★★★ Directed by #PeterBerg Written by #SeanOKeefe, #BrianHelgeland Starring #MarkWahlberg, #WinstonDuke, #AlanArkin Film Review by Amber Jackson This suspenseful action-comedy follows Spenser (Mark Wahlberg), an ex-cop newly released from prison, who follows the mystery of his ex-boss’ murder with aspiring fighter and roommate Hawk (Winston Duke). The pair embark upon an ex-con detective chase and begin to uncover dirty deeds within their community of Southie, Boston. Based on the book series by Robert B. Parker, later 80s television series ‘Spenser: For Hire,’ it appears it didn’t quite live up to prior expectations. The plot thickens at every turn, with Spenser’s search for social justice ultimately putting him in danger. He considers the possibility that every crime he encounters is connected to previous police cover-ups and a murder conspiracy that he tried to expose. Wahlberg excels at playing a character complicated by a deep sense of moral duty and a man struggling to culturally adjust to normality again. The script teems with hilarious cultural references that Spenser has missed from spending the last five years in prison and this modern twist to his narrative allows the film to greater thrive. His brotherly dynamic with Hawk is truly the shining point when watching, as both Wahlberg and Winston adopt Batman and Robin-esque personalities and allow their lines to bounce off one another in fast-paced scenes of drugs, drama and wannabe detective work. However, elements of the film falter from the start, making it difficult to follow. Character relationships are confusing, particularly with Henry (Alan Arkin) who is a brilliant and comedic character in his own right, but dips in and out with minimal explanation. One thing that is made explicit is that Spenser is always trying to do the best for the women that surround him and this is reflected well in Wahlberg’s characterisation. However, the script just about misses the mark and the film ultimately ends up being a showdown of masculinity – which it is ultimately intended to be. Despite these weaker points, the film picks up further into screen-time and dives into the character relationships more. Spenser’s girlfriend (or ex-girlfriend, not entirely clear) Cissy (Iliza Shlesinger) is given greater complexity in the latter half of the film, adding a much-needed extra layer of comedy to Spenser and Hawk’s journey. Other parts of the film are fairly predictable, particularly towards the end, with the fight and stand-off scenes, but they were still enjoyable to watch nonetheless. The entire piece feels as though it should be a Netflix original series, as the plot feels a little crammed into a two-hour film. It could have taken greater advantage of this style, given that it is on the Netflix platform. Spenser Confidential does not offer much deviation or originality within the context of cop action-comedy films. However, it seeks to charm audiences with its witty dialogue and visually colourful scenes and it succeeds in both. #AmberJackson

★★★★★ Directed by: #VincenteMinnelli Written by: #AlanJayLerner Starring: #GeneKelly, #LeslieCaron, #OscarLevant Film Review written by: Amber Jackson BFI are currently showcasing classic musicals that highlight ground-breaking film. Last week, they brought audiences to the attention of ‘An American in Paris.’ Starring the infamous choreographer and actor Gene Kelly, this 1951 film tells the story of American ex-GI Jerry Mulligan who falls in love in Paris after The Second World War. Introducing the screening was Kelly’s wife, Patricia Ward-Kelly, who remarked as she closed her speech that “Gene was proud of this one.” 'An American in Paris' goes further than simply describing a love story. Director Vincent Minnelli uses everything from the camerawork to costumes to present a colourful and kaleidoscopic narrative that oozes musical innovation. He always wanted light in his films to be a cinematic homage to artwork and aesthetics that he loved, which is what makes the picture so incredible and forward-thinking for its time. Each scene is shot in vibrant technicolor and is lengthy so as to follow the actors every movement and the costumes are simultaneously tasteful and eccentric for the era, creating a collision of beautiful colour. Most importantly, however, the choreography is the narrative. 'An American in Paris’ is one of the classics films that revolutionised dance on film, as Gene Kelly, along with Minnelli, ensure dancing is what tells the story. The physicality of the film is what tells audiences that this is a romance, as each movement is perfected by Kelly and Leslie Caron to convey real passion. This is not to discredit the witticisms of the dialogue, as without Alan Kay Lerner’s bold script, movement would not be permitted to come to life. A striking resonance is that Lerner highlights his female characters as strong and forward-thinking individuals who know their own importance more than the men do. Radical for its time in movement and word, ‘An American in Paris’ is ground-breaking film at its finest and addresses the importance of continuing to showcase classic film. BFI has done a fantastic job in presenting the history of great film, not only to remember, but to also show how contemporary film is inspired by the greats. For instance, the seventeen-minute ballet scene in ‘An American in Paris’ uses Gershwin’s beloved orchestral track of the same title. This was not only an incredibly radical choice to include at the end of a Hollywood film, but is almost completely paralleled by the epilogue scene in Damien Chazelle’s 2016 film ‘La La Land.’ Chazelle was very inspired by Minnelli and Kelly’s work in ‘An American in Paris,’ along with other classics such as ‘Singing in the Rain’ and ‘Meet me in St. Louis’ and emulated this in the dance sequences, colour, storyline, performances and even the film poster of ‘La La Land,’ as an homage to ‘Old Hollywood.’ Likewise, ‘An American in Paris’ itself is a homage to classics before it, an example being their use of George and Ira Gershwin’s music to inspire the story and the dancing within it. Speaking at BFISouthbank last week, Patricia Ward-Kelly discussed her work in keeping her late husband’s legacy alive. Screenings of films such as his bring original and ground-breaking film to younger audiences, showing how stories on screen were consistently radical in innovation and technique. They have inspired a new wave of ‘homage’ films that allow more and more young people to show an interest in the original classics, perhaps to seek escapism or to learn more about where film today has stemmed from. The film has the ability to transport us to another time that looks more simple and desirable is fascinating. #AmberJackson

★★★★ Directed by: #GretaGerwig Adapted for screen by: #GretaGerwig Starring: #SaoirseRonan, #EmmaWatson, #FlorencePugh Film Review by Amber Jackson Little Women Movie Review Greta Gerwig’s new adaptation of Little Women is a fitting, whilst thought-provoking, end to this tumultuous and transformative decade. This new take on Lousia May Alcott’s original 1868 novel has been adapted and brought to life with equal measures of vibrancy and modernity. The story still rightfully clings to its central arc of what it can mean to be a woman, but Gerwig explores this in a way that remains current, complex and comedic. It is seemingly innocent and not so, all at once. Set in Alcott’s hometown of Concord, Massachusetts, the film has an authentic feel whilst still adopting modernity. The glorious scenic colours as one season folds into another and another make for beautiful viewing as the camera follows the lives of the March family and those that live and work around them. The landscape is reinvented for twenty-first-century eyes, as we are shown another side to the small American town that conveys domesticity in a hardworking community on the outskirts of war. Jo is as likeable as ever, with Saoirse Ronan using the protagonist’s relatability as her biggest strength. It is far more evident in Gerwig’s adaptation that she and Laurie (Timothée Chalamet) are completely unsuited to each other romantically, as he does not challenge her like Friedrich (Louis Garrel) does. Her relationships with her sisters are explored differently too; she does not idolise older sister Meg (Emma Watson), almost resenting her domesticity, her tenderness with Beth (Eliza Scanlen) perhaps indicates that she has the best understanding with her and her dislike of Amy (Florence Pugh) flounders when she eventually sees how similar they truly are in adulthood. This film is a play on narrative, as Gerwig jumbles up each scene of the original storyline, making the story feel more contemporary and accessible to a twenty-first-century audience. This reinvention of Little Women leaves audiences feeling as though they have watched an entirely new story and in many ways they have. Jo March tackles the commercial pressure to marry off her female protagonist more vocally in this film, arguing as to why women must be dependent on male advantage. This being an incredibly important contemporary discussion point, it was a huge take-away from the viewing experience, Also a jumble was dialogue, which was delivered all at once by the sisters to create a chaotic and comedic effect. The stichomythic intention of Gerwig’s writing provided a fresh insight into the March family dynamic, whilst delivery from Pugh and Scanlen in particular provided previously unseen humour in characters Amy and Beth. These women are hilarious and enjoy themselves as children and continue to thrive in their creative passions as adults, even when circumstance intrudes. Gerwig has crafted her writing to spark a more empathetic insight for audiences. Each character is different to what is expected of them, another measure of modern filmmaking. Amy, who was previously bratty and entitled, is understood here. Her inner mentality is tapped into and audiences see a girl frightened of being left behind in the pressure to marry rich to financially support her family. Likewise, dull and dutiful Meg still wants domesticity with her husband, but is revealed to be problematic in wanting to fit in with the other women her age and craves commercial value. Gerwig’s multi-dimensional characters permit the audience member to decide what the story is for themselves, based on what they envision within each character. Little Women has always shown its followers the trials and anxieties of being a woman, which is why this 2019 adaptation is more so relevant at the end of this decade. At a time where what it means to be a woman is continuously shifting, Gerwig’s film is perfectly timed. Showcased is the importance of telling female-led stories by women about women and for women and as we approach 2020, Jo’s story will hopefully motivate more women to write their own experiences. #AmberJackson

★★★ Directed by #IanFielding Written by #IanFielding Starring: #MichelleCrane, #RosalindStockwell, #AlistairFindlay, #RebeccaCalienda Film review by Amber Jackson When Amy (Michelle Crane) learns that her mentor has vanished without a trace, she is determined to discover the truth. What she uncovers instead is far more than she bargained for. Dead Unicorns is described as a mysterious and murky representation of the contemporary art world, oozing with falsifications and murder. Yet, it is also tainted by a problematic narrative that asks its audience to consider how contemporary film should take care to represent women. Ian Fielding’s direction is fascinating. Albeit several jarring “show don’t tell” moments surrounding the title meaning, the actual structure of the film is entirely unique, the scene transitions reminiscent of those included in Star Wars. The narrative is confusing to follow at first, with characters floating through the production with commentary on art and each other. Only when it reaches the hour mark does the plot begin to deepen. The audience are introduced to some murderous escorts, which as a scene does not make much sense and can only be described as an interlude with balloons (which we learn are not sexy). Some of the extra characters, such as these women, or Jack (Gareth Bennett-Ryan), do not seem to have much purpose within the film. Although they act well, they add nothing much to the plot, making it lack in fluidity. To add to the confusion, the audio is inconsistent throughout the film, loud in some parts and too quiet in others, making some scenes hard to follow. Yet there is a surreal edge to the score that makes the music seem almost ironic within the supposed thriller. Classical ballet and opera music encompass key scenes which, if deliberate, makes the contemporary art thriller even more uncanny. Abrupt music changes, upon reflection, made for an uncomfortable atmosphere, throwing the audience’s expectations to the wind. This creates an indistinct atmosphere for protagonist Amy, as what is real life versus her nightmarish dreamscapes is not very distinct. The interweaving of natural scenery and contrasting urban modernity creates an unnatural feel to the film. Each image goes against the last, with Fielding making audiences question what they believe art is. This film offers a conflicting argument regarding its presentation of women with the artistic images that it offers. Yes, Amy is a strong female lead and the women around her are power-hungry and dominant, but it seems to slightly miss the mark and this is where the film suffers. The Male Gaze seems to shroud Amy and her female counterparts under a veil of sexualisation that is labelled ironically as art. Sin is blatantly expressed through colour, as red imagery perforates every scene. Amy herself is often seen wearing red for example, along with having red props very obviously placed in view. The lack of subtlety in the cinematography invites audiences to speculate over what exactly is being commented on here. Queer female characters are badly represented in the film’s vision of women; even if they are not explicitly gay, there is a negative implication that is not appreciated. Historically, queer female characters in film were often portrayed as psychotic or otherwise unstable, to further persecute gay people. ‘The Celluloid Closet’ documentary (1996, dir. Rob Epstein & Jeffrey Friedman) explores how sexuality was heavily censored in film in the twentieth century and consequently, gay characters were made out to be cold-blooded villains or sexual predators. These types of performances are subtle enough to go over most people’s heads, but for a gay audience, it was blinding. For instance, the audience is told of Eva’s (Ilva Holmes) obsession with Diana (Rosalind Stockwell), a much older woman, before we even meet her. Dead Unicorns illustrates a degree of lesbian obsession that a queer audience cannot ignore. The women in this piece are presented as vindictive and manipulative, in addition to this, and it contributes to their downfall. Fielding makes good use of the several red herrings and plot twists with sharp camerawork, highlighting that this is ultimately a film about power, control and the unobtainable. The villains Amy encounters are trying to achieve a perfect perception of what they believe to be art and are willing to do whatever it takes to get it. The narrative excels with fantastic one-liners and kaleidoscopic camerawork, yet a conflicting representation of women prevents this film from fully thriving. Future work from Fielding will hopefully feature strong women again, but hopefully next time their characters will be more conscious of how they will be perceived by marginalized audiences. #AmberJackson

★★★★ Directed by #LukaszKosmicki Written by #LukaszKosmicki, #MarcelSawicki Starring: #BillPullman, #LotteVerbeek, #RobertWięckiewicz Film Review by Amber Jackson A fascinating spy thriller that oozes with espionage and mystery, The Coldest Game is a fresh take on Cold War politics. Not only does its multilingual merit offer a multi-perspective advantage to the characters in this film, but Polish co-producers Watchout Studio allow for the film style to have many unique qualities about it, whilst still retaining a spy thriller-esque tone. The production quality is incredibly high, highlighting that Netflix is once again is the prime candidate for showcasing relatively unknown, yet exceptional, film and really does have an eye when it comes to sharing stories that are socially and, in this case, politically important. The story centralises on 22nd October 1962 – an important chess match that takes place in Warsaw between US professor Joshua Mansky (Bill Pullman) and Soviet chess champion Alexander Gavrylov (Evgeniy Sidikhin). Protagonist Mansky is seemingly old and tired, but hastily gets swept up in American/Soviet governmental power-play in the turbulent days surrounding the looming Cuban Missile Crisis. With a blockbuster-like script guiding the way and a high-profile cast, the film makes chess the real metaphor for politics as Mansky is forced to explore the many games that politics has to offer. Albeit a historical film, there is a modern feel to how The Coldest Game is produced; the camerawork is bold and vivid as Mansky is taken from Brooklyn to Warsaw with a variation of colour and sharp shots. Yet, there is an authenticity to this that makes the audience feel like they are watching a classic thriller film. Cinematographer Pawel Edelman was inspired by camerawork from the horror film genre that looks cold and is focused around jump scares and gruesome close-ups. This dramatic structure is sandwiched in-between chilling use of real video archival and news footage that features coverage of American, Cuban and Russian events. These black and white interludes are cleverly featured, making the film even more textured. Likewise, the score adds to the sombre atmosphere with looming music added to extended scene transitions and the use of echo and overlapping noise to create even more of an ominous tone. The film evokes a lot of memories from UK history classes of studying the Cold War; from the impact of troubled US/Russian relations, to the power of Communism spreading across Europe and the impact of the Iron Curtain. We are shown scenes that include some post-war ruins of Poland that illustrate the legacy of survival and dealing with the aftermath of conflict whilst fearing another one. The characters in this film showcase anxieties surrounding the potential end of the world, with threat of nuclear disaster. Each individual highlights the human experience as fearful, confusing, passionate and patriotic with a barbarous backdrop of war. The Coldest Game is riddled with bluff, deception, intrigue and mind games – all components of a successful spy thriller. Whilst it offers audiences this ‘shock and scare’ factor, it also takes time to educate those watching on the contemporary nuclear war fears that face the world today. Mansky’s ability to see the human side of his mathematical genius being used for political warfare acts as a wake-up-call as it demonstrates the global impact of knowledge. Kosmicki has framed this film as a warning in showcasing American, Polish and Soviet perspectives; a rare privilege and one to take notice of. Kosmicki’s future work as a director is surely a style that will be remembered. If you like films that contain history, political power play and thrilling mystery, then this will be well worth a watch. #AmberJackson

★★★★ Directed and Written by #StevenMurphy Starring #StevenMurphy, #TiffanyEllenRobinson, #ToddVonJoel, #TimFaraday, #CassandraFrench, #JaneMcKell Indie Film Review by Jack Bottomley The British gangster or British crime genre is chock full, with new additions to it landing most weeks on DVD shelves. Unsurprisingly Guy Ritchie is often placed at the very top of this genre as one of its leaders but there are many other worthwhile pictures out there from a range of filmmakers, from Jonathan Glazer’s Sexy Beast and Matthew Vaughn’s Layer Cake to Brian Helgeland’s Legend and Ben Wheatley’s Down Terrace. And it is that last example that writer/director #StevenMurphy’s film Relentless shares the closest strands of DNA with, add the Brit crime thriller beats of films like Craig Viveiros’ The Liability and lawless (comedically laced) redemption stories like Jeff F. King’s Damage and you have the completed filmic molecule. Set and filmed in Bournemouth, Relentless sees ex-convict Jake (Murphy) released from prison, aiming to stay out of trouble for just one day before he begins a new life. However, trouble soon finds him, as Jake comes to the aid of young prostitute Ava (#Tiffany-Ellen Robinson), which puts them both in the sights of some really bad people, as events start escalating beyond their control. The set-up (ex-con trying to carve a new life lands in a bad situation) is a well established trope and some pieces of dialogue are a bit sluggish but the heart of this hard hitting (yet funny in places) drama/thriller shines through. This is a story built on loyalty but in presenting a socially realistic backdrop (gang culture, crime riddled estates, fear of local gangsters), Relentless can pack quite the punch so to speak. For instance, as we delve into Ava’s character, her life becomes rather distressing and uncomfortably all too real but as Jake arrives on the scene, we soon see this is not just his story of vindication but Ava’s as well. Murphy does not demonise his subjects, he sympathises and shows how people can be a product of the turmoil they grew up with and in but even in the most extreme cases, there is always a chance to be more than our experiences and to come out the other side of trouble. It’s a quietly inspiring film and to say it shows a very brutal world, there are some humorous moments as well, grounded in moments of relatable character dialogue. The film has practically all the fat trimmed and feels very sprightly at just over an hour in length, with memorable sequences that contain some with a real visual spark - a tense Sea Life centre scene for instance sees director of photography #JonathanMcLaughlin firing on all cylinders. While some realistic fight choreography by #PhilNorman hits the mark, even if some of the effects do occasionally jar a touch it’s all mostly well done, and assisting in this is #LxaLynch and #ChelseaCran’s strong make-up, which makes some of the film’s knuckle bruising scrapes have more impact visually. And a special mention for #MariaTheresaRodriguez’s music, a lot of which was performed by her, and which fits the overall feeling of the film well. Murphy is fantastic as the flawed but big hearted Jake, while young Tiffany-Ellen Robinson as Ava shows how she could be a name to look out for in future, with a very emotive performance. These two actors hold the soul of the film in their hands and both have your investment, as do their characters, which in turn means that Relentless does too. Relentless is a sometimes fierce, sometimes rather funny, and engaging British crime story, that packs a wallop, physically and emotionally. #JackBottomley

★★★★★ Directed by: #BrettPierce, #DrewTPierce Written by: #BrettPierce, #DrewTPierce Starring: #JohnPaulHoward, #PiperCurda, #ZarahMahler, #JamisonJones, #AzieTesfai, #KevinBigley Grimmfest Film Review by: Darren Tilby The Wretched, a horror experience red in (very literal) tooth and claw, is one part It, one part The Burbs, and one part The Witch. The Wretched grounds itself in that comfortable 1980’s #horror ambience; masquerading as a coming-of-age movie. But don’t let this lure you into a false sense of security. This is a bloody nasty piece of work and is one of the most genuinely scary and unnerving #horror films I’ve seen for years. The Wretched wastes no time in setting the mood of the film; in terrifying opening scenes set during the 1980s, we get our first taste of what the film has to offer. Akin to the opening of It (2017), The Wretched, in one fell swoop, firmly establishes its connection to that decade. Fast forward to the present day and teenager Ben (John-Paul Howard) is staying with his father, Liam (Jamison Jones) while his parents are going through a divorce. Ben has all the usual struggles of teenage life: recently divorced parents, demeaning summer job, and the girl he likes doesn’t like him. It’s the classic coming-of-age tale, and the Pierce brothers have clearly drawn inspiration from the works of #StephenKing; in particular, It. The Wretch (Madelynn Stuenkel in an outstanding performance) is a 1000-year old, child-eating witch...sound vaguely familiar? Familiarities continue with the characters, who are all fairly typical of the genre. This isn’t a particularly good thing, nor is it a complaint; more an observation. But it’s worth noting the performances are all-around superb. Where The Wretched differs is in its tonality. As a #horror experience, The Wretched surpasses It in almost every way. The Wretch herself strikes a terrifying visage, thanks in no small part to excellent creature design and Stuenkel’s #twisted performance. And Brilliantly #gruesome #practicaleffects (#StephenImhoff) only serve to accentuate the #horror throughout the movie, which, by the way, isn’t afraid of who it kills. Make no mistake, this is a full-blooded, #gory, and occasionally painful to watch, #horror film. Having said that the blood and gore are always justifiable and never unwarranted. It’s worth noting, however, that the real terror-inducing elements of this film are the excellent #cinematography (#ConorMurphy), superb #sounddesign, and damn near perfect pacing. I genuinely can’t heap enough praise onto the visual and #sounddesign in this movie. It’s stunning, and it’s terrifying, and it works even better on the big screen. And the simmering-pot pace allows the audience an almost unbearable amount of time to stew. Indeed, this is an expertly crafted and #unforgiving #horror movie that builds up the tension and #terror in a fashion mimicking #RobertEggers’, The Witch. The Wretched was one of the best films I had the pleasure of seeing at #Grimmfest this year, and may well be one of the best #horror experiences I’ve had for a long time. It’s dirty, disgusting, #menacing, nerve-wracking, and unapologetically #cruel. It’s also a brilliantly put-together and stunningly realised piece of #horror #cinema that no true #horror fan should miss. The Wretched plays well on both the big and small screen, but I implore you if you’re able, see it at the #cinema. Just don’t expect to get any sleep for a while afterwards.

★★★★ Directed by #HowardJFord Written by #HowardJFord Starring #FelixFord, #RoryFord, #HowardJFord Film Review by Amber Jackson Any trailer for this film does not do it justice. Howard J. Ford’s ‘Adventure Boyz’ is a fun family feel-good feature with a strong message. Ford was worried about his sons using technology rather than playing outside, so he decided to cast them in a film that explores just that. With a beautiful backdrop of Eastbourne and the Sussex downs, young boys Sam (Rory Ford) and Jake (Felix Ford) are taken on a wild ride in more ways than one when they get caught in the middle of a diamond heist. This is an intriguing narrative from the offset, as protagonists Jake and Sam understand their luck and privilege with having a well-known father (played by Howard J. Ford) and a nice life to follow suit. Both boys use everything that their father teaches them to go through each scenario in the film, ultimately leading to a nice series of familial life lessons. The script is cheeky and comedic in the right way, doing well to capture a witty family dynamic from the perspective of a young boy. It explores issues from the dangers of bike riding within a family, a father who is struggling to adapt, plus a commentary on technology in families who are replacing exercise with things such as online gaming. Especially in the wake of what is happening in the UK and across the world right now, the fear of everyone living in their screens is a contemporary anxiety. Ford’s direction is mindful of these issues and expresses them within a father/son frame of love. The film feels like real life, whilst offering escapism in the form of family-friendly viewing. The familial relationships are believable because they are real; the Ford boys' acting is endearing and they both express their own individual talent through Jake and Sam’s mature fraternal dialogue. They capture the essence of their characters extremely well and make the film even more fun to watch. Beautiful shots of the Sussex downs and all that surrounds it sandwich each scene, making the film a real poster-ad for Eastbourne. Natural light is used very effectively in the clever camera shots by cinematographer Travellian Skipaldi, contributing to a great vision of the South East. This is the type of film that makes kids long for summer, so that they can go out and explore what their neighbourhood has to offer beyond their street. Ford’s vision is a specific, yet relatable one. Imran Ahmad creates atmosphere with sound in the tense moments of the film. Score brings out the fearfulness of the stereotypical villain Vladislav (Jon Campling) who overrules the film’s family friendly anxieties, along with his two dense (and apparently unfit!) sidekicks (Russell Shaw, Glen Salvage) who try to antagonise the boys for their stolen goods. For Jake and Sam, fending off the thieves becomes reminiscent of ‘Home Alone,’ which is always an enjoyable family watch. Although interesting to watch through a social-distancing (or indeed a self-isolating) lens, ‘Adventure Boyz’ provides a nice bit of escapism from all that is going on in the world. It will be great to follow Howard J. Ford’s future work when normality resumes, his filmmaking blending family feel-good with thought-provoking life lessons. Director Howard J. Ford on BBC News: #AmberJackson #IndependentFilm

★★★ Directed by: #GuyDavies Written by: Guy Davies Starring: #JoshuaGlenister, #KimSpearman, #CharlieFrances, #JackGouldbourne, #AlexanderLincoln, #HarryLloyd, #JamesFaulkner Film Review by: Corey Bulloch The youthful desire to escape has a much more tantalising connotation in today’s current crisis of pandemic social distancing as Guy Davies’ coming of age drama of teenage angst and love is a reminder to those precious moments that make our adolescence such a defining time of our lives. Philophobia follows the story of Kai, an ambitious student who dreams who leaving his small town for greater opportunities, spending his days with his best mates Sammy and Megsy and growing enamoured with the gorgeous enigmatic girl next door Grace. Davies’ script follows the classic coming-of-age high school drama tropes and the film does little to change up the formula but its the compelling performances and chemistry between the cast that makes Kai’s story one worth watching. Small town big dreams is the general feel coming from Davies’ direction capturing the characters’ layered feelings of anxiety, hope and despair about what the future may hold. Kai’s desire to leave coming into conflict with other character’s realities, such as Megsy’s bad grades or Sammy’s lack of options. Though Philophobia expands the scope of its story to explore many positive defining moments for these friendships such as parties, leaver’s pranks and conversing with the aid of cannabis. The film splits its time though with a growing attraction to Grace, with her and Kai growing closer despite the presence of her intimidating abusive boyfriend Kenner. Joshua Glenister and Kim Spearman have terrific chemistry but the development of their romance follows conventional beats, it reminded me of Peter Parker and Mary Jane (without the spider powers) and at times feels removed from the rest of Kai’s story despite being so critical. Philophobia means the fear of falling in love, Davies’ intention for both Grace and Kai are to show how their connection to one another is out of their control and potentially dangerous. Not just from Kenner’s jealous behaviour but how Kai becomes more focused on Grace than his academics, his love for her having the potential to sabotage him. It’s not a toxic relationship but shows that overwhelming power that love can have on young people, where it becomes their only focus and all the emotional toll that comes with it. Kai almost feeling this need to “save” her as Davies uses the two to explore all of that classic high school angst with some added symbolism. Kai’s dreaming isn’t just for his hypothetical plans for when he leaves home; the film tinkers with reality as Kai’s daydreams reveal his innermost desires when it comes to Grace. These visual additions give Philophobia an edge in making itself seem different but the effect isn’t as deep as it could be. While the characters are desperate to move beyond it, Stefan Yap’s cinematography makes the locations gorgeous with a pleasing use of the golden hour. The youthful idealism of the characters given that extra layer of possibility through optimistic orange light but also each scene just feeling very intimate to Kai’s story and able to expand upon his relationships whether it be night or day. Though Glenister and Spearman’s chemistry make the romantic scenes all the more intense, the supporting performances from Jack Gouldbourne as comic relief Megsy, Alexander Lincoln as Kenner and Harry Lloyd as the classic archetypal supportive teacher Mr Jackson make the world of Philophobia feel more tangible and lived in. The characters and performances are the core to what makes Davies’ film so compelling while his script has many exceptional moments exploring familiar ideas, Philophobia struggles to have all of these threads work together in unison. #CoreyBulloch #FilmReview #Indiefilm

★★★ Director: #TomaszAleksander Starring: #VincentJerome, #NadiaSohawan and #DanielHoffmanGill ShortFilmReview by BrianPenn It’s a mystery as old as time itself; how do you cope when a relationship ends? The endless self-analysis; what you said, what she said; the pivotal moment when it all started to go wrong. The unbearable chasm between the way it should have been and how it actually turned out. Michael (Vincent Jerome) has lost the love of his life Rachel (Nadia Sohawan). We see their story in rapid flashback; that first glance at the local gym; the excitement of a blossoming romance and inevitable routine that kicks in. Michael has fallen head over heels in love with Rachel. He wants it all with her; marriage, children and roses around the doorstep. She doesn’t see it that way; marriage feels like an encumbrance, a diversion from her career and a complete loss of control. Sooner or later push comes to shove as Rachel feels suffocated by the needy Michael. The relationship seemingly ends and Michael is left heartbroken. If only he could turn back the clock, it could have been so different? Enter the Suit (Daniel Hoffman-Gill) who appears to be Michael’s sub-conscious, counsellor and psychiatrist all rolled into one. He convinces Michael that it needn’t have been that way: but how badly does he want her back? We can all surmise what’s going on here, but Fool’s Errand seems to take its inspiration from Sliding Doors; an alternate version of events if Michael hadn’t been quite so pushy and held onto Rachel. Overall, it’s a well-constructed piece that draws natural performances from the cast. It traces the anatomy of a relationship that burns brightly, but gradually expires because they want different things from life. What will Michael discover about Rachel in the alternate version of their relationship? It’s a stylish piece of film making that does its job well enough; but like so many shorts fails to satisfactorily tie the story up. Watch the trailer here:

★★★★★ Directed by: #DusanMrden Written by: #DusanMrden, #BaptisteCharles Starring: #MilaPejic Film Review by: Darren Tilby Dusan Mrden’s latest offering, French-language short film, Cathartique, is a wonderfully poetic piece of artistic filmmaking. A tour de force of emotional clout which makes excellent use of colour and camera trickery to represent the psychological state of its singular character. Within its modest two-minute runtime, we see a woman (Romy), psychologically stuck in the past, eventually accepting her place in the present—no matter how scary it may be. Romy is played to absolute perfection by the spellbinding Mila Pejic. Whose performance, which is almost entirely physical (the only dialogue in the film is a running narration which serves as Romy’s inner voice), is subtle and sublime, as well as thoroughly moving. Indeed, Pejic is the very heart of this film. The movie itself is a jigsaw of many pieces. Vladimir Janic’s cinematography is so essential here and utilises different styles as symbolism. Home-video footage (small aspect ratio, grainy and imperfect) is used to show, not only memories but a longing for the past. While close-up black & white shots (beautifully detailed and artistic in nature) display the complex range of emotions battling for control within Romy’s psyche. Passion, love, lust, happiness and anxiety, among others, all feature here, even if only for a fleeting couple of seconds. As well as this, however, there are moments in which background elements of the movie are reversed - at times it’s a fountain flowing upwards, and at others, it’s smoke from a cigarette blowing back into it. I may possibly be looking too much into this, but for me, this, as well as the black & white nature of the film, showed how Romy actively wanted to rewind time. At least, until we reach that final shot; as the movie finally transitions to colour. There’s so much depth here and so much to pick apart in such a compact runtime, both Dusan Mrden and Harvey Puttock (editor and supervising editor respectively) have done a superb job fitting all the pieces together into something so meaningful and incisive. I’m a big fan of Cathartique, as you can probably tell. This is a short film that not only knows its limitations but also how to use them to great effect. It’s superbly acted, visually breathtaking, the direction is first-rate, and the whole thing is fantastically soldered together. And at less than two-minutes long, repeat viewings – and you really should – are enjoyable and enlightening. This is superlative short-film making, one you really shouldn’t miss.

★★★ Written and Directed by: #GinoVitolo Starring: #ToninoTaiuti #CarmineBorrino Short Film Review by: #ChrisBuick An older gentleman, who has been stranded alone on an island for several years, finds himself stuck in a depressingly monotonous existence day after day. With no one for company and little else to live for, he finds himself at sea, both literally and emotionally, looking to finally escape his torment via the depths below. But as fate would have it, before he can take the plunge, he discovers another being floating nearby, a young man. After his rescue, the young man tries persistently to connect with his saviour however the old man wishes nothing more than to see out the rest of his days alone, with theirs now becoming a rather complicated and tense relationship. For me, Stranded must be one of the most picturesque and visually striking #shortfilms of recent times. The films settings are a constant feast for the eyes; from the glorious sun-basked shores of the island that are all the more eye-widening as the sun is going down, to the moodily lit yet still captivating confines of the old man’s abode. Such contrasting aesthetics help give a great visual representation of the overall tone of counterbalance the film is reaching for, light versus dark, hope versus despair. Subtlety seems to be the aim of the game here and in most cases it’s the right move. Stranded never comes across as overly self-indulgent or pretentious in its cinematography, which shows unbelievable constraint considering it has a plethora of surrounding beauty to draw on. The score, even at it’s peak, is never guilty of overpowering the action and along with the aforementioned visuals might even be one of the stand-out achievements here. The film also never resorts to using extravagant drama to make its mark, which in a completely character driven piece such as this works well in keeping the tone of the film at the right level. Again, this tempered approach is also mirrored by the two leads. Both Taiuti or Borrino who are the ones who are ultimately tasked with steering this ship home, seem to be fully on board with the overall message here that less is more, and each manage to turn in high quality performances, clearly actors with the awareness that their expressions and manner can speak louder than the dialogue. However, this scaled-back approach does mean that the film can feel like a very slow burn, the measured pace runs unnervingly close to the line at times and the interests of some could begin to fade throughout. Thankfully though, it does come good in the end, and Stranded ultimately rewards your patience. Despite some pacing issues, #GinoVitolo has created a fine short film that is beautiful both on screen and at the core of its very poignant heart. #ChrisBuick Watch the trailer here: