★★★★ Directed by #AndrewLeePotts Written by #AndrewLeePotts, #TamaraAlBassam Starring #JosephMillson, #AndrewLeePotts Short Film Review by Jack Bottomley Sometimes the simplest things can yield the most impressive result. Such is the case in Primeval’s #AndrewLeePotts’ Kindred, a very low budget short film he directs/co-writes/co-stars in, which simply aims to make use of a location near his home, and to tell a story of family bonds. In turn, it offers a surprising, profound and enjoyable thriller/drama. The film screened at this year's #StarburstInternationalFilmFestival and follows two brothers as they go into the woods to uncover the source of a strange haunting voice that keeps occurring at regular intervals and has baffled them and their family. As night draws in, the two brothers head further towards the source and what they eventually find will alter the course of their lives. As Pixar’s latest film Onward looks at the connection of brotherhood, so too does this film, albeit in a far more adult fashion. As we follow these two characters on their journey to uncovering this potentially sinister mystery, this short film admirably builds on its two central characters, with warm development and authentic dialogue. The writing by Potts and #TamaraAlBassam is often genuinely funny, has a touch of emotion and most importantly of all - unlike many movies short or long - it feels realistic. Kindred works as well as it does because it takes the time to make these characters mean something, and as the film continues we find both brothers have their own struggles in life and it is only the start of a series of revelations to come. The chilling echoing mysterious voice emanating from the wooded areas and tall grassy fields is the main pull of this thrilling film but as you come for this potentially horrific mystique, you stay for the characters and their relationship. As the older brother #JosephMillson is the strong foundation, a family man, driven by providing but at the same time racked with worry for the future and constantly baffled by the actions of his younger bro. Whereas Potts as the said younger brother is still struggling with maturity as he nears 40 and is goofily obsessed with his online world, trying his best to avoid the harsher real one that lies beyond his viral videos. Together they are in a way atypical of the mismatched movie duo, as they are two sides of the same coin but both pretty much find common ground, as they face the same struggles and while initially it seems rather random for them to start opening up to each other on this trudge through the woods, as they both partake in this searching for the origin of that voice, it ultimately comes to payoff in a big way. Some experienced crowds may see where things are heading but I found myself surprised by developments and the way Potts directs is with care for the characters and the budget is put to perfect use, as the very most is made of the genuinely foreboding settings and the talented limited cast and crew. Kindred tackles the lengths of desperation and their costs, as two brothers venture into the unknown and the audience with them, and at a pretty lean 20 minutes, the short is the perfect length to be allowed breathing room and yet keep things moving steadily towards the climax. #JackBottomley

★★★★ Directed and Written by #PhilHawkins Starring #JamieCosta, #MarieEverett, #HadrianHoward, #PhilipWalker Short Film Review by Jack Bottomley Fan films are a source of contention for some. In a business all about creation, many see fan films as a lesser form of it, something less respected and more of a hobby than art. Whereas many others see them as an exciting reflection of somebody’s connection to an established movie license and a showcase for what filmmakers are capable of when they use what they love as a creative launch pad. This writer personally respects the effort that goes into making any film but there is no doubt that some fan films do carry great ambition that comes undone by the confines of budget. This is especially the case when you are drawing inspiration from something as massive as Star Wars, a movie juggernaut that carries great spectacle and wonder, one hard to replicate on most budgets big or small. However watching director/writer #PhilHawkins’ short Star Wars: Origins at this year’s #StarburstInternationalFilmFestival showed that anything is indeed possible. Inspired by the entire Star Wars saga (even last December’s The Rise of Skywalker), this film blends reality and movie myth, as it sets its action in 1944, across the reaching sands of the Sahara Desert, as two archaeologists make a remarkable discovery that could not only unite our world but expand it. A homage to Indiana Jones also, this is a throwback offering, born and bred on ‘80s cinema spectacle. The spirit of discovery and dreamlike looking up to the stars is felt in Hawkins’ adventurous screenplay, which is a love letter to fans of a galaxy far, far away. The bringing of Star Wars lore to our own world is an ambitious plot device but there is more than meets the eye to this impressively crafted action film. The narrative reaches a moment of revelation, not unlike one particular classic Star Wars film, and it is a fun expectation defying twist that brings the story closer to home. The references to Star Wars do sometimes land very much on the nose and there are moments when you are practically finishing character’s sentences and know precisely where they’re going next. However, this is a remarkable achievement of production values, which shows a filmmaker and crew going all out in doing justice to a series they visibly adore. Filmed on location and throwing everything possible at the screen, with some incredible special effects, a Williams adoring score, authentic props and artistic enthralling sets (a cave location in particular is absolutely engrossing and rather magical), Star Wars: Origins very much feels big and wondrous but - like the Star Wars films - doesn’t forget to be soulful and heartfelt. The villains may be a little cookie-cutter from the genre but the acting is excellent, with #JamieCosta as Walter striking that Solo-esque defiance and Luke-like bravery and #MarieEverett’s Ellie capturing that Rey and Leia-like soul and spark. While #HadrianHoward does offer a menacing edge in his part as Saif, the aggressive leader of a mysterious and extreme group sworn to their cause. This is a fun twist on what you may expect from a Star Wars fan film and Phil Hawkins shows not only his adoration for the movies and their lore but (refreshingly) for their maker, and with Star Wars: Origins he goes all in to do justice in respecting this franchise and showing what he can do with the resources at hand. A bigger budget future may lie ahead because the force is strong with this one. Star Wars: Origins is on YouTube Now! #JackBottomley

★★★ Directed by #JuliaNoel Starring: #EdwardParkerBolman #Buzzsaw #CarrieMcNinch Film review by Nathanial Eker Baffling, confusing, intriguing. Just three words that describe the enigmatic 13 Mysteries; a bizarre fusion of imaginative science fiction and neo-political nonsense. Clearly a passion project for writer-producer-director-composer Julia Noel, the film revels in its weirdness, urging actors to be anything but naturalistic as its story devolves into pure madness. It’s unfortunate then, that a good portion of that madness ends up being quite dull. ‘The Investigator’ (Edward Parker Bolman) visits the Twilight Zone-esque habitat of New Cactus City in an alternate 1970. Through interviews with citizens, he discovers a handful of mysteries (thirteen guesses how many), that seem to link to an extra-terrestrial incident in the city’s past. You’d be forgiven for assuming 13 Mysteries to be a collection of stylistically coherent short films bound by a greater narrative framing device. The script immediately grips its audience with talk of desert-telephones and mysterious prophets that live in caves. Had Noel expanded upon these creative ideas, 13 Mysteries could’ve been a well realised anthology sci-fi piece. Sadly, it instead quickly devolves into an ‘election conspiracy’ narrative that is anything but stimulating. Noel’s decision to craft exclusively expository dialogue is a welcome one when paired with other-worldly sci-fi ideas. Regrettably though, when the middle third uses the same clunky speech patterns to explain something as dully realised as political conspiracy, it fails spectacularly. Aesthetically, the film is thirteen times stronger. The monochromatic colour palette paired with a mostly barren set makes for a superb mise-en-scené that carries the majority of the film. The camera is appropriately disorientating too, favouring dutch angles and close ups that bluntly highlight the oddness of the players’ staccato speech pattern. Noel experiments with acting styles antonymical to typical Stanislavskian naturalism. The densely rhythmic speech patterns are appealing in how starkly unsettlingly they are and this strange intent permeates a sense of alternate reality throughout. Actors are freed of all ‘normal’ restrictions; of motivation and emotional response, and are instead allowed to experiment with ticks and expressions. Characters thus range in subtly; Edward Parker Bolman’s Investigator barely cracks a smile, while Buzzsaw’s Mayor Baird gurns and pops his pupils with amusing ferocity and frequency. A non-conformist film like 13 Mysteries that aims to subvert formalist filmic techniques is almost obligated to boast a weird and wonderful soundtrack. Fortunately, despite a few sound editing issues, the film’s score is its most stand out element. As if pulled straight from the cartridge of a Sega Megadrive game, Noel’s synth-infused compositions transport the audience to another realm, one where science and fantasy have merged. Think Ecco the Dolphin meets Stranger Things. 13 Mysteries is a compelling, experimental dive into an unknown world. Though it does eventually reach a surprisingly conventional conclusion, its mise-en-scené is anything but conformist. Regrettably, this enjoyably silly farce is hindered by a gloomy mid-section that bores more than it intrigues. However, the promise of additional mysteries keeps the momentum alive, and it ultimately delivers a sense of confused catharsis. If you can stomach the bureaucratic direction of the plot, the unnerving aesthetic and especially the haunting score might yet make this a mystery worth solving. #NathanialEker

★★★ Directed by: #JessicaHausner Written by: #JessicaHausner #GeraldineBajard Starring: #EmilyBeecham, #BenWishaw, #KitConnor, #KerryFox, #DavidWilmot Film Review by: Sean Drake Little Joe is an eerie and dark dance into the self or more importantly the idea we have of the self. It questions who we are and who we pretend to be. Set in a modern day laboratory, a single mother and plant breeder Alice (Emily Beecham) and her team attempt to artificially create a plant that has the distinctly unique ability to induce happiness in whomever takes care of it. It’s an intriguing concept, and during the Q&A that followed the screening Director & Writer Jessica Hausner openly stated that it’s her take on Invasion of the Body Snatchers, admitting how intrigued she was by the idea of someone appearing to be themselves but actually not. The Screenplay was penned by Hausner alongside her longtime writing partner Geraldine Bajard (Amour Fou, 2014 and Lourdes, 2009). The two successfully manage to allow events to slowly unfold, as Little Joe’s presence leaves the pristine and controlled environment of the lab and enters the more personal and domestic space of Alice’s home when she gifts her son Joe his own ‘Little Joe’. The pacing works well initially but meanders a little during Act II which may frustrate some. Ultimately it’s left up to the audience to decipher whom may or may not have been manipulated by Little Joe’s pollen, or conclude that it's all just been the power of suggestion. Hausner’s directing style is in full-swing throughout, as she purposely uses the camera to limit what the audience is allowed to access visually. There are multiple occasions in which scenes are either cut short, or the camera is pulled away from the action in an attempt to disorientate the viewer. Hausner clearly has an affinity with ambiguity, and avoids giving definitive answers to the questions she is posing, leaving it to her audience to make their own conclusions. This isn’t always successful, and quite often feels forced as if she is attempting techniques for the sake of being unconventional. However, when it does work it works well and goes some way in contributing to the indefinite nature of Little Joe and the characters that come into contact with him. Visually the film is Hausner’s most stylistic in its use of colour, set design and distinctive wardrobe (almost Wes Anderson-esque). There is definitely a 70s pastel aesthetic present throughout despite seemingly being set in the present day. Images pop off the screen, particularly the almost LSD-Induced design of ‘Little Joe’ against the clean white backdrop of the Laboratory. It’s executed well and is generally quite a treat for the eyes. Some may view this style as unnecessary, but it adds to the alien nature of Little Joe and the world he inhabits, and further confirms for this reviewer that plants in movies are creepy. The cast is strong across the board, all helping to elicit the underlying eeriness of this world. There’s a robotic mundanity to a lot of the performances which adds to the alien oddness of the world Hausner has created. Certain characters feel like they are carrying out their lives in a pre-programmed fashion, and delivering lines of dialogue seemingly with no emotion or empathy. It’s similar to the repetitive nature of how the plant breeders attend to their plants on a daily basis. This slowly becomes more apparent as Alice notices the significant changes in her own personal life, coping with the divide between being a successful plant breeder and a single mother. Hausner purposely leaves Little Joe’s intentions unclear, and it is this ambiguity that is the film’s main strength, leaving the viewer to still question what actually happened after the credits roll. This kind of approach won’t be for everyone, and there are moments where it is frustrating to stick with because its intentions aren’t always clear, but it feels like the right direction for a film of this kind. Little Joe just about does more good than bad and successfully provides a new twist on an established sci-fi trope, asking us to question the nature of this play that is life and the roles we choose or do not choose to play in it.

Filmmaker Interview by Chris Olson The global effects of COVID-19 have been a gut-punch to many industries and individuals alike. Hopes and dreams have been shattered and the film industry is no exception. Legendary film festival SXSW (South by Southwest) was one of the first to announce it would be cancelling/postponing their 2020 event - many others have followed suit in the days since. I caught up with one director whose film White Eye was due to feature at the 2020 SXSW film festival, along with their producer Shira Hochman So, your film White Eye was due to screen at SXSW. How do you feel about the festival being cancelled? Tomer: It is a sad moment for the festival, the artists, the audience and the city of Austin. Things escalated so fast with this Virus, and the uncertainty is what makes it so hard. I was really expecting the international premiere at SXSW. I was so happy to take part in this festival and felt that it's going to be a great match for the film. All we can do is hope that this scary period will end soon. I’m trying to be positive and glad that the festival continues with juried film awards and sharing an online link to press, buyers and others. How would you pitch your film to a new audience? Shira: Omar ran into his stolen bicycle, tied to a metal pillar. He's trying to figure out who stole it. In one breath, a quick thought. Too quick. The ego dominates the soul. He cannot see the suffering and pain of his decisions. Only in retrospect, but it is too late. Why did you want to tell this story? Tomer: So far in my previous works I was trying to tell stories from my point of view regarding the topics that interested me. One of them was the African refugees, that became over the years this part of the society that most of the people prefer to stay away from. I tried to learn more about the see-through people that sacrifice their life for taking care of their families from far distance, knowing their chances to see them again are very low. And while this story actually happened to me I realized that it's so easy for me to criticize the society I'm coming from but in one panic moment I turned out to be horrible like it. How come all my beliefs and my values turn to the exact opposite when my instinct takes over? What does it mean about us? Why do we like to divide people only because of where they came from? This moment and the questions that showed up a moment after, made me want to tell this story. Other than Coronavirus, what challenges have there been getting this film made? Shira: The production itself was very exciting. Shooting ONE SHOT in one night is definitely thrilling. Kobi and I had to prepare for this night very well. From the moment of the ACTION to the CUT we couldn’t breathe, we prayed with all our heart that there will be no interruption to the take, that this dance succeed, and everyone will do the choreography in symbiotic way, to reach the most accurate take. This in itself is a fascinating and exciting thing. A complete set of 50 people is breathtaking for 20 minutes in each take. Why do you make movies? Tomer: Since I chose to be a storyteller I have been asking myself this question quite often. The answer comes when I see another person react to the film. There is some urge inside of me since I can remember to observe people, lights and sounds, create a story and reason for them being there at this time. Films have to access people's hearts and for me there is nothing more exciting than expressing myself and making people miss a beat. Who are your filmmaking influences? Tomer: Filmmakers that have influence on me are the ones that make me feel like I would like to make others feel. There are many but the ones that always go with me are the directors: Nuri Bilge Ceylan, Roy Andersson, Chantal Akerman and Bela Tarr. The composers: William Basinksi and Joanna Brouk and Moby. These artists have a lot of impact on me as a person and as a storyteller. What's next for you? Tomer: I'm developing two projects these days. The first one is my debut feature film, “Between the sacred and the secular”. The film is about an unexpected love story that happens one night in a wedding celebration between a thirty years old waiter and a rich young woman, that comes from two different classes and carries them to a wild night journey of passion which raises a threat of existence. The second one is a T.V series named “TORSO”. It is about Leon, a private investigator who was hired by the suspicious wife of a police detective. Instead of discovering the husband's unfaithfulness, Leon reveals his complex secret. Going deeper and deeper in the trace Leon gets the chance to save the life of innocent people. #ChrisOlson

★★★★ Directed and Written by #AymericNicolet Starring #PaulDewdney, #RoísínMonaghan, #JamesKnight, #JohnEllisFox, #RogerBingham, #SamRose Short Film Review by Jack Bottomley Sometimes history’s greatest struggles make for its greatest inspirations. In a day and age where people pride themselves on being a part of an advanced and civilised society, one that is accepting, diverse and respectful, it can be hard to look back on a less enlightened and downright cruel past. Now, especially in the state things are in at the moment, the ugliness of prejudice, selfishness and violence continues to rear its head, even today but things have improved from what they once were. All the same, this short film from writer/director #AymericNicolet looks back at such an era and still has a lot to say for our current one in the process. The late 1800s hold a particular place in the history of iconic poet and playwright Oscar Wilde, as it was a time (not long before his death in 1900) where he was imprisoned for charges of “gross indecency”. Wilde - while in prison - witnessed a hanging of a former Royal Horse Guard, that would inspire his poem ‘The Ballad of Reading Gaol’ and this film takes inspiration from that text. Set in 1897, certain details of the story are slightly altered but this is a take on history and in presenting Wilde’s grief, mistreatment and physical/mental crumbling in the face of his prison life, Reading Gaol is an effective interpretation. Portraying a tired, abused and unwell Wilde, whose connections to those he cares for begin to separate of disintegrate, this story is one of the power of the written word, and the liberative power at that. Only in his writing does Wilde receive a freedom, a voice and a form of expression and this film captures that very well. Again some details of the true story are not 100% accurate, the ages of people or the specific events which occurred during the film’s 1897 setting but Nicolet’s film cares for this story and its author and it shows the brutality and overpowering injustice of the time. A Leeds Beckett University Northern Film School Production, this is made with aplomb and excels as a piece of period craft, with a emotional underlying soul. Director of photography #MaheshBharadwajRamakrishna captures perfectly the cold, unforgiving and grey prison setting, which is as absent of life, love and warmth, as those who patrol its corridors as the authority. The production design by #KatCecil is equally effective, with likewise excellent costume work by #HollyLees, that goes from ragged, worn and filth-soaked to sophisticated and elegant, and it goes hand-in-hand with great make-up work by #ShaunaCane (who realistically brings to life a horrific and hard to watch early interrogation sequence). Meanwhile the music by #KatiePhillips is more pulled back, with a haunting edge to it that suits the story. #PaulDewdney as Wilde is very good, capturing that sense of a vibrant soul, extinguished by the time in which he lives and the losses he faces. #RoísínMonaghan offers sturdy support as Wilde’s wife Constance, conflicted by who her husband is but challenged also by what he is subjected to. While #RogerBingham is scarily fiery and inhuman as a nasty warder, who relishes threatening and dishing out his depraved “duty”. Reading Gaol is an expression of an iconic figure nearing the end of his days, which pays tribute to a poem’s power, by displaying that power over a century on and showing how it still moves and impacts us. #JackBottomley

★★★ Directed by: #MichaelAguiar Starring: #BillOberstJr, #GabrielLee, #TraceyDecresie, #DanaMauro and #ChristopherScott Short Film Review by: Rachel Pullen After Hours Movie Review I love a good thrift store; they provide legit good times, you can buy the weirdest shit there and if, like me, ya broke and have a weird fashion sense, then the thrift store is the place to create fashion statements, as well as to buy Furbys to stare at you while you sleep...I have seven now. Filmmaker Michael Aguiar has taken it upon himself to throw us into the less shiny and happy side of the thrift store, and allow us to swim around in the creepy nature that such a place can provide...after hours, hence the title, After Hours. A young employee is closing up at the store, for some reason with all the lights off, all the time, ok, guess she likes a challenge, and it’s not long before she gets the feeling that she is not alone and of course she is not, soon she has got all stabbed up and a fellow employee finds her all covered in the red stuff. The police pop along to help solve the crime, and maybe buy some of those soup mugs that have recipes on them, our lead detective, [who looks like a smoother Sean Penn] has an interesting interview with a woman about what she was doing before the murder, this scene is not immensely important to the storyline, or aiding with character arcs, but is especially funny because a parrot [off screen] decided to shriek during the dialogue...and they chose that this was the take to use...hmmmm. With parrots and Furbys safely behind him, our detective decides to go home and continue to watch CCTV of the shop, he eats dolly mixture out of a cereal bowl while he does this...hmmm, can we just take a minute on how specific that is, there is no foreshadowing earlier in the movie to this fetish, but there it is, please go watch this short just for that moment, oh and the parrot scene, movie gold. Now I don’t want to give away the ending to much but I’m going to because I can and I’m in charge here, so spoiler alert....it’s a mannequin, a mannequin that killed the girl, and he has followed the detective home and is in the back of his car, ok. Now, I love a good bit of fun in a #horror, I mean Child's Play is about a guy who was a murderer and used voodoo to live in a doll, it’s dumb it's fun, but it's explained, we know that he wants to hide from the police and goes into a doll in order to carry on his reign of terror...cool fine, motive established, but After Hours provides nothing in regards to an explanation. How are the mannequins alive? Why have they got beef with people? Is this like the 80s film Mannequin, and people are gonna start falling in love with them and get married? Who knows, well, none of us knows because nothing is explained. Now, this aside, it’s a fun little short film, suspense in the opening scene is genuine, well shot and follows all the rules of providing a moment of nail-biting fear of what lurks in the shadows, acting is adequate and delivers where it needs to and camera work is well thought out and competent. But as I said, so much is unanswered, and also ...parrot scene, there are so many little oddities in this film it feels a little like something so bad that it’s good, think Nicolas Cage’s version of the Wicker Man or The Room. Ad so if you want a little fun and horror at the same time, and to watch a grown man eating dolly mixture from a cereal bowl while solving a murder then go, go now, because they are certainly worth your viewing time. #RachelPullen After Hours is one of the Free Movies available on the UK Film Channel. Watch Now!

★★★★ Directed by: #AbyPhilip Starring: Aby Philip, #Syamdas Film Review by: Will Girling Men Derish (Born Again) is an intriguingly mythical and captivating short film from director Aby Philip. Although short on plot in the conventional sense, Philip’s film is a primordial exploration of human life that resonates like a centuries-old folktale or passage from an esoteric scripture. Sparsely shot but with excellent attention to lighting and composition combined with a minimalist soundtrack, the film has a striking visual quality that sticks in the mind like a bad dream or a bearly-recalled memory. Featuring only Philip himself and actor Syamdas, two men, naked and confused inside a small, wet and uncomfortable space trade lines as they try to make sense of their situation. Diametric opposites, the two men share their thoughts in rapid bursts: one monosyllabic and morose, the other much more curious and adventurous. The central conflict is that old, familiar polarity: to stay or to go; to be or not to be (quite literally, as it turns out). The film plays with the conflict inside each person which yearns for the new and yet clings to the old. The conclusion of Men Derish certainly gives the audience something to think about. The dialogue feels like something straight out of a Samuel Beckett play: simple, opaque, cryptic lines that draw the audience in and invite you to spend four minutes attempting to unravel a mystery. Or, you can choose not to focus on an idea so concrete as ‘what’s going on’ and simply enjoy the aesthetic being offered so captivatingly by Philip. It’s tempting to speculate that the director picked up the fantastic lighting cues from Francis Ford Coppola’s Apocalypse Now (1979) – pure speculation, but audiences familiar with that film will doubtlessly recall the iconic meeting with Colonel Kurtz (Marlon Brando). To sum up what’s so fascinating about Men Derish is challenging, not least because the movie’s length hardly leaves the audience any time for feel settled in before it’s over. The film is prefaced by an Einstein quote intended to highlight the concept of relativity. Although its inclusion adds a level of intellectual intrigue, it does somewhat clash against the dreamlike space erected by Philip’s camera. We, the audience, are thrown into this movie’s brief universe which tells more with images than it does with words. Einstein’s quote jars in its rationalisation of something which cannot be logically explored, but this is a minor point to labour. The overall presentation of the Men Derish is highly enjoyable and thought-provoking. The film won a Silver Award at the North American Film Awards 2017, and that is a well-deserved accomplishment. More films of this quality from Philip are sure to follow.

★★★★ Director: #PhilippaLowthorpe Starring: #KeiraKnightley, #JessieBuckley, #RhysIfans, #KeeleyHawes, #GregKinnear, #LesleyManville and #GuguMbathaRaw FilmReview by BrianPenn Before political correctness re-set the boundaries of social etiquette, Miss World was a highlight of the TV calendar. BBC coverage drew an audience of 27 million and newspapers published a sweepstake kit especially for the occasion. Young girls from across the globe paraded before a panel of judges who would decide the next Miss World. However, the women's liberation movement was beginning to challenge society's perception of women. The 1970 contest became a political melting pot as various factions saw an opportunity to make their point. Misbehaviour tells the story of Sally (Keira Knightley), a mature student fighting for recognition in a male dominated environment. She meets Jo (Jessie Buckley), a militant women's libber who favours direct action. They are kindred spirits who decide to target the Miss World contest at the Royal Albert Hall. The show’s creator Eric Morley (Rhys Ifans) rules with an iron fist, but a storm is brewing with the inclusion of a white South African contestant. To pacify anti-apartheid campaigners Morley recruits a black girl to represent Africa-South. Inveterate showbiz legend Bob Hope (Greg Kinnear) is also on board as co-compere much to the chagrin of wife Dolores (Lesley Manville). As the women quietly slip through security, the scene is set for a memorable protest before a global audience. Director Philippa Lowthorpe doesn’t necessarily beat the drum for feminism; but presents a balanced view of a subject that is anything but black or white. Contestants were weighed and measured with their vital statistics recorded by organisers; the analogy with a cattle market was never far wrong. But it also stresses the aspirational nature of a Miss World title. As eventual winner Miss Grenada (Gugu Mbatha-Raw) rightly pointed out ‘it will help me find my place in this world’. It’s easy to demonise the concept of Miss World but the key is in the packaging. The objectification of women back then was blatantly obvious; but in the modern context was it any worse than the sexualised packaging of Love Island? Misbehaviour is an extremely well made film with pleasing performances from all concerned. More importantly it finds a voice that is both reasoned and logical; a sadly absent quality in many films.

★★★ Director: #PeterCattaneo Starring: #KristinScottThomas, #SharonHorgan, #AmyJamesKelly, #IndiaAmarteifio, #GregWise and #JasonFlemyng FilmReview by BrianPenn Reaching into my box of cinematic clichés I find a choice of heart-warming, feelgood or life-affirming as the most appropriate description of Military Wives; the latest offering from director Peter Cattaneo. And it comes as no surprise that his biggest hit was the Full Monty. There is real symmetry between both stories as the opening titles fade to the words ‘inspired by true events’. It has a cosiness and familiarity that resonates; ordinary people conquering adversity simply by sticking together. The wives contemplate life as their partners leave for a six month tour of Afghanistan. Colonel’s wife Kate (Kristin Scott-Thomas) is grieving for son Jamie who was killed serving in the same province. The wife of newly appointed RSM Lisa (Sharon Horgan) is struggling with wayward daughter Frankie (India Amarteifio); and by virtue of hubby's rank is now in charge of pastoral care. Meanwhile, newly married rookie Sarah (Amy James-Kelly) feels lost at the sudden separation. Kate sticks in the proverbial oar as Lisa tries to gain the wives' interest. Sarah suggests singing as a means of passing the time and keeping minds off the obvious. Kate and Lisa soon lock horns as they hover between a singing club and fully fledged choir. Gradually, the wives bond as the group endures through the highs and lows of army life. Lisa rediscovers her love for music as the wives are awarded a spot in the Festival of Remembrance at the Royal Albert Hall. The film relies on standard characters set against an ever present emotional landscape; members of the armed forces regularly lay their lives on the line for Queen and country. Meanwhile their partners battle on the home front as they anxiously seek reassurance. Military Wives feels hopelessly sentimental as it tugs clumsily at the heart strings. But there is something redeeming in a perceptive script by Rosanne Flynn and Rachel Tunnard. Nuggets of wisdom balance the sugar coated sentiment and make some valid points along the way; women virtually serve with their husbands as they imagine them dodging a bullet or IED. Moreover, they suffer the agony of separation and sometimes bereavement. This film has its heart in the right place even with its dangerously high sugar content.

★★★★ Directed and Written by: #TawanBazemore Starring: #CrystalPorterBazemore Short Film Review by: #ChrisBuick Post-traumatic stress is not something that can be reasoned with, cured or simply explained away with any number of words. That is why Tawan Bazemore’s multi-award-winning short film Sound does away with them completely, and instead delivers a powerfully aural manifestation of how incredibly difficult it can be for one to come to terms with such trauma, as well as how the dire the consequences can be when that isn’t possible. But as viewers will come to realise is that ultimately what this short film is is relentless. Simply relentless. Isabelle (Porter-Bazemore) was a passionate photographer, before having her entire world turned upside-down after a horrific car accident that resulted in severe hearing impairment, the clear audio of life that we mostly take for granted now a dull and faded memory for her. Some time after, determined to face that trauma and move on with her life, she picks up her camera once more and heads out to the place where that tragic incident occurred. After confronting those demons, she finds that her hearing miraculously returns. Unfortunately, that is when things turn from bad to so much worse. Sound is a striking example of the level of quality that can be achieved when everyone involved is reading from the same page. It is a film that transforms itself constantly; from enigmatic drama to uplifting survivor story, before descending into almost chaotic horror, the film never lets you get comfortable for too long. But any film with subject matter such as this ultimately hangs on its actor’s ability to portray someone that the audience can empathise with. Luckily Porter-Bazemore (also producer and collaborator on the film) is able to provide such a performance, managing to convey the many stages of such trauma; from denial to grief to acceptance yet always haunted and afraid of the invisible and seemingly malevolent stranger that has inhabited her world and more specifically here, her head. And director Tawan Bazemore wants you to feel that fear as much as its lead does. The camera judders, pans, cuts and zooms frantically in such a way that is quite an assault on the senses but it works. These disorientating visuals are further amplified when coupled with what can only be seen as the absolute stand-out and most crucial part of the piece; the sound. Sure it may be on the nose to say given the title, but sound is this films ultimate weapon and frankly couldn’t be wielded in better hands and full kudos must go to one Jeffery Allan Jones, the orchestrator of all things sound here. Despite always teetering precariously on a knife edge, (and it times it does come dangerously close to being too overwhelming), it manages to never collapse into a complete cacophonous mess. Sound here is the villain, it is the inescapable monster lurking in both the shadows and the light, and it is given such an unforgettable presence that its really makes the film sing, or rather, scream. Sound is a film that will grab you forcefully by the ears and never let go. Play it loud. It’s the only way. #ChrisBuick Watch the trailer here:

★★★★ Directed by #PeterSegal Starring: #DaveBautista #ChloeColman #KristenSchaal #KenJeong #ParisaFitzHenley Film review by Nathanial Eker With the likes of Get Smart, Johnny English, and the shag-a-dellic adventures of Mr. Powers, the spy-parody sub-genre is certainly not a fresh one. Equally, the ‘tough guy softens to an adorable preteen’ trope isn’t exactly setting the world on fire with originality. In that sense, My Spy has no right being as charming and likeable as it is. While unlikely to become a classic, its good heart, simple premise, and engaging characters create a delightfully puerile mission that’s anything but impossible to love. JJ (Dave Bautista) is a hardened ex-army spy, with a reputation as an efficient killer and a closed off sourpuss. When he messes up an important mission, he’s relegated to surveillance duty alongside Bobbi (Kristen Schaal), his adoring techie. His life is turned upside down, however, when he meets Sophie (Chloe Colman), an intelligent and lonely nine-year-old who has recently moved to the States. Can these two oddballs solve each other’s personal problems and learn to get along? The wonderfully surprising part of My Spy is how it at first glance appears so dreadfully predictable, only to either subvert traditional genre beats, or outright turn to the audience and laugh at them. A recurring joke about the ridiculousness of walking from an explosion in slow-mo and a Bond-style car chase in a Fiat 500 come to mind. Amazingly, its traditional ‘liar revealed’ style narrative structure is handled with a considered grace that never feels forced, but instead takes its time and allows organic character relationships to form. Despite at first glance boasting a cast of stereotyped silhouettes; ‘the hardened badass’, ‘the sassy kid’, ‘the protective mother’; Director Peter Segal’s choice to devote a number of scenes to pure character development allows the actors to get to know the people they’re portraying. Bautista and Colman in particular boast an endearing chemistry that while far from realistic, propels the film above a forgettable children’s blockbuster to something altogether sweeter. Sweet is the right word for My Spy. It’s inoffensive and silly and it knows it. The many winks to the camera are supported by a suitably John Barry inspired score that uses a low electric guitar riff in the most spy-filled moments, yet a warmer leitmotif is used as JJ and Sophie bond. Where the film is let down is ironically in its most generically rooted elements; poor action and a superficial villain. Energetic chases are defined by a shaky camera and poor stunts, blended with laughably synthetic CGI. The villain ranks alongside only the most forgettable Bond baddies, his only defining trait being how evil he is. Snooze. Most surprisingly, My Spy boasts a strong thematic undercurrent with a subtle trail of social commentary about the evolving nature of technology. Sophie’s instantaneous knowledge of filming, streaming, and sharing, feel almost dystopian in their portrayal of a child’s command of machines. Ignoring the irritatingly obvious Apple product placement, the use of tech is well placed. What the film says about surveillance culture is equally understated, particularly for a movie marketed largely to children. A climactic and not so subtle statement about the absurdity of the gender pay gap is also a welcome thematic epilogue. My Spy is a delightful surprise; a wonderfully deceptive film, perfect for kids of a certain age and adults alike. Its tale of espionage meets daddy-day care is well handled, well written, and well-acted. Despite the odd clunky scene and some dodgy camera work, this sweet mock-thriller offers 100 minutes of pure escapism; ever more necessary in these uncertain times. It’s a successful first mission for Bautista and Segal in this spy-pastiche gem. #NathanialEker