★★★ Directed by #DaveWilson Written by #JeffWadlow #EricHeisserer Starring #VinDiesel #GuyPearce Film Review by George Wolf “Nobody wants to make any real decisions. They just want to feel like they have.” For a movie that couldn’t have seen shutdown weekend coming, that’s one line in Bloodshot that feels pretty damn timely. So whether or not there’s anyone in the theater to greet him, Vin Diesel brings the latest comic book hero to the big screen in a visual effects throwdown searching for any other resonant thread. If, like me, you’re not familiar with one of the most popular characters in the Valiant comic universe, Ray Garrison (Diesel) is a battle-scarred soldier forced to watch his wife’s murder before he eats a bullet himself. Waking up in lab of RST industries, Ray hears some hard truths from the brilliant Dr. Harding (Guy Pearce). He died from that bullet, but he’s back now as the prototype “enhanced soldier” Project Bloodshot has been aiming for. Any injury Ray suffers will repair itself almost instantly, so he can soldier on for war and profit. Does Ray have trouble accepting his reality? Not enough, which works in a way because the realities keep changing. While Ray only wants to track down his wife’s killer, the vast computer program that keeps Ray upright has surprises in store. Bloodshot is director David S.F. Wilson’s debut feature after a ton of video game visual effects credits, which is probably why it looks like a giant video game drunk with budget allowances. And though that budget does buy some slick sequences, the film’s Matrix-type mainframe device leans too much on the buzzkill that is the computer keyboard. Diesel’s guttural emoting is on auto-pilot, while Pearce gets to ham it up a bit and Baby Driver’s Elia Gonzales gets hung out to dry. As a fellow enhanced soldier, her superpowers seem limited to posing, pouting, and squeezing into the tightest wardrobe imaginable. The screenplay, from the team of Jeff Wardlow and Eric Heisserer, does manage some needed self-aware humor about movie cliches, even as it’s serving them up alongside heavy doses of stilted, expository dialog. By all means, support your local theater this weekend. And if you’re a fan of the Bloodshot comic, your decision to catch this big screen version will most likely be a good one. Otherwise, there’s not really enough here to make you feel like it was. #GeorgeWolf

★★★★ Directed by #AlexThompson Written by #KellyOSullivan Starring #KellyOSullivan Film Review by Hope Madden Candid. Messy. Bloody, even. There are a number of adjectives you could use to describe Saint Francis, an indie dramedy from director Alex Thompson and writer/star Kelly O’Sullivan. Precious is not one of them. That fact in itself is maybe victory enough given that the film concerns a lost, underachieving millennial (“I’m on the cusp!”) who finds her way with the help of the 5-year-old (Ramona Edith Williams, unreasonably cute) she nannies over the summer. That could have been a recipe for precocious, heartstring-tugging disaster. I can say without reservation that Saint Frances is not that. There’s definitely too much menstrual blood and abortion humor, first of all. For the bulk of the film, Bridget (O’Sullivan) is a terrible person, a selfish fuck up, which makes Saint Frances groundbreaking in its own way. It’s so uncommon, the Peter Pan effect as embodied by a female. They always make us Wendys. O’Sullivan’s version is never the uproarious riot of Amy Schumer’s Trainwreck, or the introspective yet raucous Obvious Child. And while comparisons to those two crowd pleasing genre busters are clear, Saint Frances really is its own beast—one that abandons formula in favor of often unpleasant reality and a sometimes delightful mean streak. O’Sullivan—both as writer and as lead—brings a kind of deadpan wisdom to the already well-worn idea of directionless adult forced to face adulthood by a spunky youngster. Part of the film’s glory is its very untidiness, both structural and visual. Thompson, showing solid instincts with his feature debut, does cave once or twice to overt convention (let’s call it “the juice box montage”), and the unstoppably supportive Jace (Max Lipchitz) is less a character than he is a vehicle for growth. Still, for raw, sloppy honesty, you’re not likely to find a better candidate. #HopeMadden

★★★ Directed by #MikeAhern #EdnaLoughman Written by #MikeAhern #DemianFox Starring #MaeveHiggins #BarryWard #WillForte Film Review by Hope Madden It’s a classic hero’s journey, isn’t it? Our protagonist, damaged from a past misadventure, shuns a true talent. Years into a contented but shallow existence free from that talent, reality comes to call. The hero must rediscover that talent to find love, save a town and fulfill a destiny. It’s every Western, most action films, a lot of vampire flicks, and the supernatural driving instructor love story Extra Ordinary. Mike Ahern and Edna Loughman’s latest—a film that follows this groove beat by beat—charms you into accepting that familiarity. Then it rewards you with the most delightfully motley group of characters. And, thanks to those quirky characters, nothing ever goes exactly as you expected. Rose Dooley (Maeve Higgins) is our reluctant hero. A driving instructor in rural Ireland, Rose has stopped chatting with the ghosts that seek her attention as she drives through town, and she is only returning phone calls about driving school. None of that other stuff. She’s done with that. Which is why Martin Martin (Barry Ward) has to pretend he needs a lesson. Martin Martin doesn’t really want help ridding himself of his wife’s fairly abusive ghost, he just wants his teenage daughter Sarah (Emma Coleman) to think he’s looking into it so she doesn’t leave home. But Martin Martin’s ghost is the least of his worries, what with that Satan worshipping one-hit-wonder Christian Winter (Will Forte) over in that castle conjuring up virgin-hungry demons to help him relaunch his musical career. That’s a lot to pack into 94 minutes, although the plot is hardly the point. Higgins is the point. This no fuss comedy remains adorably indifferent to the supernatural, every new development just an opportunity for Higgins, in particular, to charm with her sharp comic timing and infectious good nature. The film’s affable absurdity suits Forte and Ward makes a sweetly ideal foil for Higgins. Extra Ordinary casts a silly spell that leaves you smiling. #HopeMadden

★★★ Directed by #BehnZeitlin Written by #BehnZeitlin #ElizaZeitlin Starring #DevinFrance #YashuaMack Film Review by Hope Madden Earlier this year, Oz Perkins retold the old Grimm Fairy Tale Hansel and Gretel from the perspective of the newly adolescent sister. It was a fascinating way to reexamine folklore and coming of age. Likewise, director and co-writer Ben Zeitlin reimagines the old Peter Pan tale, this time through the eyes of Wendy. It’s not entirely clear why, though. Zeitlin and writing partner Eliza Zeitlin impressed—more than impressed, they flabbergasted—with their near-perfect 2012 feature debut, Beasts of the Southern Wild. Their sophomore effort delivers a similarly loose narrative structure, another game cast of mostly children and unknowns, and gorgeous visuals that emphasize the chaotic and restless beauty of childhood. Wendy opens strong. Zeitlin’s impressionistic camera work evokes an intimate if raucous scene of a toddler (Wendy) charming patrons on her mother’s hip at a dodgy diner abutting a train station. It sets up a thrilling first act that unfortunately settles into thematic confusion once we get to Neverland. Not that J. M. Barrie’s original text was entirely rational. The underlying theme—being lost without maternal love—remains intact, but for the Zeitlins, that theme takes on an ecological nature. Mother, in the form of a giant glowing fish, represents Mother Nature (and also Tinker Bell—stay with me). Who would want to grow up when grownups do thoughtless, destructive things that damage, perhaps kill, the mother that sustains them? It’s a heavy-handed idea, but Zeitlin’s clearly Malick-esque style of evocative visuals held together by whispered narration keeps it from feeling like a sermon. Still, it doesn’t entirely work. If Tinker Bell/Giant Fish is the  mother character, where does that leave Wendy? What a fascinating  question! I wish the Zeitlins had a better answer. The Zeitlins don’t seem to know. The Peter character, played with mischievous energy by Yashua Mack, is also depicted without real clarity, but that’s OK. Peter is supposed to be an enigma, his relationship with Wendy (Devin France) is meant to provide the backbone that holds the adventure together. But they don’t have much of a relationship. Not much in the film actually seems to have a clear relationship to anything else, which makes for frustrating, often tedious viewing. Worse still, the Zeitlins’ voice over narration, clearly meant to hold the pieces together and provide some forward momentum, echoes with world-weary wisdom and regret that sounds forced and inauthentic in little Devin France’s voice. Rather than a reimagining of Peter Pan, Wendy feels like a misguided reworking of Beasts of the Southern Wild, which did not need tampering of any kind. #HopeMadden

★★★★ Directed by #CraigZobel Written by #NickCurse #DamonLindelof Starring #BettyGilpin #HilarySwank Film Review by Hope Madden About a year ago, Universal Studios pulled the release of The Hunt because of the amount of gun violence. Commendable. Later that year, other studios released Ready or Not—critical darling, but didn’t do great box office. Then Knives Out, which was both a critical darling and box office giant. And, of course, Parasite would go on to win all the Oscars. Even documentary short. While The Hunt does contain a goodly amount of violence—guns, knives, hand grenades, pens, stilettos, kitchen appliances—it also boasts the one thing that appears to be the universal key to entertainment. It hates rich people. Who doesn’t?! Director Craig Zobel (Compliance), along with writers Nick Cuse and Damon Lindelof (both of TV’s Watchmen and The Leftovers), takes no prisoners as characters take a bunch of prisoners, drop them in a field somewhere and, you know, hunt them down for sport. The film gleefully skewers both the left and the right, often in ways you wouldn’t expect but should. This is a meticulously structured horror film, the tidy beats allowing the writers to insert surprises that play on your preconceived notions in clever ways. Like Jordan Peele, Zobel proves a nimble manipulator of both horror tropes and social commentary. And casting. I have to think Betty Gilpin was the most disappointed when this film was shelved last year because it is her break out. No more support work as the hot mean chick, Gilpin’s Crystal is the wrong badass to underestimate. The performance is never showy but quirky and genuine, which goes a long way toward increasing believability. Zobel populates the herd with familiar faces (Emma Roberts, Ike Barinholtz, Hilary Swank, Amy Madigan), mainly for sleight of hand. Though most get little screen time, and each is handed a fairly one-dimensional character, both the writing and the performances mine that gimmick for a lot. Positioned to infuriate everyone in one scene or another, the film is brash and bracingly level headed. It’s violent AF, no doubt, but what it reflects back at us is far smarter than what you  might expect. The Hunt is a darkly comedic, socially savvy, equal opportunity skewering and it is a blast. #HopeMadden

★★ Directed by #ChristianVolckman Written by #SabrinaBKarine #EricForestier Starring #OlgaKurylenko #KevinJanssens Film Review by George Wolf Why was Tommy Wiseau’s 2003 cult classic called The Room, anyway? Why not Tuxedo Football? Doggie McFlowers? Or the obvious: Oh, Hi Mark! I know, I know, The Room made no sense as a title, which made perfect bizarro sense for a perfectly bizarro film. This The Room is the new Shudder premiere from director/co-writer Christian Volckman, and while its title is perfectly fitting (though curious, considering the ease of confusion with Wiseau’s entry, as well as Brie Larson’s Room from 2015), the film itself struggles to add anything compelling to a familiar narrative. Kate (Oblivion‘s Olga Kurylenko) and Matt (Kevin Janssens from Revenge) are moving into their new place in waaay upstate New York. It’s quite a fixer- upper, and somehow nobody hipped these homebuyers to all the gruesome details of the killings that occurred there. “Nobody told ya?” asks an incredulous yokel. Nobody did, thanks old-timer. Good thing, then, that Matt can get filled in with a quick Google. But wait, that’s not even the home’s biggest secret. It’s got a room, a special room, that will give you whatever you ask. A ton of cash? Done. Priceless art (Matt is an artist)? Van Gogh for it! What about a child? After two miscarriages, the room could be the answer to the couple’s prayers…or there could be a catch to all this wish-granting. Kurylenko and Janssens are all in, and Volckman (helming his first live action feature) sets an acceptably creepy mood on the way to a mind-bending, off the rails finale, but The Room can never get below the surface of themes that have been tossed around since the earliest Monkey’s Paw adaptations. The only thing more dangerous than someone who gets nothing they want is someone who gets everything they want. It’s a moral declaration with numerous possibilities, but always more effective when left for an audience to realize on their own, and then maybe underlined by a Rod Serling parting shot. The Room includes the lesson as a line of dialog, which is a crystal clear picture window into the subtlety to be found inside. #GeorgeWolf

★★★★ Directed by #MarcoBellocchio Written by #MarcoBellocchio #ValiaSantella Starring #PierfrancescoFavino Film Review by George Wolf If you think Scorsese set the bar for three and a half hour mob epics, well, you may have a point. But, although it clocks in at one hour south of The Irishman, Marco Bellocchio’s The Traitor also uses one man’s true-life experience to frame an expansive reflection on a life in the mob. Tommaso Buscetta, the youngest of 17 children in a poverty-stricken Sicilian family, found his ticket out through organized crime. Rising to the rank of “Don Masino” in Sicily’s Costa Nostra, he eventually lost many family members and allies to the mafia wars. Disillusioned, Buscetta became one of the very first to break the mob’s strict code of silence and turn “pentito,” or informant. Pierfrancisco Favino, who probably gets women pregnant just from introducing himself, is tremendous as the “Boss of Two Worlds.” Unlike DeNiro’s Frank Sheeran, Buscetta is looking back with defiance, secure in his standing as the only man “honorable” enough to call out the less honorable. Favino brings a quiet intensity to this inner strength that comes to define Buscetta after personal loss drives him to the depths of despair. The moral complexities of honor among killers is Bellocchio’s strongest play. Early in the film, he sets the stakes effectively through sustained tension and stylish violence (a set piece inside a window factory is especially impressive) offset with familiar loyalties. Bellocchio invites our sympathies for a career criminal, and Favino rewards them. But once Buscetta starts singing to anti-Mafia judge Giovanni Falcone (Fausto Russo Alesi), the film gets bogged down in the minutiae of courtroom testimony. Though American audiences may be intrigued by some of the differences in Italian trial procedure, Bellocchio’s prolonged attention to these details makes us long for the pace of the film’s first two acts. The scope of Buscetta’s story is grand and Bellocchio’s ambitions noteworthy, but even at 145 minutes the film ultimately feels like a finely-crafted overview. Favino has the goods to give us the The Traitor‘s soul, but not the freedom. Maybe another hour or so would have done it. #GeorgeWolf

★★ Directed by #AndrewErwin #JonErwin Written by #JonErwin #JonGunn Starring #BrittRobertson #KJApa Film Review by Cat McAlpine Jeremy Camp is a good big brother, loves to play guitar, and is headed to college. His first day on campus he meets one of his Christian rock idols and locks eyes with a girl who captures his undivided attention. We follow his resulting journey through young adulthood in I Still Believe. There are two important things you should know going into this film. First, it is based on a true story. And second, the final screen shows a hotline that you can call if you have questions about your faith or God. Being tied to a specific sequence of events and having a specific agenda limit the story, and ultimately deny it any true depth. We never get to truly know the characters in I Still Believe. What they like, what they want, what their hopes or dreams are… When asked what she wants to do when she graduates college, Melissa (Britt Robertson) responds “I don’t know…everything?” We never learn what anyone, even Jeremy, has enrolled in school to do. Jeremy never seems to make any other friends at college, and instead aggressively pursues Melissa in a way so straightforward that even the charming KJ Apa (Riverdale, The Last Summer) can’t hide all the red flags. Every character is wholly defined by their relationship with God. Either they believe, and events continue to happen to them, or they feel doubt, in which case they break some things in emotional torment before events continue to happen to them. The narrative plays out like a toddler retelling a long story “And then, and then, and then, and then….” The original story is heartbreaking, filled with devotion to your loved ones, the power of faith, and how to continue being the person you want to be when your questions go unanswered. But that story never has an opportunity to develop because so little of this film focuses on character or relationship. And then, and then, and then… The film is shot in the the visual style of other Hallmark and faith-inspo productions, all over-saturated golden hour shots. The style is very reminiscent of the “A Dog’s…” series, and coincidentally, Apa and Robertson last acted opposite each other in A Dog’s Purpose. While Apa and Robertson are both masters of the recent “realism” acting style that comes with pauses, repeats, and “ums,” neither has an opportunity to deliver a great performance because of how hard they have to work against the script. Robertson most excels when she gets to interact with more emotional content and her turns in faith and fear anchor the middle third of the film. Directed by Andrew Erwin and Jon Erwin (The Erwin Brothers), there’s little offensive about the visual style of the film but also very little inspired. The strangest choice was to not update the film to modern time, and instead keep it in what looks like the early 2000s. The time and setting is never explained. I assume the setting is based on the real events, but the story doesn’t need a time-preserved setting, and the presence of flip phones and landlines pull you out of the viewing experience immediately. I Still Believe is a guilty pleasure film for a specific audience. It doesn’t require any thought, it takes limp stabs at being profound, it sets up easy moments to sneak in a cry, and its real-life roots will make believers feel vaguely inspired. But, you’d be hard pressed to find any critical merit in the production. #CatMcAlpine

★★★★ Directed by: #MichaelFimognari Written by: #SofiaAlvarez, #JMillsGoodloe Starring: #LaraCondor, #NoahCentineo, #JordanFisher, #HollandTaylor Film Review by Amber Jackson Netflix had great success with To All the Boys I’ve Loved Before (2018), attracting rave reviews with a fresh narrative from Lara Jean Covey (Lara Condor) and the love that surrounds her. Audiences find themselves following the successful and bittersweet teen romance between Lara Jean and Peter Kavinsky (Noah Centineo), with a twist that is based on the second book of Jenny Han’s trilogy. Despite the two becoming an official couple, the sudden appearance of former love John Ambrose McClaren (Jordan Fisher) throws a spanner in the works for Lara Jean and creates a new love triangle for her to become tangled in. This feel-good sequel was perfect for Valentine’s Day viewing and kept amorous spirits alive in the weeks after. Its light-hearted, fun nature keeps each scene fresh and exciting and adds another dimension to ‘teen rom-com.’ Boyfriend Peter is still sweet to watch, with Centineo’s chemistry with Condor still ever-present, but unfortunately loses a touch of novelty and becomes a little predictable in this film. We also get to see the same familiar faces of Lara Jean’s family, with her older sister Margot (Janel Parrish) mostly absent due to studying abroad and dynamic Kitty (Anna Cathcart) still occasionally stealing the show with her expert comedic timing. Dad (John Corbett) is still as loveable as ever, always trying to ensure that his girls still honour their Asian heritage and his small, yet meaningful, acts of love are still very sweet to watch. New characters from the books are also introduced in this sequel, including rogue pensioner Stormy (Holland Taylor) whose iconic comedic prowess gives Lara Jean an older perspective on what love means. Audiences definitely see Lara Jean grow even further into her maturity in this film, with her learning more about what it means to be in love and be loved. Jordan Fisher adds a fresh dynamic to the storyline as the loveable John Ambrose, who is designed to make Lara Jean question her love for Peter, but in reality he is just a sweetheart. He is not made out to be a villain at all and the film depends on the audience’s personal perception of Lara Jean and Peter’s relationship credibility. Do they think that what she has with Peter is meaningful, or do they find their eyes wandering over to something new? This almost shared mentality with Lara Jean gives this sequel a fascinating narrative to consider. Soundtrack is really worked into the film, with Lara Jean lip-synching along in parts, adding a comical edge that was present in the first film. Also, to see teenagers young and having fun as well as discussing love and its complications is refreshing to see in a teen film being released today. What also works well is, like the first film, everything looks and feels very fashionable. Its bright edge makes it feels like a 1980s fever-dream with contemporary props thrown in. Everything from the feel of the film, right down to how it is shot makes the tone bright and energetic and as a result, the whole viewing experience very enjoyable. The novelty of the original has worn off in places, but this sequel still retains equal measures of fun and bittersweetness. A fun, family-friendly watch for anyone and everyone, recommended for cheering up purposes, or if you are off sick. To All the Boys: P.S. I Still Love You is on Netflix, who have also announced that there will be a third film coming soon. #AmberJackson

★★★ Written and Directed by #JessicaHausner Starring #KlausHändl , #MilenaOberndorfer , #BrigitDoll Film Review by Jasmine Holly Bullock Inter-View is a 45-minute German film that mainly follows the viewpoints of two characters; the first character is a young writer who interviews people about what makes them happy and what their hopes are in order to help him find some meaning in his own life. Half-way through the film the perspectives are changed and we then follow the daily happenings of a young woman who has just graduated and is trying to figure out what to do next. The graduate and the writer eventually cross paths and the graduate is also interviewed about her ideas of happiness. Inter-View is the second film that Jessica Hausner has worked on, which was filmed in 1999. This film was screened as part of the Jessica Hausner season at the BFI, where I also watched (and reviewed) Hausner’s film, Flora. I enjoyed Inter-View more than Flora, yet they are very similar. Like in Flora, the dialogue in Inter-View is very sparse, particularly for the character of the graduate. Lack of dialogue seems to be something that Hausner preferred in her earlier films. However, I found it difficult to understand the motives and personalities of the characters, particularly for the graduate, presumably because of her lack of speech. Unfortunately, you don’t really get a sense of who the characters are aside from their overwhelming lonesomeness, which makes their experiences less relatable. Although, the writer is the more likeable of the characters, he seems to show more emotion and has more dialogue that reveals who he is and how he changes. Klaus Händl, who plays the writer, put on a very good performance too. The soundtrack was lacklustre and there aren’t even any songs that I can remember off the top of my head, apart from the song which plays at the very end of the film, unfortunately do not know what it’s called. However, the only reason this song really stood out was because it plays during the most visually engaging moment in the entire film. Something which I really appreciated in Flora was the use of dislocated cinematic shots and so I was glad to see that this is a style that Hausner had developed and stuck with. The last scene in Inter-View sees the writer dancing in a nightclub and as he does so the use of very mild strobe-lighting coupled with subtle visual and sound distortions create an image that represents the behavioural metamorphosis that the writer goes through in the film. Cinematography is the aspect I seem to like most in Hausner’s films. Aside from the last scene, the majority of the other scenes are rather slow paced, which may not appeal to some viewers but, if you’re willing to stick with it, Hausner’s examination of the darker effects of loneliness is rather impactful. Hausner clearly enjoys exploring the realms of isolation and sadness in her work and she does it well. Nevertheless, Inter-View did sometimes felt like a bit of a slog to watch. I usually don’t mind slow paced films but a slow paced film with not much dialogue, an unimpressionable soundtrack and largely dull characters is not a good combination. Yet, my high regard for Hausner’s directing and cinematography makes me hold onto hope that I may really enjoy another of her films, especially considering that Inter-view was only her second film... maybe I’ll give Little Joe a watch. #JasmineHollyBullock

★★★★ Directed and Written by #EllaGreenwood Starring #EllaGreenwood, #SaniThabo, #SarahEastwood Short Film Review by Jack Bottomley When we find ourselves in life altering circumstances, sometimes the simplest things can be the most helpful. Especially nowadays, there is more dialogue than ever about people suffering from genetic disorders or struggling with mental health issues, and this conversation often goes back to younger people, as the statistics are rather alarming for just how many young people in today’s world have such overpowering battles on their hands. In writer/director/producer #EllaGreenwood’s short film Faulty Roots, these massive issues are addressed in the most quiet and compassionate way possible...with normality and understanding. As simple a point as it may seem, sometimes just having a normal life with a re-assuring and relatable companion is the key to fighting what seem like overpowering struggles and odds. The film focuses on young girl Lola (played by Greenwood), who suffers with depression and whose caring mother Susan (#SarahEastwood) wants to see her daughter helped by going and meeting an old accomplice Zack (#SaniThabo) who also has some scary problems to face in his life, in the shape of an incurable genetic disorder. This short is a rather powerful little story, told with care and genuine affection for its characters. In a poignant closing stretch the film does not shy away from the frightening situations these kids face but it does suggest that life must continue and that true strength can be found in our connections with others. Whatever happens, be it a falling out, a complicated feeling or a medical condition, life really is too short to let it stop you from pursuing happiness, and this film shows how a simple bit of support among like-minded friends can make all the difference and, no matter what you are going through, can change your life. Greenwood is good in the lead role capturing a relatably defiant side of teenage life but also showing a more open side and one that is rather afraid of what the future will hold and how sometimes to carry on getting out of bed in a morning. However, in Zack, she meets a much needed pillar of strength and Sani Thabo is lovable in the part. As Zack, he shows a kid in a bad situation but who relishes being able to share his days with someone and being able to enjoy the company of friendship. Charismatic and inspiring, Zack is in many ways the backbone to this story and comes to define where it leads. There is also a warm turn by Sarah Eastwood as a mum just trying to help where she can. #GabyAmbler’s score gently accompanies the film, as it moves along at just the right place and it is hard not to feel a little touched by it. Admittedly the conditions themselves are not delved into massively but Greenwood instead opts to focus on the people over the diagnosis and it works in bringing forward a story of inspiration, friendship and much needed understanding and joy in this sometimes very alarming world. Some viewers will really be able to relate to Faulty Roots and it’s wonderful seeing stories like this being told. #JackBottomley

Filmmaker Interview by Chris Olson Having featured his short film Ricochet in my eBook 20 Best Short Films 2019, when Tim Earnheart announced he had made another short film that year, NEMESIS, I was really eager to find out more about Tim's journey and his movie. How did NEMESIS come about? I wasn't planning on making another short film last year. I was too burned out from making RICOCHET. But then one day in late August of 2019, I came up with the idea about doing a "Hunger Games" type of movie but with wealthy people. Essentially, how would wealthy people get revenge on another wealthy person -- to what lengths would they go? That was the initial idea. Then I realized I could dive into the RICOCHET universe more and explore what "The Institute" does a little bit. So I got excited when I started initially putting the pieces together. So it was kind of a sequel to RICOCHET, but I knew I had to make it a standalone movie for those who have never seen RICOCHET as well. How aware were you, making it, of the visual style you had already achieved in Ricochet? And in what ways did you seek to improve or change that? When I talked to my DoP Matt Fleming about it, I told him I really liked what we did with the opening of RICOCHET -- with the LED lighting. I wanted to have more of that. It brings a sense of warmth to the movie that I really liked. But also, when it came to camera work, I wanted this to feel more epic -- using more of the 20ft jib Matt has and the Dana Dolly he also owns. So trying to have more epic shots was something I was leaning more towards. It's hard when you have a 5 person crew over a 5-day shoot, and a few of those days we were doing 65 setups a day. It was really crazy. That frenetic energy does permeate the movie. On top of that, you have frenetic energy. It all comes together really well. Do you think you could sustain that immense energy for a feature? Yes, I could, because I'd have an actual crew and department heads. What's intense about my shorts is that we're in pre-production for 3 months before we shoot. NEMESIS, in particular, was hard -- since I do the costume design and production design as well. For me, those two were the most time-consuming. S. Joe Downing played "Dr. Woo" and the two creatures in the costumes. For the main creature costume, the LED armour was fabricated in Toronto, pieces were made in London, the silicone masks in Los Angeles, and the rest was bought on Amazon -- so it was a logistical nightmare -- and you're praying everything comes together and doesn't look bad. You hope it will look convincing. I think it worked out well. So it would be easier if I wasn't doing most of the work myself and I had more help. And as crazy as the shoot was -- this was actually the easiest shoot I've worked on. Chalk it up to experience or confidence or whatever. But we had such a blast making this. Everyone was so much fun to be around and work with. And because I have a shot list, I know exactly what I want. I think that's what made it feel easy -- it's still a ton of work. But I really shoot for the edit, but also have some back up shots in case something doesn't cut together like I think it would've. I have to add, Diana Martinez was my production designer on this and she was really awesome about bringing the weapon displays and the power station to the next level so they looked as real as they could. She also helped with the costumes as well. It was great to have her take what I had and create something even better then I had in mind, but made sense in the world I was trying to create, A man of many hats then. If you had to choose, writing or directing, which would it be and why? The toughest question. HAHA! I came from writing because I wanted to direct my own scripts. But after making shorts, I realized, writing makes you a better director and being a director makes you a better writer. And they both make you a better producer. I like wearing all the hats. Creative and business. But I think I'd probably want to direct more. Seeing everything comes alive in pre-production through post-production is really amazing when you have a vision. Do you have any directors you look to for inspiration? Definitely David Fincher. He is not only a master of visuals but great with story too. And I’d have to say Sam Firstenberg, who directed a bunch of ninja movies for cannon back in the 80s, which I just help produce a book about his life that’s out on Amazon now. I think Louis Leterrier too. He’s a master craftsman — he doesn’t get the credit I think he deserves. Having directed several successful short films yourself now, what advice would you give to new filmmakers? Focus on the script. If it’s not right in the script it won’t be right when you shoot. And start making contained movies that don’t cost a lot to make. Gradually have more ambition with each project. Push yourself out of your comfort zone with each project— it’s the only way you grow as a filmmaker. But also don’t make a sci-fi movie if the effects won’t be good. Just know your limits with your time and budget constraints. Good advice. What's next for you? A little sleep and a vacation! It’s important to enjoy the whole ride before and during the festival run with NEMESIS. Good idea. And lastly, what would you say if you were a dolphin? Please don't send me to Seaworld!