★★★★ Directed by #LadjLy Wirtten by #LadjLy #GiordanoGederlini #AlexManenti Starring #DamienBonnard #DjibrilZonga #AlexisManenti Film Review by Hope Madden “Remember this, my friends. There is no such thing as bad plants or bad men. There are only bad cultivators.” Victor Hugo penned those words as he watched the suffering and oppression in the streets of Montfermeil. Set in July 2018, when the World Cup victory made celebratory compatriots of everyone in France, at first blush, Ladj Ly’s film Les Miserables bears little resemblance to the saga of Jean Valjean and that tenacious Javert. But it doesn’t take long for the filmmaker to use the story of law enforcement and the population of modern day Montfermeil to show that little has changed since Hugo set quill to parchment 150 years ago. Damien Bonnard (Staying Vertical) plays Stéphane. Ly taps Julien Poupard’s camera to follow Stephane on his first day in Paris as part of a three man unit tasked with keeping an eye on a mainly poor, primarily Muslim district. Stéphane’s new partners, Chris (Alexis Manenti) and Gwada (Djibril Zonga), have been on the job long enough to have developed relationships and tensions in the neighborhood. Thanks to an almost absurd subplot involving a traveling circus—whose lion delivers an apt metaphor and a heartbreaking scene—Stephane’s first days on the force will be regrettable. Ly was inspired to write the film by riots that broke out in his own apartment building and neighborhood in 2005. That authenticity lends the film both a visceral dread as well as a complicated compassion. Like Hugo, Ly seems unwilling to abandon those in authority to the fate of villain any more than he’s willing to entirely forgive the actions of the oppressed. Rather, each side is implicated (one far more boldly than the other), but it’s the lack of tidy resolution that makes the fate of these characters compelling. While every performance is impressive, young Issa Perica is the film’s beating heart, its undetermined destiny, and he’s more than up to the task. His lines are limited but his performance is heartbreaking, his character really the only one that matters. A devastating social commentary masquerading quite convincingly as an intense cop drama, I’d say Les Miserables would do Hugo proud. The truth is, it would probably break his heart. #HopeMadden

★ Directed by #FrancoisGirard Written by #JeffreyCaine Starring #TimRoth #CliveOwen Film Review by Matt Weiner A Holocaust movie where the central tragedy haunts the characters just offscreen like a specter, anchored by two forceful leads and a mystery that spans decades. What could go wrong? A lot, it turns out. Dovidl (Clive Owen/Jonah Hauer-King) is a Jewish violin prodigy from Poland. Martin (Tim Roth/Gerran Howell) is an accomplished musician in his own right, but once Dovidl joins the household as a wartime refugee, Martin seems to lack both the talent and the affection to win over his father’s attention. When Dovidl disappears on the night of a big coming-out concert, it tears families apart and leaves Martin with a lifelong quest for answers about what happened that fateful evening. Directed by François Girard and written by Jeffrey Caine (based on the novel by Norman Lebrecht), The Song of Names jumps back and forth in time between Martin’s contemporary search for the missing genius Dovidl and the wartime London childhood that originally brought them together. The second biggest problem the film is up against is that while Roth does yeoman’s work keeping the present-day mystery engaging, it’s the slow drips of revelations from the past that hold the movie back. But the biggest weakness is how flat and inoffensive those revelations end up being, which points to a sad milestone for the genre. It’s not that The Song of Names is aggressively bad with its background treatment of the Holocaust. In fact, it goes out of its way not to take offense. (Although Clive Owen’s spirit gum Haredi beard comes dangerously close.) That inoffensiveness holds the movie back from being memorable, or at least different enough to merit the solemn subject. If we’re so far removed now from the Holocaust that not every movie needs to be a Prestige Event (remember that time we collectively lost our minds pretending Life Is Beautiful was deeply observed and worthy of awards, rather than a peerless grotesquerie of the era?), we should also be far enough removed for those involved to add something new to the conversation. And for a brief moment, The Song of Names comes close. The World War II-era storyline trembles with pregnant pauses around themes like there might be nothing inherently heroic about survival, or that losing hope might be a recognizably sane response to unfathomable enormities. But the schmaltzy resolution is a hard comedown. And given what it’s all about in the end, The Song of Names would’ve been better off playing up the mystery—at least Tim Roth is great. And who doesn’t like a mystery that wraps up with tidy answers? #MattWeiner

★★ Directed by #FloriaSigismondi Written by #CareyWHayes #ChadHayes Starring #MackenzieDavis #BrooklynnPrince #FinnWolfhard Film Review by Hope Madden Way back in 1961, Jack Clayton directed Deborah Kerr to an Oscar nomination with the atmospheric thriller, The Innocents, a nerve-jangling screen version of Henry James’s oft-adapted novel The Turn of the Screw. Respectful of the book without being a slave to it, Clayton perfectly balanced that ever-important horror theme: is this woman insane or is something supernatural afoot? The novel’s been remade for TV and the big screen dozens of times in countries the world over. Given that, director Floria Sigismondi must have something new to say with her latest, The Turning. She certainly has a hell of a cast. Mackenzie Davis has impressed in every film she’s made, regardless of the fact that most of those films have gone utterly unnoticed by moviegoers. She quickly morphs into whatever is needed—badass, emotional wreck, whimsical youth, badass again—without losing an authentic human grounding. She’ll need that as Kate, the new live-in nanny. Finn Wolfhard (It) and Broklynn Prince (The Florida Project) portray her charges, Miles and Flora. Both kids are amazing. Wolfhard masters the contemptuous sneer of the privileged but still convinces as a tender, protective older brother. Prince, so entirely stunning in Florida Project, again owns the screen. Her timing is spot on and her sassiness magnificent. In a smaller role as prim housekeeper Mrs. Grose, British TV actor Barbara Marten delivers the perfect mix of brittle and caustic. Not one of them manages a convincing argument as to why this film was made. It’s been ten years since director Floria Sigismondi made a feature. A groundbreaking music video director, Sigismondi moved primarily to television after her impressive 2010 feature debut, The Runaways. For The Turning, her eye for setting and framing are clearly on display and, again, the performances are strong. There’s just not much she can do with this script. Written by Carey W. and Chad Hayes (The Conjuring), The Turning suggests no solid reason for its existence. Every scene is rushed, every revelation unearned. Early red herrings prove pointless (cheats, even, as they make no narrative sense in retrospect). Worse yet, Sigsimondi fails to develop any real tension or sense of dread and there’s not a single scare in the entire film. I knew better than to get excited about a January release, but it’s hard not to hold out hope with this group of artists. Give yourself the gift of the Clayton version instead. #HopeMadden

★ Directed by: #TylerPerry Written by: #TylerPerry Starring: #CrystalFox, #BreshaWebb, #PhyliciaRashad, #MehcadBrooks, #CicelyTyson, #TylerPerry Netflix Film Reviews by: Charlotte Little In his first feature since retiring the quasi-drag queen persona Madea, Tyler Perry directs the latest Netflix thriller, A Fall from Grace. When cookie-baking grandmother Grace (Crystal Fox) is charged for the murder of her husband, public defender Jasmine Bryant (Bresha Webb) delves into the 'open and shut case', discovering something much more sinister at play. Where do we start with A Fall from Grace? The film literally begins with a fall. If you're expecting subtle messaging from this movie, then you've come to the wrong place. In Perry's Netflix debut, audiences are confronted with bland performances, nausea-inducing tonal swings, jarring editing transitions and a nonsensical plot. In short, this movie is the perfect choice for a drunken evening with friends, with a broad selection of jaw dropping moments and laughs to be had as the film reaches its salacious and twisty climax. Inane dialogue featuring the mention of 'ChristianDateOnline.com.' induces a reality check, leaving yourself to ask 'am I really watching this movie?'. Clunky sequences, odd courtroom theatrics and blunt interactions between mismatched actors tainted any potential that this outrageously twist-fuelled movie had in the first place. Reportedly shot over five days, Perry revisits his bookmarked themes from previous projects. This legal melodrama focuses on a devout and law-abiding woman who is wronged by her husband, a charming and attentive young man hiding behind a mask. Once the final credits roll, the audience is still left with some unanswered questions that leave a bitter aftertaste. Although many of the performances did nothing to enhance the film, Perry in his role as Jasmine's cold and unfeeling boss proves yet again that he can provide solid performances as an actor, as demonstrated in Gone Girl. Veteran actress Fox brought a natural vulnerability to her role as Grace, showcasing her versatile acting abilities after her chilling performance as Zoe Kravitz's mother in the latest season of Big Little Lies. The legendary Cicely Tyson (The Help, How to Get Away With Murder) returns in a small but memorable role, leaving quite an impression and inspiring some more expressive reactions from viewers. Initially, A Fall from Grace appears to be a candid cautionary tale but soon becomes a spiralling mess attempting to embrace broader themes, taking a bigger bite than it can swallow, choking and spluttering as the movie comes to a close. The abrupt shift from melodrama to violent thriller is an unsettling tonal change but is guaranteed to make the experience a lot more enjoyable if shared with friends who have a sense of humour. #CharlotteLittle

★★★★★ Directed by: #GuilhermePedra Written by: #GuilhermePedra Starring: #AnaMoioli, #GuilhermePedra Film Review by: Darren Tilby The death of a loved one leaves a massive void in people’s lives, and the grief caused by this can be utterly devastating to both the individual and the family unit as a whole if not managed effectively. But how do you deal with something like the untimely loss of a beloved family member? This question is put to contemplation in Guilherme Pedra’s moving short film, Elsewhere (A Flor Azul). The arts are well-known for their therapeutic properties. Many artists (musicians, painters, etc.) have used their creativity to express themselves in the wake of tragedy; Eric Clapton wrote Tears in Heaven, and Pablo Picasso painted Guernica. This is the situation we find young Brazilian artist Luna (Ana Moioli) – a painter – in after the premature death of her brother, Antonio (Guilherme Pedra). Elsewhere explores Luna’s journey through grief; from snippets of the past; through the darkness of depression; to the realisation that artistry holds the key to her salvation. All with her brother’s words echoing through her mind. It’s a marvellous achievement for a film that rocks in at just under 14-minutes long, and it’s accomplished with gorgeous cinematography (Xuezi Zhang), an outstanding, profoundly affecting score (Ching-Shan Chang) and a terrific performance from Moioli. Zhang’s camera work is sublime and captures the emotional resonance of the film to absolute perfection. Beautifully composed shots – both close-up character shots and sweeping, serene vistas – flow effortlessly throughout and capture both the sheer soul-stirring evocation of Moioli’s, predominantly, physical performance, and the empty, but beautiful, landscapes that represent Luna’s emotional and psychological state. It’s exquisite in its own right, but when paired with Chang’s heart-wrenching, but mellifluously articulated, soundtrack – which makes excellent use of musical silence and ambient sounds – the movie becomes emotionally exhausting. Elsewhere may, at its foundation, be an emotionally exhausting film; a contemplation of life after loss and the grief left behind. But, in actuality, it’s an incredibly uplifting, touching, and vital piece of short filmmaking, more about finding the strength to combat the pain of loss than being consumed by it. This Portuguese-language film is unique in many ways, and what Pedra manages to do in less than 14-minutes of screen time would make many big-name filmmakers blush. I can’t recommend Elsewhere enough, I loved it—and I know you will too.

★★ Directed and Written by #TadghQuillManley Starring #EdinPalmer, #JoeONeill, #MatthewKiely Short Film Review by Jack Bottomley Filmmaking is a hard business, so it should be praised when anyone makes anything. Getting a project together, written, cast, shot and finalised in post-production can be an arduous battle that newcomers and established legends alike have suffered through. Perhaps even more admirable is when a young, passionate, filmmaker not only goes through this process but does so by handling many major duties their self and with a story that is a bold move. 17-year-old #TadghQuillManley (#YouOnlyLiveOnce and #TheGreatWesternRailway) is certainly an example of this, and the film enthusiast’s new film #BanditCountry, set in 1985 amidst ‘The Troubles’ is one that aims high, sadly it does not quite come off onscreen. The story sees young man Pat Mcloughlan (#EdinPalmer) and friends finding a new way to occupy their time but this is one very dangerous road he and his pals are heading down. Opening with a well edited real-life newsreel montage of reports on IRA attacks, this sets its era from the off and with an opening ident also anchors its 80s aesthetic. What follows are moments centring on the young stars of the show, as their characters set up a movement of their own, and sequences where the woodland and rural settings the film are made use of. These locations act as appropriate and effective backdrops and a similar kind have been used in other films covering this kind of topic (for instance, they brought to mind the scenes with Forrest Whittaker and Stephen Rea in The Crying Game). Unfortunately, as ambitious director/writer/editor Quill-Manley unfolds his story, it seems that there is perhaps more here than an under 13-minute film can handle. While the closing shootout and action sequences involving horses and driving (stunt driver credited as #PatrickManley) are done well, other moments are far more ropey (the inconsistent use of equally inconsistent effects) and certain parts of the script are rushed or too thin (side characters; explanations), leaving the overall story feeling a bit all over the place. The fluctuating styles (from drama to action to comedy) and visuals at work also add to this crammed in feel, one that leaves the story unsettled for its duration. There is the odd bit of stilted acting (a movie reference dialogue) but largely the young cast do a fine job, it’s just a shame that these characters could not have been expanded more but again this whole project and its hefty goals were very high targets for a fresh filmmaker on a limited budget. It feels particularly cruel to focus on the negative though because this is a film that attempts to tell a story with incredible aims, a story that wants to pick up on aspects of a very turbulent and brutal time, where violence and weapons were normalised and death was commonplace knowing not the boundaries of age. Bandit Country may not work as a whole and has the limitations of budget and a script compressed by the brief running length working against it but huge respect to this young team for pursuing their passion and setting their sights very high in the process! Never lose that bravery guys...

★★ Directed by: #PhilipBrocklehurst Written by: #PhilipBrocklehurst Starring: #MalcolmBrocklehurst #AaronRoles #HarryGriffinHayes Short Film Review by #ChrisBuick From film-maker Philip Brocklehurst comes Vengeance Runs Red, a dark revenge thriller that attempts to do homage to the plethora of horror and slasher movies that dominated cinema screens throughout the eighties. As two drug dealers return home to their flat one Halloween night, they settle down for what they hope to be a satisfying evening of scary movies and good weed. But their night in is soon to be turned on its head as a young man hell bent on revenge for the death of his sister will stop at nothing until he finds retribution. It’s a shame but the film does certainly have its flaws. The aforementioned premise, simple yet promising as it is, is essentially wasted and barely touched upon until being shoehorned in right at the films finale, offering us no chance or reason to get invested and ultimately leaving you feeling apathetic towards everything in the end. In fact, it might have served the film better if the motives of our masked intruder were left unexplained, which might have made the film both scarier and much more intriguing. The characters while somewhat relatable aren’t all that interesting either. Too much of the short runtime is spent on our two drug dealers doing pretty much nothing of note except messing around with the television and sparking up and when our promising protagonist finally does turn up, it’s all a bit of an anticlimax. The piece is also heavily underserved by unconvincing acting performances from all parties, especially when the film needs it most. The dialogue is okay, but either needs some serious sharpening or leaving out altogether, with its main crime being that it interjects much too often as the film tries to create what tension it can. There are moments where the drama and suspense does build and it builds well, the film begins to move through the gears and you find yourself willing it on, before it then deflates disappointingly again. Poor editing and camerawork also are also at play here, taking us out of the film a lot of time and not letting the action you’ve been waiting for play out in any satisfying way. Vengeance Runs Red is a film that you want to root for but there are too many missed opportunities here and you can’t help the feeling of an unfortunate waste of potential. Very rough around the edges and while that does give this ragged hammer horror some charm, it is definitely in need of some fine tuning. Despite its efforts to be a fun tribute to those that inspired it, it unfortunately has little chance of making any similar kind of mark. #ChrisBuick

★★★★ Written and Directed by: #TsintzasPeriklis Starring: #NikosRafaelidis, #OlimpiaKarakitsiou, #AggellosMachairas Film Review by Chris Rose The Judging Tree, a short Greek film directed by Tsintzas Periklis, is a fascinating and individual piece that leaves the viewer captivated. Through its use of artistic aerial shots and fantastic utilisation of the Greek countryside, the film is filled with intrigue and betrayal, all the while reaching high above expectations to deliver a powerful ending. If it were not for one significant flaw, Periklis’ production could have acted as a perfect introduction to Greek cinema for international audiences. The film, based around fictitious legends surrounding a tree in rural Greece, follows the story of Nikos (Nikos Rafaelidis) and Anna (Olimpia Karakitsiou). Nikos, an ex-convict and alcoholic, bounces between jobs and the bottle, prone to fits of violent rage. Anna, his partner and mother to a young son (Aggellos Machairas), struggles between the challenges of caring for her son and the family farm, whilst facing both the rage and desperation of her lover. When threatened with repossession of the farm, Nikos takes it upon himself to save the farm and his relationship – by whatever means it takes. With the Judging Tree, the nuance and skill of Periklis’ directing is apparent. His stylistic use of aerial shots, that pan across the simultaneously beautiful and barren Greek countryside, creates a tone and style to the film that is captivating. Likewise, he develops the core characters well; Nikos is shown to be a form of anti-hero, drawing empathy in his desire to protect the woman he loves whilst alienating the audience with his anger and self-aggrandisement. In places, however, the seeming obsession of Periklis to the artistry of his film is championed at the expense of substance. Instances of violence feel slapstick and forced, whilst the introduction of some minor characters seems motivated more by a desire to represent the Greek setting than as a vehicle to the plot. Nonetheless, the direction and style of The Judging Tree makes it a pleasure to watch. Such style is complimented well by the score. Background music is paired well with the tone of each scene; adding to the intrigue or action without overpowering it. The same cannot be said for the use of sound effects. Where the music compliments to the tone of the film, the sound effects actively contrast it. The use of a poor-quality recording of boots crunching on gravel, as one example, actively drags the viewer out of the suspense of the film, weakening the delivery of the subsequent scene. Though certainly in need of refinement, the use of sound effects does undermine what would otherwise have been a well-rounded score. Such strong direction is only aided by the excellent performances of the core cast. Olimpia Karakitsiou’s performance as Anna is exemplary; evoking empathy and admiration in her character whilst retaining an edge of intrigue and mistrust. Likewise, Rafaelidis performs well as Nikos, delivering a convincing performance of a man bound by love, rage and vice. One criticism, however, would be the execution of multiple long stares into the distance; clearly intended to show his characters rage, but suggestive only of constipation. Whether this was down to Rafaelidis’ performance, or a rigid control of the actors’ bathroom schedule by Periklis, remains unclear. Nevertheless, The Judging Tree remains a powerful and enjoyable film that will leave the viewer wanting more. Further refinement would, in nearly any other case, make this film near perfect. Yet the film is mired throughout by one major failing: the translation is appalling. Perhaps this is unfair, or at least an under-appreciative critique. However, for those of us not well versed in the Greek language, international viewers rely on translation and subtitling to enjoy films from around the world. Seemingly, Periklis was so consumed with the style and delivery of the film, that he failed to account for the cost of good translation. At times with broken grammar, at times seemingly not matching the dialogue on-screen; the translation weakens the delivery of scenes that would otherwise have been powerful, and serves to alienate international audiences. Overall, The Judging Tree acts as an exemplary entry point to both the direction of Periklis and wider Greek cinema. Both subtle and powerful, the artistic style and plot development is engaging and intriguing, matched by strong performances by Karakitsiou and Rafaelidis. It has certainly opened my eyes to the potential of Greek cinema to international audiences; though perhaps my next foray into the genre will be accompanied by a copy of Rosetta Stone. #ChrisRose

★★★★★ Directed by: #HugoDiegoGarcia Written by: Hugo Diego Garcia Starring: Hugo Diego Garcia, #PietroMercieca, #IdirAzougli, #LorenzoBentivoglio, #SamirZrouki, #TessBoutmann, #ClaraJoly, #FabriceMonteiro Cagnolino Movie Review Filmmaker Hugo Diego Garcia hugely impressed with his 2018 short film Tony, a drama about a young man drawn more to his family on the streets than the toxic one in his home, who hopes to find a better future for himself. With his latest short film, Cagnolino (which means puppy in Italian), Garcia is concerning himself with similar themes in that his characters are fresh into manhood and their futures lie ahead just as exciting and/or uncertain. Only this time, the brotherhood of the streets is the toxic element causing all the trouble. Pietro Mercieca plays Dali, a sensible young man who has taken the leap and “abandoned” his roots by signing up to college. His gaggle of hoodlum friends don’t take kindly to this but still invite him along for a crime spree where they plan to use a newly acquired gun to make some serious cash. When the group stumble upon another foursome who are enjoying a jolly night out, events escalate and many of the characters are forced to make decisions with unalterable consequences. Say what you will about the gangster genre but it has given us some of the most compelling pieces of cinema in history. Some of which are referenced in short film Cagnolino. Adorning the walls of the boys’ flat are posters for The Godfather, City of God, and Scarface. Garcia brings with him this cinematic lineage and still delivers a modern film that feels compelling, fresh, and riveting. Ideas of toxic masculinity are challenged and the story includes a subtle depth to the nature of the relationships on offer; some are rooted in a shared idealism, whilst others are fractured at the core. The ensemble provide exemplary performances and there is a ferocious chemistry between the two groups which only ignites when they clash. The standoff scene in the alley is a remarkably powerful scene that will likely be one of the best amongst the short films of 2020. Visually the piece is stunning, with urban landscapes first appearing as a coming-of-age landscape which quickly transform into a stark and brutal battleground. Garcia utilises slow-motion and affecting music in order to sculpt an emotional atmosphere in which the characters can interact and the audience can be engulfed by. The Godfather feels like an obvious influence upon the short movie, in terms of structure, plot, and the robust elements which make up the film. Having delivered Tony in a compelling and thought-provoking manner, Garcia seems to have stepped up his ferocity as a storyteller and become sharper with his #filmmaking craft. Cagnolino feels svelte and wiry, each frame ready to engage the viewer with either gripping tension or hefty drama. #ChrisOlson Watch the Movie Trailer

★★★★ Directed by: #ReynaldoDumas Written by: #ReynaldoDumas Starring: #ChanellBell, #TerenceSims, #DeandreaBrown Film Review by: Darren Tilby It’s hard to adequately portray a realistic family dynamic in movies at the best of times, even more so in a short amount of time. But in his five-minute-long short film, Moving-In-Law, Writer/Director Reynaldo Dumas gives us a brief window into the lives and relationships of three individuals that’s both interesting and layered. For Brigitte (Chanell Bell), moving house couldn’t have come at a worse time. She’s broken her arm and has been told by doctors not to do any heavy lifting. Luckily, she has her sister, Lisa (Deandrea Brown) and brother-in-law, Aaron (Terence Sims) to help out. The three-way dynamic is laid out from the off: Lisa is dominant, the alpha, if you will, and it’s not hard to imagine that she’s organised this whole house move, as she orders her husband around, dictating where everything needs to be placed. But there also seems to be some tension around the trio, something explored (but not resolved) around the last few minutes of the film. But that’s what this film is. It’s a window into the lives of these people only; there’s no resolution to the events in the movie. Of course, this is entirely purposeful and, to its credit, it leaves you wanting more. But what’s truly impressive about Moving-In-Law is how capably Dumas can convey this level of dynamism within the first 60 seconds of film. This is, chiefly, down to both the superior quality of the writing and the magnificent performances by the entire, albeit small, cast. This is the very heart of the movie. But it’s Ralph Klisiewicz’s excellent framing and camera work that guides through the complexities of these relationships. Ensuring every side glance, and every raised lip, or eye, is caught on camera for us to scrutinise. There are problems here and there, of course. My main issue with the movie comes from its predictability. Unfortunately, the film hints a little too vigorously at what we later “discover” towards the end of the film, making it much less impactful than what it could have been. It’s also worth mentioning the fact that there is no resolution may be a problem for some viewers; people generally like these things to be wrapped up and rounded off by the end credits, and this isn’t. However, for me, this was never a problem. I found the film actually stayed with me for longer. Mainly due to my contemplation on what might have happened before and what is yet to happen. It never ceases to amaze me when a film like Moving-In-Law comes around. Here is a movie, a mere five-minutes long, that has more emotional clout and character depth than many big-budget, feature-length films of the same genre. And how is this achieved? By superb writing (both narrative and dialogue), great performances, and knowing one’s limits. This is fantastic short-film making, one that reminds us that short films aren’t just movies made on a budget. Instead, an entirely different kind of filmmaking.

★★★ Directed by: #IacopoNavari Written by: Iacopo Navari Starring: #LucaMurphy, #GordonPeaston Short Film Review by: Corey Bulloch A Black Mirror inspired dystopia where our dreams can be recorded and rewatched like an old college football game, writer-director Iacopo Navari’s vision of a not too distant technological future is captivating but the actual story built within the world-building does lack the same ingenuity. Subconscious imagination has become a commodity in Navari’s film as Joel Hume desperate to regain his ability to dream calls the Sandman corporation to help him recapture his happiest dream revolving around his ex-girlfriend. Joel is visited by dream repairman Bob who does a begins a full brain diagnostic to find a solution to Joel’s predicament. The Tape makes many parallels to how dreams are viewed as escapist entertainment similar to television in our own society. Bob’s character makes references to how dreams are sold on the black market through theft and piracy on cloud-based dream services, that VHS taped dreams deteriorate over time, and Joel’s desperate need to have his dreams back referencing the emotional attachments people have to their favourite television shows. It’s all exposition that just enriches the believability of the world through the small story lens of Joel’s apartment. There is depth to the dream business as Navari builds Joel’s arc around the relationship with the ex-girlfriend and how Joel appears to be using the dream to deny the reality of around him, desperate to return to better times. Performance-wise, nothing about Luca Murphy or Gordon Peaston jumps out to augment the premise but they both are able to mix the emotion and exposition from Navari’s script into believable characters. The Tape is not very exciting beyond the initial premise though as the film mostly revolves around Bob asking Joel a series of questions for the diagnostic, there is some implied tension of Joel’s anger to the breakup but it has no bearing to the climax of the film. Bob’s character arc speaks to the larger world of the story but it feels that Navari isn’t exactly sure what he wants to achieve for either character leaving an anticlimactic ending that feels rushed. The production design is very effective in establishing credibility to the science fiction, the editing showing the work Bob does on his laptop complete with slick company logos for Sandman Corp, brain scans of Joel, and running computer applications cataloguing dreams. Armando Marchetti’s score gives the mundane visuals some atmosphere but when The Tape wants to go for its most dramatic moments, everything comes across as underwhelming rather than tense gripping drama. There is a brilliance to The Tape but it's mostly in Navari’s impressive world-building as the script reveals the potential for an interesting dilemma for a longer narrative. The actual story between Joel and Bob mainly goes for the most obvious routes and does little to leave a satisfying ending for an intrigued audience. #CoreyBulloch #ShortFilm

★★★ Directed by: #RobHurtt Written by: #RobHurtt Starring: #AlisonGarland #PaulKelleher #UccellaKhanThomas #AlistairKleboe ShortFilm Review by: #ChrisBuick As was the case for masses of children during the troubled times of the Second World War, Ada (Kahn-Thomas) and her brother Pip (Kleboe) have been displaced from their homes and evacuated to the relative safety of the English countryside to escape "the bombings and all the other business what's going on with the nasties and that". Ada, the self-sufficient older sibling and a real fighter despite her age, is tasked with literally and figuratively keeping her frailer brother on his feet as he struggles with his poor health. Making their way miles and miles from home and carrying nothing but an introductory letter from their mother, they arrive at the house of Mrs and Mrs Love. But they are soon to learn that there are equally horrible places to wait out the conflict. Mr and Mrs Love does have some well-crafted elements to enjoy. The film presents itself like a dark fairy-tale, complete with a good premise and caricature-like characters that seem somewhat Burton-esque or plucked straight out of a Roald Dahl novel. The claustrophobic and isolated single-setting of the dark and disturbing Love residence, adorned with a plethora of stuffed wild life and weird knick-knacks, imbues a sense of real dread for these children who are essentially imprisoned as they wait hand on food for their horrific hosts. The film also contains minimal dialogue which works well as an important example of show, don’t tell. The larger than life characters of the almost grotesque Mr and Mrs Love, barking orders and generally entertaining themselves at the children’s expense (mainly Pips), are met with great commitment by Garland and Kelleher, who portray them as ghastly as they should be against the stark contrast of the unfortunate children who may not have as much to do to the titular characters, but hit their marks of helplessness and despair all the same. The issue here however, is that the film simply never seems to find a defining moment that it needs to really round things off, despite setting itself up with enough tension and momentum to really push the envelope at the end, which is a shame as perhaps an extra drive towards a more dramatic set-piece would have served this film really well and given it the pay-off the hard work in the setup deserved. While from a filmmaking and acting perspective there is much to be appreciated, it is disappointing that the despite its strong concept, the film never really hits a high point dramatically, instead glimpsing at its potential rather than achieving it. Had it dared to be a bit bolder and braver it might have been something quite special but by the anticlimactic end, you simply find yourself feeling slightly underwhelmed. #ChrisBuick