★★★ Director: #GuyRitchie Starring: #MatthewMcConaughey, #HughGrant, #MichelleDockery, #JeremyStrong, #HenryGolding, #EddieMarsan, #CharlieHunnam and #ColinFarrell #FilmReview by #BrianPenn With a Guy Ritchie movie what you see is pretty much what you get. Slick, stylised violence peppered with smart throwaway lines; blatant nods to his mentor Quentin Tarantino, but still failing miserably to write a strong role for women. Yes, it's brash, crowd pleasing nonsense, but damn it Ritchie can tell a cracking good yarn. It's a familiar storyline but quite comforting; not unlike slipping on a comfortable old jacket. Mickey Pearson (Matthew McConaughey) operates a string of lucrative hash farms. Wife Rosalind (Michelle Dockery) has her own business and wants hubby to go straight. So Mickey intends to sell his business for a cool £500 million. Smooth talking associate Matthew (Jeremy Strong) is first in line, but certain he can get it for less. Local mobster Dry Eye (Henry Golding) also comes in with a rival offer. Meanwhile, news magnate Big Dave (Eddie Marsan) is desperate for dirt on Mickey; so instructs private eye Fletcher (Hugh Grant) to do his very worst. Mickey's assistant Ray (Charlie Hunnam) is soon approached by Fletcher with a proposition; but what exactly has he got on Mickey? A surprisingly complex plot maintains clarity as the customary set pieces click into action. But we have been here many times before, and the film makes no attempt to conceal the fact. Scenes have unashamedly been lifted from Pulp Fiction, although many would argue Tarantino did exactly the same thing it's the lack of subtlety that continually grates. Rosalind is a decent stab at a stronger female character but quickly descends back to type. Hugh Grant, sporting shades and a goatee adopts a pseudo Michael Caine persona and frankly steals the show. McConaughey didn't share a scene with him yet Grant still emerges as the star of the film; a delightfully sardonic performance is head and shoulders above a talented cast. Running a distant second for the cigar is Colin Farrell who delivers a likeable cameo as Coach, a streetwise boxing club owner who tries to avoid doing favours for people. Repetition still nags at an otherwise entertaining film. Guy Ritchie's preferred genre is obvious and will return to his comfort zone at every opportunity. But it proves he has only one idea in his head, which in all fairness is faultlessly executed. But how much longer can he go on making the same film?

★★★★★ Directed by #MalouReymann Starring: #MikkelBoeFølsgaard #KayaToftLoholt #NeelRønholt #RigmorRanthe Film Review by Nathanial Eker First time director Malou Reymann presents a heart-wrenchingly honest portrait of a household in crisis in her seminal debut, A Perfectly Normal Family. Reymann, who reportedly went through such a trauma herself, grips with an engaging look at the modern family dynamic, and how challenges to the established order affect its most vulnerable members. Combining personal experience with an intuitive grasp of human behaviour, Reymann crafts a piece that’s thoughtful, intimate, and hopeful. Emma has what you’d consider to be a ‘normal’ family life. That is, until one day her Dad announces that he intends to transition into a woman. Through tense therapy sessions, upsetting holidays, and acts of teenage rebellion, the family must work hard to adapt to this new way of living together, if that’s even possible. Reymann cleverly aligns us with Emma, empathically presenting the situation through the eyes of a confused child. Where her bravado filled older sister Caroline bluntly accepts that their Dad is ‘dilating to stretch her vagina’, Emma finds the affair far more challenging. She’s thrust into a cocoon of seclusion; as her outer self smiles fake smiles, she painfully struggles with the loss of order, emphasised by an isolating shallow depth of field. Traditional gender norms are flirted with throughout. In her world of amateur football, Emma is flooded with talk of ‘boys go here, girls go there’, leading to further confusion as to who her father is. Engaging aesthetic choices also lend a hand, as her father, as Thomas associates with traditionally masculine colours. As Agnete, however, she’s engulfed by reds, pinks, and oranges, further separating her from who she once was. The decision to juxtapose the most tempestuous scenes with archived family films is a clever one, demonstrating a perceived happiness of the heteronormative unit, a ‘seemingly simpler time’ as the film’s biography notes. Reymann’s window into a difficult situation offers a mostly neutral approach with many questions but few answers. At times, as in life, everyone is selfish, even oblivious to the feelings of their struggling family. With her stellar script, Reymann creates characters that leap from their screen with devastating realism and exceptional performances. Young Kaya Toft Loholt offers a heart-wrenching turn as Emma, bringing a subdued pain that makes us physically ache for her plight. Yet, Mikkel Boe Følsgaard offers equal weight, as he embodies the trauma of a crisis of identity, and the burden of juggling parental responsibility. Of course, A Perfectly Normal Family raises numerous important LGBTQ+ questions. If one is trapped in the wrong body, how does one handle their existing relationships and still be true to themselves? While the bulk of the film emphasises this conflict, the climax suggests a renewed brightness for the relationship between daughter and father. This important film ultimately promotes freedom of the self, encouraging truth, no matter how painful. Though it may be a turbulent rode to acceptance, if A Perfectly Normal Family says anything, it’s that the bonds of human affection are not broken by a simple change in gender. A Perfectly Normal Family is a triumph in personal filmmaking, and an important film that offers an accepting hand to those hiding from their true selves. It’s not, however, unrealistic about the situation it portrays, and crucially presents the effect on the familial zeitgeist in tender detail. However, its powerful climax ends on a note of optimism, that (cheesy as it may be), love will conquer adversity. #NathanialEker #IFFR #IFFR2020

★★★★★ Directed by: #FilipposTsapekis Written by: #FilipposTsapekis #KaterinaTsoumpa Starring: #YiannisPapadopoulos #KoraKarvouni #TrifonBarkas Short Film Review by #ChrisBuick We can all relate to feeling tired from time to time, whether its from working more hours than we should, too many late nights out or simply burning the candle at both ends. But fatigue can end up impacting our mood, our health, our concentration and in some cases, can even lead to more dire consequences. Short film 9 to 5 from Greek filmmaker Filippos Tsapekis introduces us to a society where tiredness is not just illegal, but comes with uniquely severe punishments. When a young lawyer on his way home after working late one night is suddenly pulled over by authorities, he is about to find that not getting enough sleep is about to become the least of his problems. Quite far removed from the Dolly Parton feature of the same name you might say. It’s easy to see why this brilliant short film has managed to bag itself a handful of awards. Its masterfully executed story is refreshingly original (Tsapekis and co-writer Tsoumpa in fact picked up Best Original Story at the New York Film Awards and Top Shorts Online Film Festival monthly competitions). Always careful to never give away any more than it needs to, the film holds its cards very close to its chest all the way through, giving us little to go on but as a result doesn’t bloat itself with unnecessary explanations and in fact only adds to the fascination. By allowing us to piece it all together as we go, the film doesn't seem to talk down to its audience and despite its high-concept dystopian premise, there is nothing gimmicky about this film, managing brilliantly to keep itself grounded. Less is more is certainly the theme here. Where other films might try and pack as much as they can into a similar runtime, 9 to 5 manages to resist that temptation, Having just a few well-rounded characters in a simple setting allows the film the chance to slowly unravel itself and thus creates a concise and intriguing world for us to visit even if just for a short time, and a lot of credit must go to award winning director Tsapekis for focusing on the importance of story telling rather than trying to show off with all kinds of bells and whistles. That being said, the film still looks fantastic, the cinematography slick and stylish from beginning to end. While the film is definitely solid at its core story-wise as well as visually, it certainly helps as well that Tsapekis has a stellar cast to top it all off. Papadopoulos as our lawyer character (again, winning awards for Best Actor at the aforementioned NYFA) gives us an immediate sense of the seriousness of his situation, we can really see his inner panic even while trying to play it cool and quick talk his way out this sticky situation. But his counterparts on the other side of the law are more than a match. Hugely intimidating as the lead officer, Karvouni takes no prisoners or any of the lawyers nonsense in executing her duty and Barkas, who plays the assistant has little if anything to say, but is on point nonetheless to helps round off this incredibly tense affair. Beautifully shot, well-written and entertaining to watch, 9 to 5 might leave you with a a few questions at the end, but in all honestly you’ll feel perfectly content having the rest to figure out for yourself. #ChrisBuick

★★★ Directed by #ZhouZhou Starring: #YunChi Film review by Nathanial Eker An introverted and often powerful character study, Only You Alone boasts an endearing simplicity. In addition to a loose cultural examination, director Zhou Zhou forces a voyeuristic gaze at the brutality of epileptic seizures, examining the condition’s life crippling effect through drawn out episodes, without need for music or editing. It’s difficult, however, to ascertain the exact direction of this melancholy analysis. Our lead’s plight to overcome adversity is indisputably compelling, yet beyond a rejection of her life at present, the audience is seemingly given the cold shoulder in terms of her ultimate fate. Chi Li lives a lonely existence. She has no contact with her parents, having been raised by her recently passed Grandfather, with whom she was exceptionally close. Living in the traditional culture of north east China, she’s not only unable to take responsibility for her beloved guardian’s funeral, she also faces constant romantic rejection due to her epilepsy. She spends her days mourning her past life as a dancer, whilst holding down a job at a local cinema named Perfect Life. The irony of the name doesn’t go to waste. As an examination of north-eastern Chinese culture as well as an in-depth character study, Only You Alone excels. Zhou utilises a subjective narration, definitively aligning us with Chi Li. Her plight for normalcy is as endearing as it is heart-breaking, and through an excellent performance by Yun Chi (the film’s co-writer), we firmly understand her armoured existence. Hope does appear in the form of an interested colleague, only for the boy’s overprotective mother to reinforce every negative attribute that Chi feels about herself; she’s (in her mind) burdensome, unattractive, and unfeasible as a bride. This brave stance against the norms of Chinese culture presents a strong, defiant woman, unwilling to let life defeat her; even her short haircut seems like an act of rebellion. Zhou matches the simple beauty of Chi with simple filmmaking. The camera rarely leaves her side and seldom changes angle or framing, giving it a consistent, earnest appeal. Music too plays a part in Chi’s despair, as a simple yet haunting melody underpins every traumatic event with a recollective reverence. That said, it slightly overstays its welcome, as the composer neglects any variation in favour of reusing the same piece time and again. A leitmotif is one thing, but some form of diversification is inevitably essential. While ambiguity is an old friend of art cinema, this particular ending feels too inconclusive to be wholly satisfying. (Spoilers from here). Chi’s attempt to recapture herself via dance demonstrates a moment of pure catharsis, as the combination of excellence from director and performer captures a moment of true desperation and hopelessness, culminating in a violent seizure that holds for an uncomfortable stanza. However, the film’s climax leaves us with an open-ended conclusion. Knowing it’ll likely incite an episode, Chi decides to ride a theme park attraction, with every swing caught in unnervingly tense detail across one long take. She appears to resist, yet her ultimate fate is unknown. Is this a cry for help, or another internal stand from an unrelentingly brave woman? Has she won this battle or will this be her end? We’re given no answers, and instead must decide Chi’s fate ourselves. Only You Alone provides both a heart-breaking look at human determination as well as the customs of another culture in an overbearingly upsetting manner. Yet, it simultaneously impresses a willingness to continue, to embrace internal strength and carry on in spite of every damming complication life might throw you. Despite these good intentions and an exceptional lead performance, poor pacing and a script that doesn’t quite hit the emotional beats that it should, leave us wanting more in some places and far less in others. Still, as an analysis of the struggles of living with both epilepsy and a restrictive culture, Only You Alone more than hits its mark. #NathanialEker #IFFR #IFFR2020

★★★ Directed by: #AtanuGhosh Written by: #AtanuGhosh Starring: #JayaAhsan, #ProsenjitChatterjee Film Review by: Darren Tilby To say, Indian cinema is diverse would be a colossal understatement. With around 1,600 films produced in as many as 20 different languages every year, the Indian film industry is one of the most extensive and varied in the world. Many people, of course, think immediately of the iconic costumes and colour of the Hindi language film industry of Bollywood. But the historic Bengali film industry is a distinctly different kettle of fish. Atanu Ghosh’s film, a far cry from the glamour of Bollywood, which sees Sayoni (Jaya Ahsan) – a law officer – reunited with her former boyfriend and swindler, Asimabha (Prosenjit Chatterjee). He reappears not so coincidentally after 15-years, while Sayoni is in the process of writing a book about fraudsters and plays out like a gritty cat-and-mouse thriller. It creates interesting chemistry between our two main characters, and both actors play off against one another really well, with plenty of the back-and-forth power struggles we expect from this genre of film. Sayoni, who at first seems meek, soon proves she’s not going to be the victim we all expect her to be, while Asimabha leaves the film having been taken down a peg or two. But while the performances are generally good all-round, the dialogue itself is rather weak and, occasionally, makes little sense. In fact, the writing overall isn’t great: the narrative too suffers from some of the same issues and often comes across as being unclear and jumbled. By the end of the film, I still wasn’t entirely sure what was going on, who was who, where certain characters had gone, or even what the point of them was. It’s also worth noting that some of the subtitles have slight spelling and grammatical errors, although, in fairness, this never became an issue and everything’s still understandable. Debajyoti Mishra’s music, however, is excellent and utilises many traditional Indian instruments—including the iconic sitar. It melds well with the film, and the strong, classical Indian vibe fully supports Appu Prabhakar’s cinematography. Which ably portrays both the hustle-and-bustle of life in a modern Indian city and the country’s natural beauty in equal measure. Robibaar got off to a strong start and had the potential to be so much better than it was. It begins to trail off slightly towards the middle of the film, and by the end, we’re no longer sure where we are or what has happened. This might not have been the case if the film weren’t so long. At almost two hours in length, a considerable amount of filler could have been cut to make the film more concise, preventing it from falling into mediocrity. And without losing anything important in the process. Having said that, Robibaar is still an enjoyable film overall, and fans of Indian cinema or psychological thrillers, in particular, will undoubtedly find plenty to like.

★★★★★ Directed by #ArunKarthick Starring: #ValavaneKoumarane Film review by Nathanial Eker Nasir is one of those films, no, experiences, that shakes you. Measured and middling, this earnest, brave piece of filmmaking delivers a formidable message that’s as shocking as it is affective. Important in more than one sense, this seminal character study of an everyman who becomes a victim of something larger than himself should be seen by everyone and anyone. Nasir transcends the boundaries of the screen to craft a crushing tale that's both commentative and allegorical. Nasir is a Muslim living in Southern India where Hindu nationalism reigns. He’s a simple man; a salesman, a husband and a father, characteristic of the harshness of the class structure. As extremist groups and religious factions occupy the streets with propaganda, we follow him through an average day. He cares for those he loves and stays admirably optimistic in spite of his troubles. Director Arun Karthick transforms the mundane into a setting primed for escalating tension. Every street is isolated, claustrophobic, oppressive. The camera too joins in, as Karthick films on a 4:3 frame, squaring the screen and creating a sense of immediate discomfort and unease. Yet, there is beauty in his simplicity; vibrant colours and a vivacious mise-en-scené characterised juxtapose a bubbling undercurrent of darkness. Extreme close ups are favoured, showing the audience an unflinching impression of the lives of those less fortunate. Nasir himself bookends the story in a tragically poignant long shot that initially seems odd, but comes full circle in a devastating manner during the shocking climax. As he’s suppressed by the intolerant, he’s equally oppressed by the camera, as vast wide shots of mountains dwarf him. It’s through the characterisation of Nasir, and the commendable performance of Valavane Koumarane that the film soars and devastates. In just 85 short minutes, Karthick crafts the quintessential everyman; he struggles at work, he smokes, he has a son with learning difficulties, yet he’s an optimistic philosopher, reciting poems and dreaming of a better life. There is something in Nasir for all to relate to, as Karthick births a face of discrimination. Not a perfect face, not a superhuman without temper or want, but one that’s wholly human, and wholly innocent. Nasir is a bewildering journey with a bold statement. Slow and thought provoking, the mundane events of this simple man’s life become paramount to the recognition of the individual; the personality, the quirks, and the joy lost when a human being is reduced to a statistic. If you’re able to see Nasir, you owe it to yourself to become immersed in this exceptional work of art. With luck, the distribution of its vital message will be a small first step towards a less brutal world. #NathanialEker #IFFR #IFFR2020

★★★★ Directed by #JohnHsu Starring: #GingleWang #FuKaiLing #ChienShikeng Film review by Nathanial Eker Video game adaptations and psychological horror; two categories that are often tricky to get right. It’s a welcome surprise then that Detention, a chilling tale of betrayal based on the game of the same title, is as well executed as it is. Even with zero knowledge of its source material, Detention, with its horrendous historical connotations at times both frightens and sobers. Save for embarrassing clichés and some dodgy CGI, the film is stylish and dominating; a fresh entry in an oversaturated sub-genre. Fang Ray-Shin and Wei Chung-ting are two high school students in 1962 Taiwan, during The White Terror. Amidst martial law and an atmosphere of mistrust, Wei finds solace in a secret illegal book club, alongside his friends and two teachers. When Fang and Wei mysteriously awake in an upside down esque version of their school, they must face the past and escape their own personal brands of hell. One must be ruthless when adapting a video game; certain elements that work in an interactive sense don’t translate well to film. Such is the case with the ‘lingered’, huge demons that bark militaristic propaganda and morph the heads of their victims into execution sacks. These lumbering behemoths oppress more than just our leads, as they annihilate the tension, desperate to appear frightening. The unimpressive, wholly synthetic CGI harkens back to a time when the technology was in its infancy, used without thought or logic. Detention is at its worst when it’s channelling the slasher sub-genre, however briefly that might be. Where Detention excels however, is in its embrace of the psychological part of its category’s namesake. The captivating mise-en-scené groans and creaks with every step our young heroes take. Certain scenes play with lighting in creative ways, and the colour palette starkly shifts to blood red, crafting a distressing setting that channels both insidious iconography and historical subjugation. John Hsu’s stylish direction pays close to attention to detail and indulges in creating disturbing tableaus that remain with the audience long after the credits roll. When paired with a haunting soundtrack of high strings, Detention fully burrows itself under your skin. It’s unfortunate then, that Hsu clearly lacks confidence in his own command of tension, regularly falling back on outdated clichés for cheap scares. We get flickering lights, heavy breathing, a creature in the closet, blood dripping from the ceiling, and too many irritating jump scares to count. While Detention is far from subtle, when it trusts in its story, believes in its truth, it’s akin to watching a macabre ballet. When it relies on dull genre staples, it’s like watching a zombie twerk. Of course, lip service must be played to its historical connotations, which (likely a hangover from the reportedly stellar plot of the game) weave organically into the narrative. So well, in fact, that regardless of all the supernatural shenanigans, this simple story of quiet rebellion would make an excellent short film in its own right. The oppressive setting and well rounded, well-acted characters turn the flashbacks into the most engaging part of the story, where they could’ve easily become a monotonous drag. Significantly, the climax builds effectively into something meaningful, powerful, hopeful. Blending historical and paranormal threats, Hsu crafts a compelling tale that never restrains from demonising the atrocities of those orchestrating the Terror, which dwarf any absurd computer generated ‘threat’. Detention is a modern fairy-tale, a grim foray into a period that stains the progress of humanity. Whilst its plot motivations are at times 2D and its monsters far too 3D, when focused, Hsu crafts masterful tension and delivers a touching examination of the price of freedom. Though riddled by silly clichés and CGI monsters that have no business stomping over such a thoughtful film, Detention remains a satisfying mystery to unfold. With its gripping plot and ghoulish visuals, it’s far from an after-school sentence. #NathanialEker #IFFR #IFFR2020

★★★★ Directed by #JoãoNunoPinto Starring: #JoãoNunoMonteiro #FilipeDuarte #JoãoLagarto Film review by #NathanialEker It’s fair to say that WWI is a well-covered filmic topic. However, what isn’t as often documented, is the lesser known conflict between Germany and Portugal in Africa. Set against a scorching Mozambique, Mosquito considers a number of weighted themes, some more successfully than others. Director João Nuno Pinto’s rejection of a linear narrative creates a film that evolves as it progresses. The result is an other-worldly tone, and a firm hand from a bold director, unafraid of shoving his audience into the same fever dreams that his protagonist endures. Zacarias (Monteiro) is a private in the Portuguese military. Armed with the dangerous combination of devout nationalism and boyish naivety, this seventeen-year-old toy soldier burns with a radical passion for his country. Taking two native men into the jungle with him to find his lost platoon, he finds himself isolated in the heart of a volatile landscape. Through encounters with locals, animals, and opposing forces, his greatest battle ultimately lies in wrestling with his own sanity. A character driven experience, Mosquito lives and dies by the truth of its lead. Fortunately then, Monteiro’s performance is exceptional. The young actor delivers an exhausting spectrum of emotion across 125 minutes, allowing us to witness his greatest sins, his lowest degradation, and his ultimate transformation. Pinto crafts a stark depiction of the morally grey, crafting a character that demonstrates every facet of the human condition; he’s flawed and easily led, yet also masterfully empathetic. As the synopsis playfully notes, Mosquito is a war film without war. Yes, there are guns and uniforms and other typical iconography, but this is a battle of the self. At its core, hidden beneath layers of themes and history, it’s the story of a young man learning the value of human life and the bitter irony of devout patriotism. This of course opens the floodgates for thematic commentary aplenty; the striking long shot of a group of black men carrying white soldiers on their shoulders doesn’t need its symbolism and importance explained. Despite delivering a personal affair, the social scope of Mosquito is vast. Many issues are raised. The subjugation of women, PTSD, rape, and many more inevitably leave the film overwhelmed and crowded. Zacarias meets a multitude of interesting players that slowly broaden his horizons, but each disappear before we really get to know them. The pacing is also problematic, favouring a top-heavy approach comprising of a drawn-out opening sequence and a rushed (and let’s face it, pretty silly) finale. For a film that otherwise tackles historical and social issues with such a rousing verisimilitude, its conclusion is out of place at best and utterly farcical at worst. Pinto’s command of the mise-en-scené, however, is far more effective. Quite uniquely, the aesthetic evolves alongside the protagonist. In its initial format, it’s simplistic, shot with wide angles, and is characterised by a militaristic visual style and soundscape. However, just as Zacarias shifts from a stiff, formal posture to elegantly gliding on all fours, so does the mise-en-scené shift into something beastly, almost feral. His hallucinogenic episodes become synonymous with a shallow depth of field that removes him from real world. The most horrific moments of his nightmares are shown in explicit detail, with long takes to fully explore the implications of every action and sting us that bit harder. The cherry on top of this intuitive approach to visual storytelling is the transcendent score that blends the diegetic with the fabricated. While at times we might endure the emotional lament of a drunk sergeant, synthetic orchestrations are used in equal measure. Zacarias is afforded a leitmotif of sorts, one so inorganic that it feels more at home in the neo noir world of Blade Runner than a film set in WWI. This distancing from the typicalities of what we know to be a war film only adds a sharper edge to Mosquito’s already bloody machete. Mosquito is a film that excels in crafting discomfort and uncertainty. Typical of art cinema, it poses many big questions, with few concrete answers. A fierce character study with many important tangents, this ferocious examination of the human condition is a tale of war like none other. Though not free of problems, its analysis of dangerous hyper masculine behaviour and propaganda are critical, and remain startlingly relevant in today’s volatile world. Monteiro stuns and bar a few minor niggles, so does Mosquito. #NathanialEker #IFFR #InternationalFilmFestivalRotterdam #IFFR2020

★★★ Directed by: #RickyTownsend Written by: Ricky Townsend Starring: #FelixElliot #RoannaDalziel Film Review by: Alfie Kaye Truth.exe is a short film directed by Ricky Townsend about a ‘hacktivist’ named G1ll (Felix Elliott) – pronounced Gill - who is tasked with releasing the contents of a USB stick that seemingly has on it a vital ‘truth’ that for some reason is being withheld. Completing this task becomes much harder by forces hellbent on stopping him completing his apparently simple task. Townsend appears to be heavily influenced by the surrealism genre and David Lynch, in particular. Watching G1ll slowly unravel in this outlandishly strange world as he seeks to complete his task, is reminiscent of Naomi Watts and Laura Henning tiptoeing around Los Angeles trying to recover ‘Rita’s’ identity in Mulholland Drive; eerie, visually arresting prolonged shots of something seemingly innocuous, reminds you of Peter Deming’s work shooting Twin Peaks: The Return; and Snow Valormae’s (at times) timeless, echoey score is similar to Angelo Badalamenti’s masterful theme in Twin Peaks: Fire Walk With Me (with noticeable exceptions that veer off in to the world of sci-fi). Having appreciated this due to being a big David Lynch fan myself, It was disappointing to be finishing the film trying to work out why exactly I wasn’t in love with it. For large parts Truth.exe feels tonally inconsistent and jarring. Townsend is clearly trying to produce a film that belongs to the surrealist genre, but great surrealism doesn’t take the form of science-fiction to justify its surrealism; halfway through, Truth.exe abruptly takes the form of an eighties sci-fi show with its fast-paced electro synth and cyberpunk-like score, as well as questionable visual choices toward the end that scream science-fiction. Furthermore, by making the plot and themes of the film more clear halfway through the short, Townsend is losing patience with surrealism and is making a film that’s more explainable and, therefore, more bereft of surrealism. There are good performances by the two leads, Eliott and Roanna Dalziel. Elliott does a good job of portraying someone lost and vulnerable, and Dalziel is clearly having fun portraying ‘the woman’ with a calm, yet aggressive turn, and Townsend’s writing is at its best when adopting a surreal edge. Without doubt, Townsend is a talented filmmaker with a keen eye for detail and a wonderful patience behind the camera that allows a shot to linger. He understands important conventions of filmmaking, such as how to enable a fright and create tension. Furthermore, he appreciates what needs to be in the frame (and what needs to be out for that manner), and also has a striking visual style sure to resonate with an audience. Unfortunately, such qualities sometimes get lost in this jarring multi-genre short.

★★★★ Director: #DestinDanielCretton Starring: #MichaelBJordan, #JamieFoxx, #BrieLarson, #RobMorgan, #TimBlakeNelson and #RafeSpall #FilmReview by #BrianPenn The rights and wrongs of capital punishment have occupied many a dissertation and continue to exercise the very brightest minds. Just Mercy strips away the usual posturing and virtue signalling leaving the viewer with a simple moral judgement. Does state sponsored execution properly address murder? It's certainly not easy viewing but ultimately becomes a rewarding experience. Based on true events it’s intensely moving and heart breakingly sad. Harvard law graduate Bryan Stevenson (Michael B. Jordan) opts to represent prisoners on death row in Alabama. Eva Ansley (Brie Larson) helps him establish the Equal Justice Initiative; but they encounter open hostility from the county sheriff and weak DA Tommy Champan (Rafe Spall). Stevenson also struggles to convince inmates he can help them. Walter McMillan (Jamie Foxx) was found guilty of murder on the evidence of convicted felon Ralph Myers (Tim Blake Nelson). McMillan fears the deck is stacked against him; but a black man from the north slowly convinces a black man from the south there is still a chance. Other inmates clamour for Stevenson's services including Herb Richardson (Rob Morgan), a Vietnam war veteran with PTSD. Stevenson sets out to prove McMillan's innocence, and unpicks evidence that has barely been examined let alone tested. Equally, he fights Richardson's corner and explores the mitigation that should have been raised in his defence. The subject matter generates its own tension as inmates exist in a twilight world between life and death. Stevenson is the good guy trying to pull rabbits out of a hat. There's a compelling narrative bubbling away as truth and fiction meet head on. This is superior storytelling heightened by an outstanding cast. Jamie Foxx as usual delivers a powerhouse performance; while Rafe Spall brilliantly loses his English accent with an authentic southern drawl in its place. But it's Michael B. Jordan who really stands out with an understated, thoughtful performance. He never comes across as naive or idealistic, but more an ordinary man trying to do something extraordinary with his life. If this film has a weakness it's the depressing reality that nags over and over again; how can the death penalty still exist in a world we dare to call civilised? Some may dismiss it as worthy and patronising, but few films have ever stated the facts quite so clearly.

★★★ Directed by #RichardStanley Written by #ScarlettAmaris Starring #NicolasCage #MadeleineArthur Film Review by Hope Madden HP Lovecraft has influenced horror cinema in ways too varied and numerous to really articulate. But true Lovecraft is tough to bring to the screen for a number of reasons, chief among them that his madness tends to involve something indescribable: a color no one’s ever seen before, a sound entirely new to the human ear, a shape that defies all laws of geography and logic. Alex Garland pulled inspiration from Lovecraft’s 1927 short Colour Out of Space for his brilliant 2018 mindbender, Annihilation. But for direct adaptations, Richard Stanley’s newest may be the best. Naturally, the film’s success is due in large part to Nicolas Cage’s performance, because who descends into madness quite as entertainingly? Cage plays Nathan Gardner. Nathan and his wife (Joely Richardson), their three kids and their squatter (Tommy Chong – nice!) live a quiet life in the New England forest not far from Arkham. A meteorite changes all that. Cage basically strums a favorite old tune, landing somewhere on his “nice guy gone insane” spectrum just this side of Brent (Mom and Dad) and Red Miller (Mandy). In fact, the voice that begins emerging once the meteorite hits is gleefully reminiscent of Peter Lowe from Vampire’s Kiss (a call back I can get behind). Is that the only reason to see the movie? No. Tommy Chong is a hoot, Richardson gets one especially creepy carrot chopping scene, and things go a little Cronenberg just when you want them to. There’s a lot wrong with the film, too. Scenes are sloppily slapped together, one rarely leading to the next. The film’s budget is betrayed by its FX and supporting performances are not especially strong. But Stanley’s long-awaited comeback (this is his first narrative feature since being fired from The Island of Dr. Moreau in 1996) infuses Lovecraft with a much needed dark streak of comedy and entrenches his tale of madness within a loving family dynamic, offering an emotional center to the story that the author rarely delivered. The film lacks the vibrant subversiveness of Mom and Dad and comes nowhere near the insane vision of Mandy, so Cage fans might be only mildly impressed. Lovecraft fans, though, have reason to be excited. #HopeMadden

★★★★ Directed by #ChinonyeChukwu Written by #ChinonyeChukwu Starring #AlfreWoodard #AldisHodge Film Review by Hope Madden Alfre Woodard has primarily provided crucial supporting turns in film and television since 1978. With writer/director Chinonye Chukwu’s Clemency, Woodard delivers an astonishing lead turn as a prison warden dealing with inmates on death row. Examining capital punishment from the eyes of a prison warden is certainly a novel approach. The warden has generally been relinquished on film to a cowboy hat wearing good ol’ boy with no qualms about flipping that switch. Chukwu and Woodard are disinterested in clichés. Instead they carve out something truly new in this genre. The thing Chukwu gets most right in this film is an overwhelming sense of responsibility and grief, and it’s a tough line to toe. Warden Bernadine Williams understands that, while her own grief threatens to swallow her whole, it doesn’t compare with the pain she comes in contact with. For that reason, she never defends her position or betrays her sympathies when confronted by victims’ families, the families of the condemned or the condemned themselves. Her own grief is so acutely individual that she refuses to seek sympathy and she outright rejects empathy, because who could put themselves in her place? She is in charge but has no control. She is responsible, yet she does not determine these men’s fates. If Chukwu hits the right notes here, it’s Woodard who sings. This journeyman has played just about everything across her four decades in the business, and she brings a palpable sense of hard won wisdom to this role. The film is essentially a character study, and one of a character determined not to discuss or betray her feelings. That’s a tough nut to crack because you have to let the audience know what’s going on without telling us anything at all. More than that, what Woodard has to convey is far beyond the scope of what anyone in the audience can really understand. And yet, she succeeds poignantly. Aldis Hodge, playing death row inmate Anthony Woods, balances Woodard’s practiced stoicism with barely contained jolts of emotion. Clemency gives Hodge the opportunity to shine and he grabs it, conveying a tumult of raw feelings that will leave you heartbroken. If Clemency is a miraculous package of performances, it doesn’t entirely work as a film. Bernadine’s story—her existential crisis—doesn’t have a beginning or an end, just an unhappy middle. But maybe that’s necessary for a film that breaks new ground while delivering the same message: we need criminal justice reform. #HopeMadden