resolve to meet in heaven where no such barriers would divide them. The film is extraordinarily moving as we hear the couple expressing their love for each other; they aim to leave nothing unsaid as the end approaches. The title is virtually a story all by itself; a torrential downpour disturbing an idyllic existence and the forlorn hope it might soon pass. Visually the audience is presented with images of the life they once shared. The couple never appear on screen and are restricted to simple voice-overs. As a result, we are presented with a relationship interrupted by tragedy but an unshakeable determination to continue in the next life. Whilst the film undoubtedly works it’s undermined by some shaky subtitles and a confusing mix of English, Hindu and Urdu. This isn’t helpful to the overall continuity but the dramatic impact still shines through.

★★★ Directed by: #DanTonkin Written by: #DanTonkin #KTParker Starring: #CharlotteDunnico #FelixTrench #JamieLeeHill Short Film Review by: #ChrisBuick Short film Jenna the Great sees the titular Jenna (Dunnico), a young woman with a somewhat lackadaisical attitude towards academia, now facing serious consequences if she fails to complete her assigned essay on Aristotle by Monday. In an utter panic, she rushes to the library to borrow (steal) a book on her subject but is shocked to discover the next morning that this is no ordinary book. In fact, it appears to have brought the great philosopher himself racing almost two and a half millennia through time and crashing into her twenty-first century life, setting up a crazy culture clash for the ages. Jenna the Great was created to reach audiences of students and teachers alike, made with the participation of real students as part of an initiative to allow them the opportunity to not simply observe but also participate in the filmmaking process. Intended as a prospective pilot for an anthology series, one where each episode would revolve similarly around a specific historical figure, this initial entry is a decent first step and shows that this idea may have legs and what they have achieved here is a film that should definitely appeal to its young target demographic. The film does get a lot of things right. It has some genuine laughs as well as a big heart, and there are certainly times where the writers should be applauded with some of the unpatronising and encouraging life lessons the film projects. What the film could do with is perhaps a more assured balance of tone. There is of course no reason that a project such as this cannot be a silly, whimsical, light-hearted adventure yet still be anchored by some more mature motifs and for the most part, the film manages to walk that tightrope with pretty sure footing. But there are definitely a few moments where this #shortfilm does tend to lean almost too far one way or the other. Drawn-out physical gags or the occasional infantile dialogue can come across as overly childish, yet other times juxtaposing themes such as alcoholism are randomly thrown into the mix. This is not an unwelcome subject by any means and the education of such things to young people is obviously vital, but it is for that reason that themes such as these need to be given the proper depth and context as part of a wider educational piece, rather than appear as a fleeting afterthought. In terms of how the cast fares here, we do get to enjoy a very endearing and textured performance from Trench as famed philosopher Aristotle, who not only gives a sense of belief to the role but also delivers the films more poignant dialogue with the gravitas and dignity it hopes for. Dunnico also puts in a decent turn, providing some standout solo moments which highlight the films aforementioned big heart, but where the film really comes alive is when we get to see the two of them together; their contrasting personalities brilliantly rivalling one another for our entertainment early on before harmonising to make a much greater whole as the film shifts into a more mature gear towards the end. Jenna the Great does take its time finding its stride and may still have some kinks to work out, but ultimately it does deliver a remarkably sweet and important message for its intended audience. If this is in fact the start of something bigger, the filmmakers have at least given themselves a pretty decent blueprint to work from. #ChrisBuick Watch the trailer here:

★★ Directed by #MatthewRawcliffe Starring #MatthewRawcliffe Film review by Nathanial Eker Interpretive dance and experimental film seem to be two mediums cut from the same cloth. Both challenge their audiences to work hard to discover their meaning. Sometimes this can be through the subversion of popular narratives, whilst others favour deeply subtextual movement and metaphor. Short experimental dance film A Lady Not Called Margaret, Brenda, or Margery attempts the latter, but ultimately neither excites or intrigues as it falls victim to its own unfocused themes that fail to deliver any kind of emotional response. While the act of putting oneself out there so wholly is undeniably admirable; what exactly is this very short film trying to say? Some might argue that you create meaning for yourself. I'd argue back that that argument is situational; one that is sometimes accurate, but can easily be used tenuously to defend a rushed and poorly considered piece of ostentatious art without much logic. Researching the project more deeply, the artist behind its inception cites vague notions of familial connection, grief, and death as their inspiration. This intent unfortunately does not come across in the film. Subtlety is of course key, but a film this obtuse merely alienates its audience, rather than inviting them to learn more and challenging them to think about their own lives. As for the dancing; I'm certainly no expert, but it looked good to me. Such a film is inherently a subjective experience, but personally, I was able to gleam no underlying thematic subtext, plot, or even a base emotion. Without reading the blurb, I would have no sense of what the artist is trying to say and I regrettably had no emotional reaction to it, bar staring in bafflement. On a purely technical level, however, credit can be given. The different lighting and filters give each stanza a unique mise-en-scène, which is a nice touch that at least makes the film visually compelling. The use of well-known popular music is a little more questionable, but the choices are appropriate for the character that I assume they are each meant to represent. The affinity for a blend of deep and shallow focus and the subsequent obscuration of backgrounds and characters also provides some kind of hint as to what the artist wants to say about death and grief, though the film remains more confusing than compelling regardless. A Lady Not Called Margaret, Brenda, or Margery presents a marked and admirable effort to create a tableau of emotion through filmed dance. It regrettably falls into many of the traps common to overly-obscure experimental films, and thus ultimately comes off as a little shallow and pretentious. If it was a live performance, perhaps it could've held together much more strongly, but in this medium, it unfortunately misses the mark. #NathanialEker

★★ Directed by: #JohnSjogren Written by: #JohnSjogren Starring: #MichaelMadsen, #AnaFlaviaGavlak, #MicheleGhersi Film Review by: Oliver Smither The plot follows the dream of two Arctic lab janitors who, after performing unauthorised experiments, are transported to their dreamworld where they are indie filmmakers living on a beach in Malibu. The idea is simplistic and has obvious misogynistic overtones, but it is at least able to acknowledge its own exploitative nature; the fact that the majority of Malibu based indie films turn out to be rather bad pictures. This particular movie develops into a sort of self-criticism, ironically referencing ‘Laurence Olivier type stuff’ whilst knowing that it is not that sort of film. It is in fact an ironic look at some of the uninspired, artistically lacking films that are and have been shot in Malibu. This satirical aspect improves it beyond being unwatchable, but it is still not a film to be sought after. With limited and to a point, uninspired writing, the script is questionable. However, it does seem to fulfil the ‘inception’ aspect of the picture, with two indie films being made within this one, providing an inside look into the making of this genre of film. A film parodying itself, the concept of this type of beach/bikini film being ever-present in the sub-Hollywood world of West Coast cinema is mimicked through the dream plot. Through this, one can see the satirical approach that Sjogren is possibly aiming for. The performance by Michele Ghersi is limited by the script he is working with, yet, there are acceptable moments which demonstrate his potential as an actor. Ana Flavia Gavlak has the most refreshing character in this film, Frida, who notes the exploitative nature of these Malibu indie films incredibly early on and remains unimpressed by the actions of these ‘filmmakers’ throughout. However, her expressive and observational nature, along with Ghersi’s performance, is not enough to overcome both the fragmented plot and disorganised script. The direction, like the script, is problematic at best. John Sjogren presents us with a troublesome and flawed picture that has one questioning its purpose. Whilst the editing has applaudable moments there are many laughable ones as well. For instance, the underwater scenes are cut together well, however, the beach fight scene is hard to believe at best. The score is probably the only fully consistent aspect of Bikini Inception. It conjures images of a world full of bikini clad women along the beaches of Malibu, almost summoning memories of classic 80s cop shows; the sort of a soundtrack that is made for beach scenes. This soundtrack effectively evokes the possible dreams of two isolated and lonely janitors, therefore creating a sort of realism to the dream-state they find themselves in. From one perspective this film can be seen to demonstrate the ‘idealistic’ idea of the American dream. To venture to America and enter the world of film and ‘catch a big break’ will, for the majority, true to its name, remain a dream. In most cases this fantasy actually results in a severely underwhelming outcome. Bikini Inception is an example of just that; an inception-esque exploration of the ill-favoured underbelly of the world of film and the trash that is churned out. Despite Gavlak’s character changing her mind, I remained convinced that this film demonstrates the sexist nature present in Californian films. All in all, this is not a journey many will want to take again, but if you go into it with an open mind and are willing to accept it as a form of self-mockery, you may find some enjoyment here.

★★★★ Directed by: Chelsey D'Adesky Written by: #ChelseyDAdesky Starring: #MilinaValentin, #KrissDillon and #AdamHoughton Short Film Review by: Rachel Pullen The Closure Centre Movie Review ''Sad hours seem long'' sighs Romeo, as he longs for his lady, and it’s true, love can conjure up a whole host of emotions, when in love and out of it...thanks Shakespeare, shame you were such a douche to ya wife in real life. One of those emotions is of course heartbreak and often it is something we would rather forget, some ex lovers pave over their past, never make contact again, others value the friendship that can come from it, but for those not in that position they would do anything to throw away those memories, move on and pretend it never happened. The Closure Centre is a short film from filmmaker Chelsey D'Adesky based around the idea or eradicating your ex lovers, and before I hear you scream ''that's just Eternal Sunshine of the Spotless Mind'', The Closure Centre offers more of an interactive element to the process that our lovers must endure. The short focuses mainly on the leading lady, she ventures to the centre where she is placed in a room, one adjacent to her ex, where they are able to choose whether they wish to talk, engage and even see each other through a glass wall. They paint together, reminisce, listen to their favourite songs, all interspersed with flashbacks to their love affair, the rooms they are in act as a kind of time capsule, a shared yet separate space to one and another. This more personal approach to the subject gives us an empathetic approach to the characters on screen, we are not focusing on the eradication of the past, but rather we root for the possibility of a future, all those unanswered questions surrounding the collapse of a relationship are able to be explored within The Closure Centre, giving a sense of hope, a sense of renewal. The director allows us in, into their personal space and surroundings, into their memories and personal connections to the other, the placement of certain objects in the room, certain music played, these are all triggers in the real world that we can relate to. The bright and bold use of colour was something that audiences will be drawn toward, unlike other films that focus on the subject of loss which employ a more darkened tone, The Closure Centre thrusts off the screen in a explosion of primaries and excitement, a visual cue perhaps to remind us that all is not lost at the end of a relationship. This engaging short movie has a little of everything; intriguing script, relatable content and characters, as well as a well thought out arrangement and colour scheme, and so I say, for those feeling a touch of despair at the fallout of a relationship there is always another day, or you can go get ya brain scrambled and forget it all, whatever you prefer. #RachelPullen

Film Events > Film Festivals If you are an avid reader of our movie magazine, you may have noticed a rather important announcement from our Editor-in-Chief Chris Olson regarding a special film event this year! That’s right, the UK Film Review Festival has been born and will debut on the UK Film Channel as a Virtual Film Festival this November. It’s our way of supporting the independent film industry during this tumultuous time of lockdown, by creating an event which showcases filmmakers from around the world which shouldn’t be affected by COVID-19. We will also showcase pretty much every type of movie, from short films and indie movies, to documentaries and animation. We also have an LGBTQ+ category, and ones for Best Director and Best Performer (purposely non-gendered). As a Virtual Film Festival, we hope our event will also have a wider appeal to global audiences, plus those who require subtitles - something not really possible with most traditional film festivals. Filmmakers will be encouraged to virtually attend, much like they would for in-person events, and interact with audiences. We are hoping to host a series of Live Streaming Q&As and interviews. Plus pre-recorded workshops etc. Movie fans are encouraged to get involved and if you are interested in becoming a writer for the site, check out our Becoming a Film Critic page to find out more. Please ensure you have a passion for movie reviews, independent cinema, and light banter. Filmmakers looking to submit their film to the UK Film Review Film Festival 2020 can do so via our dedicated FilmFreeway page. If you have any questions, feel free to drop us a message via social media - we are fairly responsive. What is a Virtual Film Festival? Virtual Film Festivals are online movie events whereby viewers are able to attend screenings via a Video On Demand platform or similar. Many film festivals have gone virtual in recent years in order to reach bigger audiences, utilise newer technology such as LiveStreaming, and offer attendees a different kind of experience to an in-person film festival. What’s different about our film festival? Not only will the UK Film Review Festival be the first virtual film festival to take place on the UK Film Channel, we are also the only one who can provide a film review for EVERY film that enters! So whether you get officially selected or not, you still get something out of submitting your film. If you have already had your film reviewed by our movie critics, we will offer to promote your film further by conducting a free interview with one of your cast or crew, or promoting your trailer on social media. Click here to find out more about the UK Film Review Festival.

★★★★ Directed by: #RobertHackett Written by: #KulvinderGill Starring: Film Review by Jasmine Holly Bullock Special Delivery, written by Kulvinder Gill and directed by Robert Hackett, follows a somewhat solemn postman as he makes his way in the cold London weather to make his deliveries. I will say that this film is not what I expected, but in a nice way. Special Delivery can be classified as a ‘silent film’ as there is no dialogue, but there is sound in terms of atmospheric sound and music. Actually, this film has some really nice sound editing. The transitions of the sounds and the merging of them are done with such high quality. There is a single song that plays for majority of the short, this song is very choir inspired, and is a piece produced by the great musician Moby, although I don’t think it was specifically made for this film. Nevertheless, it was a good choice for the film. Although the shots used in Special Delivery were fairly basic shots, the setting and story were also fairly basic therefore, it makes sense that there was nothing too grandiose about the shots. However, the cinematography was still great because the shots were really smooth and were done well. Nothing was done with carelessness. The combination of the soundscape, the music and the filming made this an enjoyable production. I do wish there was something more to the plot, but for a film that is less than 5 minutes long, I won’t complain too much. Another thing that made this film pleasurable to see was the cast. The main members of the cast were Jerome Holder playing the role of the postman, and Varada Sethu as the young woman waiting for the postman to arrive. I must say, it was nice to see a diverse cast in this film and was even better because it was a capable cast. Both Sethu and Holder did justice to their respective roles and I appreciated their naturalism. Yet, due to the plot being rather simplistic, the characters were also pretty basic and generic. Robert Hackett is an impressive director and he did a very good job with Special Delivery, I’d be interested to see some more of his work. Hackett has a wide array of films he has directed, many have qualified for notable film festivals such as the BFI Future Film Festival and the London Independent Film Festival. In fact, Special Delivery was an official selection for the 2020 London Independent Film Festival. Special Delivery also won both the Best Silent Film and the Best Film award at the Harrogate Film Festival this year. As its aforementioned accolades suggest, Special Delivery is a short that provides an enjoyable experience for viewers. This was a production that was noticeably done with a lot of care and effort. The film is under 5 minutes long and is certainly a warming little short, and so I’d recommend it as being worth a watch! #JasmineHollyBullock

★★★★ Directed by #DeanCraig Written by #DeanCraig Starring #SamClaflin, #OliviaMunn, #EleanorTomlinson Film Review by Amber Jackson Acting like an awkward Hugh Grant film, Love Wedding Repeat has all the attributes of a UK film that audiences culturally adore. Director Dean Craig creates a sweet, light-hearted homage to a cult genre of British 1990s/early 2000s films like Four Weddings and a Funeral and Love Actually, that leaves audiences feeling fulfilled. Sam Claflin leads as Jack, a caught-in-the-middle awkward protagonist who is always trying to do right by those around him. On the day of his sister’s wedding, Jack encounters multiple obstacles from guests as he tries to ensure that the happy couple have the perfect day. Feeling like Charles in Four Weddings, Jack combines a calm humour with bumbling dialogue creates a familiar filmic feeling. A brilliant, high-profile cast features some current British favourites in film and TV, particularly looking at the Poldark cast. Eleanor Tomlinson gives off sweet Keira Knightley vibes as sister Hayley, but with a hot-headed twist as the plot progresses. Framing the entire story is the budding love story between Jack and American war journalist Dina (Olivia Munn) in a series of uncomfortable and relatable moments of missing the perfect romantic moment with someone. It is a film cliché that still makes audiences cringe with the frustration of “oh come on just kiss her!” Hilarious acting rules this piece, with every awkward moment being very well done. Hayley desperately seeks a perfect wedding day with new husband Roberto (Tiziano Caputo) after committing to each other, yet obstacles keep throwing themselves in her way. The first half of the film is fun and fresh and captivates audiences with the awkwardness of dialogue and a plot teeming with infuriating scenarios revolving around wedding villain Marc (Jack Farthing) trying to sabotage the big day. It is left to Jack to keep Roberto’s family unassuming, whilst he also tries to spark romance with Dina. The result is disastrous, yet incredibly entertaining to watch. What likens this film to its predecessors is how many different types of relationships at varying stages are represented. Craig invites audiences to gaze upon them within the traditionally blissful wedding setting and consider couples in a more contemporary context. We get to see the first moments before a relationship between Jack and Dina as they begin to like each other with uncertainty, versus the breakdown of insecure couple Chaz (Allan Mustafa) and Amanda (Freida Pinto). Love Wedding Repeat manages to capture those moments of commitment, catastrophe and commiseration within the boundaries of love. Contemporary questions have arisen over this film being a tad outdated in style, but despite this, the second half of the film is a lot shorter, as the reset button is hit. However, this adventurous decision makes the tone of the film feel disjointed hereafter, as clips of every potential circumstance is shown. It begins to feel a bit thin and even surface-level in parts and you begin to wish you had more backstory with certain characters like sister Hayley (Tomlinson) to explain their motives more. Although the second half doesn’t live up to standards set by the first, you still leave with a credit-rolling smile. This is ultimately a fun watch that is good if audiences want to escape from reality for an hour and a half. They don’t make a lot of UK films like this anymore and it is nice to see a film that harks back to the classics that we all love and enjoy. Upon reflection, audiences will still probably opt for those classics over this one, but it is nice to see something different. #AmberJackson

★★★ Directed by #JessicaHausner Written by #JessicaHausner Starring #ClaudiaPenitz #AndreasGötz #JohnFKutil #AlfredFarkas #HerthaHans Film Review by Jasmine Holly Bullock Jessica Hausner is known as a revered director and so in honour of her talent and her upcoming film Little Joe, the BFI dedicated a season to showing her work. This is how I saw a screening of Hausner’s first film project, Flora, which was filmed in 1995. Hausner’s coming of age film follows the moments of a young woman, named Flora, as she struggles to fit in with her family and society, whilst she also struggles to deal with the transition from girlhood to womanhood. Claudia Penitz plays the lead role of Flora and despite not liking the character very much; Penitz is able to play the role of an apathetic, lonely young woman very well. Still, I cannot tell if the actor is informing the character or if it is the other way around. Whilst the character of Flora is somewhat relatable, she is not likeable at all. She is completely stoical and because of this it was hard to understand her relationships with some of the other characters. There is very little dialogue in the story, and Flora isn’t even the most vocal character in the piece. In fact, when translated from German to English, Flora only says approximately 25 words in the whole 25 minutes of the film. On the other hand, Flora’s underwhelming personality and presence is interesting because it not only isolates her from the other characters, but from the audience too. It’s a double-edged sword, very clever if intentional but I’m not sure that is the case. The soundtrack was okay, there wasn’t anything that stood out to me in this area, apart from a not-so-great rendition of Elton John’s Your Song. Considering that Flora attends dance classes, it is surprising that the soundtrack didn’t make more of an impression. However, like the lack of excitability from Flora, the lack of musical excitement may have served the purpose of highlighting the mundane situations that Flora finds herself in. I am more confident that this was done deliberately. The aspect of this film that has really made me appreciate Hausner’s work is the use of disjointed, or discontinued shots, but unlike some other short films I have reviewed, it is clear that this is was definitely a stylistic choice on Hausner’s part and assisted by her cinematographer, Robert Winkler. These shots were really well thought out and kept with the whole theme of feeling disconnected from your environment and those in it. Hausner gained a lot of recognition for Flora and actually won the Lion of Tomorrow prize at the Locarno Film Festival in 1996. So it is clear that at the time of its release, Flora was thought to be somewhat avant-garde and fresh. Considering that this was Hausner’s first film, whilst it was not the most enjoyable for me to watch, it has made me curious about how her style may have improved or changed over the years; so I will definitely be looking at more of her work. #JasmineHollyBullock

★★★★ Directed by: #TomLeatherbarrow Written by: #TomLeatherbarrow Starring: #ElliottJamesLangridge, #LaurenCato Film Review by: Darren Tilby Dealing with mental health problems isn’t an easy process. For a start, it’s not an easy thing to talk about to anyone. When you finally can, it’s hard to get a diagnosis, and even harder to get any help - with year-long waiting lists to see professionals not uncommon. That’s why it’s so important for films like Tom Leatherbarrow’s After the Sea – a 15-minute long introspective which deals with the ever-lasting effects of suicide – to raise awareness of these issues and tackle them in a direct and frank manner. But does the film achieve this? In a word, yes; absolutely! So much so, the film has been used to spearhead a series of workshops by bereavement support charity, Cruse. It’s hard to imagine a more arduous or profoundly affecting subject matter than the loss of one’s best friend as the basis of your directional debut. But it’s one Leatherbarrow felt needed to be told: describing the movie as ‘...an outpouring of every emotion I had felt in the last few months’, and as a ‘...raw, unaltered piece of myself.’ You can feel that passion in every aspect of his film. The setup is a simple one: two ex-lovers – Alice (Lauren Cato) and Joe (Elliot James Langridge) – reunite in their sleepy seaside hometown after the suicide of their mutual best friend. What follows is a 15-minute long conversation in which our leads must confront their grief and face up to the past before they can embrace a brighter future. While this is pretty much a no-frills affair, it’s this simplicity that allows the movie’s better qualities to breathe. Predominantly, it’s the outstanding performances by Langridge and Cato, and Leatherbarrow’s superb writing and direction that holds this film together. Adding much-needed depth and flavour, though, is Thomas Rosser’s superbly understated cinematography. The bleakness of Britains windy coastal towns infuses well with the subject matter found herein, and Rosser captures and displays it flawlessly. But it’s wholly uplifting to see that bleakness eventually give way to bright sunshine towards the end of the film. As if symbolic of our couple’s leaving behind the past and moving onto a brighter future. Simply put, it’s beautiful, layered and intelligent. The only problem I found here was that the film seemed to be out-of-sync. But that could have been down to my internet. It’s nice to leave a movie with such a cold, sombre and melancholic tone feeling warmer than when you first enter its world. Even if the ending was perhaps a little saccharine for my taste, and that’s probably After the Sea’s greatest takeaway: no matter how terrible things seem at the moment, the future can still be whatever you want it to be. After the Sea releases to the public on Sunday the 3rd of May. And It’s more than worthy of your time.

After the successful launch of Grimmfest TV on the 20/4/20, UK based GRIMMFEST, one of Europe’s most prestigious genre film festivals, is delighted to announce that new titles will be added to the channel every week. A new TV channel dedicated to horror films of all types, through which viewers can access exciting features and shorts from the Grimmfest archives for free while the world is in lockdown, GRIMMFEST TV is available at: Grimmfest.com/TV. Two award-winning shorts will hit GRIMMFEST TV at Midday, Friday 1 st May 2020. Part body-horror, part ghost-story, Ben Steiner’s THE STOMACH has played at over 200 festivals, won awards all around the world and had its UK premiere at Grimmfest a few years back. MYSTERY BOX, a slick, stylish, mind-bending ‘cabin in the woods’ movie from Sonny Laguna and Tommy Wiklund, the amazing Swedish directing duo behind PUPPETMASTER: THE LITTLEST REICH and WITHER, had its UK premiere at Grimmfest 2018. Festival Director Simeon Halligan said “Right now, it's impossible to access cinemas or screening events in most countries, so we wanted to give something back to all of the amazing genre film fans out there, stuck at home. Grimmfest has been busy curating content that includes award-winning horror shorts and features that premiered at recent editions of the festival. The films will be available to view for free, while everyone is in lockdown.” GRIMMFEST TV launched with a fine selection of over 25 short films and 7 features including Grimmfest 2018 best short award winner, WE SUMMONED A DEMON, Grimmfest 2017 opening night feature, HABIT, Rob Grant’s (HARPOON) horror comedy MON AMI and the suitably virus themed LA CONTAGION.

★ Written & directed by: #SaurabhArora Starring: #KushalGupta Short Film Review by #ChrisBuick Our young protagonist finds himself in a horrible situation we can all relate to; he’s really hungry. In fact, he is so hungry that he decides he would rather skip his uncle’s funeral in order to return home and chow down. His other half (who is attending the funeral herself but seemingly not at all perturbed by his absence), tells him there is some chicken waiting for him ready to go, all he needs to do is heat it up in the microwave, oddly the one thing the previous tenants of his new home seem to have left behind before they mysteriously disappeared. And he is about to find out why. A microwave oven that devours any kind of meat it has put inside it seems like the kind of off the wall premise that would serve a horror short well. But despite a lot of promise in the idea and a decent atmospheric setup, the payoff is virtually nil. Instead this #shortfilm becomes a repetitive slog as we are practically reduced to watching our lead place varying bowls of food in a microwave over and over again to see what happens and this film has all the hallmarks of a promising concept being poorly executed and not thought out. This is apparent throughout the film. Sometimes a viewer must let go of their grip on reality in order to allow a horror piece its chance to shine, especially when the premise is as strange as this one. But it’s very hard to suspend any necessary belief we might need to enjoy this film when there is a lot of overhanging questions and things that simply don’t make any sense. If the microwave has a glass door, how can he not see what is happening to his experiments, considering the whole time he is staring straight at it? How did such a small microwave manage to devour an entire person? Why would you not just throw it away or simply stop using it the minute you knew something was up? That last one to be fair might just be me but still a valid point and again points to a lack of forethought in fleshing out the premise. Also, when there is a sole on-screen presence in any film, perhaps even more so in the horror genre, that individual is tasked with the unenviable job of shouldering the entire weight of the project and needs to make sure the audience buy into the premise and stay invested. Gupta however, seems to have set himself to one default expression; confusion. It’s frozen on his face at almost every point in the film, never moving through any varying degrees either of it either and even when it is applicable, it's still totally unconvincing.  The films only slight saving grace is a somewhat decent score that coupled with some interesting camerawork does give the film a glimpse of tension in the build-up, but ultimately that is also just spoiled by the rest. All its flaws make The Hungry Ones thirteen-minute runtime seems so much longer, it perhaps could have been slightly more effective if it had been set at a much punchier four or five-minute mark but sadly the film would still be lacking any kind of horror, drama or excitement. #ChrisBuick