★★★★ Directed by #JonKasbe Film Review by Rachel Willis In examining the world of poaching, director Jon Kasbe has crafted a very personal story with his documentary, When Lambs Become Lions. At the heart of Kasbe’s film is ‘X’, a poacher whose trade is ivory. Working with a small team, X hunts elephants, hoping to harvest the ivory before he is discovered by rangers whose job is to protect the area wildlife. If caught, the rangers will have no mercy. The punishment for poaching is death, and it might be a brutal one. Wisely, Kasbe doesn’t show the more barbarous aspects of poaching. In this way, he lets the human element of the story take center stage. However, the natural world infuses the documentary with life. When a unit of rangers comes across a lone bull elephant feeding in the trees, it’s hard not to be infected by the same wonder that infuses the rangers. The elephant is oblivious to the war that wages around him, even though he and his kind are at the center. On the opposite end of the poaching spectrum is Asan, X’s cousin, and a ranger. The rangers’ line of work is grueling and dangerous. Though heavily armed, they run the risk of being ambushed and murdered. They spend their time patrolling the vast landscape, hunting for poachers. On top of these dangers, we learn Asan and his unit of rangers haven’t been paid in months. With a pregnant wife and son at home, the situation for Asan is becoming desperate. It’s impossible not to sympathize with Asan’s plight, and Kasbe wants the audience to understand why people make the choices they do when tough decisions are in front of them. In this way, he helps us to understand that poaching may be reprehensible, even vile, but the situation is far from ideal. If the rangers were paid on time, if the market for ivory dried up, there might be a situation in which the battle for the natural world would no longer need to be waged. Kasbe lets the story unfold without judgment. We follow X and Asan as they interact with their families, there are a few particularly touching moments between the men and their sons, and as their jobs take them into the wilds of Kenya. The parallels between the two men are not lost on Kasbe. Both strive to take care of their families, and it’s easy to see why a person might turn to poaching when the venture is more lucrative than the alternatives. As Asan’s wife hopes, perhaps our children will be better educated, giving us a future where these choices will no longer need to be made. #RachelWillis

★★★ Directed by #NickBruno #TroyQuane Written by #BradCopeland #LloydTaylor Starring #WillSmith #TomHolland Film Review by Hope Madden The Christmastime animated feature Spies in Disguise (based on a short called Pigeon: Impossible, which is an altogether superior title) is a mash note to science, weirdos and peace. I can get behind that. Will Smith is the voice of Lance Sterling, America’s top spy. Lance is cool. He’s daring. He’s unstoppable. And he flies solo. But when an evil nemesis (the always welcome Ben Mendelsohn) outwits him, he turns reluctantly to nerdy gadget officer Walter (Tom Holland) for help. Walter turns him into a pigeon. Naturally. The ensuing fish out of water (pigeon out of air?) comedy is clever enough to keep your attention. It’s equal parts fun, good natured and funny without becoming overly sentimental. Besides Smith, Holland and Mendelsohn, Spies boasts impressive and interesting vocal talent choices: Reba McEntire as the head of the agency, Rashida Jones as the lead investigator and Karen Gillan as another techy in the agency named Eyes. The movie looks good. In fact, in certain scenes—particularly those in Venice—the film looks great. It also carries with it a healthy message, one that writers Brad Copeland and Lloyd Taylor articulate without preaching. The film is more charming than outright funny, relying on its leads’ natural charisma and fun chemistry, but it does offer more than a handful of chuckles. The wee ones at our screening laughed a good deal, while the slightly older tots laughed on occasion but seemed entertained throughout. It’s also a film that won’t make parents want to wait in the lobby. #HopeMadden

★★★★★ Directed by #BennySafdie #JoshSafdie Written by #RonaldBronstein #BennySafdie #JoshSafdie Starring #AdamSandler #JuliaFox #KevinGarnett Film Review by Matt Weiner There’s something acutely familiar right now about watching a consummate New York macher unable to help himself as he pursues more and more wealth, drawing everyone around him into his increasingly unstable house of cards until it all collapses. But Uncut Gems, the latest panic attack from the Safide brothers (Josh and Benny, who also co-wrote the script with frequent collaborator Ronald Bronstein), captures so much more than our current moment. For one, there’s the career-great performance from Adam Sandler. His take on Howard “Howie” Ratner buzzes seamlessly from typical Sandler ease to pathetic helplessness to manic moments of triumph. Howie is a fonfer extraordinaire—a bullshit artist whose jewelry business in the Diamond District functions to help him continually feed his sports betting debts and keep his mistress (Julia Fox) happy with a Manhattan love nest. Whatever scant love and money are left over go to Howie’s family on Long Island (a point that sets up maybe the greatest music cue of the year, and one of the funniest moments in a movie that’s full of them). When Howie gets caught up in his latest round of juggling debts, family drama and especially a rare Ethiopian black opal—a mysterious MacGuffin that transfixes anyone who sees it—the race is on to come up with enough money to appease his debtors while chasing the high of that one big score. As Uncut Gems takes place in the long-ago days of 2012, that score revolves around a Celtics playoffs run. The Safdies throw a bone to New York sports with a Mike Francesa cameo, but it’s Kevin Garnett playing himself who almost steals the movie as one of Howie’s more fateful customers. Celebrity and proximity to power infuse Howie’s life almost as much as gambling—the Weeknd also puts in a memorable turn as an important buyer, and lends his moody, drug-fueled R&B to the soundtrack as well. That prevailing mood is a defining feature of Uncut Gems. There’s the nonstop anxiety, but the Safdies and Sandler punctuate it with plenty of humor—and pathos. The Safdies are in a class of their own when it comes to drawing you in and making you care deeply about terrible people. Howie might be enjoying more outward success than Connie from the Safdies’ last movie Good Time, but it’s just as illusory. All debts must be paid. And as with Good Time, the Safdies serve up subtle (and not-so-subtle) reminders that our actions have consequences, even for those who seem to have put together a successful life around assiduously evading them. The film opens with a scene of misery thousands of miles away from Howie’s cocooned suburban Long Island life. It’s a non-sequitur worthy of the Coen brothers, our other great chroniclers of anxiety and morality. But the threat goes from menace to promise that none of us are immune from consequence, and the Potemkin lifestyles of the elite are built on shaky foundations. It doesn’t take much for it all to come crashing down. #MattWeiner

★★★★ Directed by: #LukeCouch Starring: #MaryCouch, #NinaHontebeyrie Film Review by: Alexandra James Joanna expresses the wisdom of a child’s mind by highlighting the importance of imagination. This short shows the power to conjure a figure from the mind and into reality. Joanna creates a gap between existence and fiction and builds a realm of purity within this short. A truly soulful piece that enlightens and creates a sense of nostalgia. Joanna is pictured in black and white which gives the whole piece a sentimental and memory like feel. Perhaps to portray the loss of childhood within the viewer, or even to remember the feelings of innocence and the carefree life we all once had. Before the heavy weight of responsibility and adulthood lies firmly on our shoulders. Chirpy aye? Who doesn’t get excited about the wonderful world of adulthood?! The scenery and the long stretch of landscape and sandy beaches were bright and exposed, conveying that freedom and engaging the audience into the action, however freezing it may have looked! The locations were all outside and in the open, expectant within a child’s memory. It created that fascinating quality where the idea of exploration and the outdoors combines to produce a perfect moment between two friends. As well as evoke a sense of yearning from the audience, the desire to be a part of a distant memory within their own childhood, and to relive the days where they were young and independent. The editing was sketchy at times, by including some scenes which did not necessarily add to the story as a whole and did seem jumpy in places. The piece wasn’t as smooth as he had the potential to be and did have a very slow pace with a limited storyline. However, what was interesting was the fact that the storyline is never fully explained. The audience can never really tell if the friend exists or is imaginary. This is not clearly conveyed or literally stated within the film. This is well thought out and only entices you more. Its rather enjoyable, the not knowing. Some may disagree and prefer everything to be flat out explained and wrapped up nicely. However, the subtleties of this method allow the audience the opportunity to take the story into their own hands and create it into something more as well as have control. On the whole, it was a very heart-warming story with the added bonus of beautifully crisp, clear shots. There is something quite unique about shooting in black and white. It can be seen as rather inviting, purely because it is just so uncommon in this day and age. People can be turned off by the black n’ white, because they believe it to be outdated and ‘boring.’ On the contrary, the notion of the black and white film brings forth a completely rare viewing experience and becomes more meaningful; an absorbent into a memory-like state which to me, sounds rather exciting.

★★★ Directed by: #SethKozak, #DamianVeilleux Written by: Seth Kozak Starring: #KatarinaMorhacova, #MikeSutton, #ChrisKerson, #CaseyMcDougal Short Film Review by: Chris Olson Rendezvous Movie Review Short crime thriller Rendezvous, from directors Seth Kozak and Damian Veilleux, has equal parts mystery and tension yet never quite embraces the subtle nuances of the genre to make the movie compelling. Katarina Morhacova plays Catalina, a woman on the run from her powerful husband (Mike Sutton) who seems to be plotting her demise. Taking shelter during a snowstorm at a local inn, Catalina hopes to make it through the night and may have a few tricks of her own up her sleeves. The narrative of Rendezvous is mildly intriguing and our attachment to Catalina's wellbeing is constructed well. We care about her survival and the increasing level of peril she seems to be in is entertaining. The setting of the isolated inn works well to enhance the tense atmosphere, especially when all the lights go out and creepy guys show up (Chris Kerson). Some of the aspects of the #filmmaking were also impressive, such as a glorious high angle shot of the snowy roads, or the numerous uses of Placebo's "Running Up That Hill". The latter of which was excellently used during a nighttime driving sequence. There were, regrettably, some other aspects to the aesthetic and overall design of the film which were less appealing. Kozak's script is teeming with melodrama, some of which seems meant for misdirection but ends up soaking the piece with a cheapness it isn't able to shake. This is particularly evident during the opening exchange between Catalina and her overbearing husband. Some of the editing was bizarre, with cuts much quicker than they needed to be, or sharp fades to cut scenes which felt unnecessary. From a certain angle, Rendezvous has a few interesting aspects in terms of themes, none of which gets fully developed. The long arm of white male influence is there (her hubby is apparently a Congressman, according to the credits), and we see how this conflicts with women in different ways during the movie. Catalina is a strong and capable woman, something which only really gets revealed in the latter sections of the film. It would have been interesting to see how a feature length movie could have provided her with a different vehicle. Exciting in parts and dotted with impressive moments of cinematic flair, Kozac and Veilleux show themselves to be capable of delivering a solid thriller. Had they kept their footing with the editing and instead cut more of the cliche dialogue, this could have been a rendezvous to revisit. On this occasion, once is probably more than enough. #ChrisOlson

★★★ Director: #TomHooper Starring: #TaylorSwift, #JudiDench, #IdrisElba, #JenniferHudson, #IanMckellen, #JamesCorden, #JasonDerulo and #LaurieDavidson Films based on stage musicals are frequently a disappointment. Robbed of spontaneity and the adrenaline of live performance they become sterile imitations of the breathing equivalent. If you loved the musical you'll love the film is an adage that rarely follows; particularly when both mediums are so very different. Cats is based on the phenomenally successful Andrew Lloyd Webber musical that ran for twenty one years in London's West End. Based on the poems of T.S. Eliot it spawned Memory, a massive hit single for Elaine Page. In the hands of Tom Hooper it should stand a fair chance as he directed Les Miserables. However, Les Mis had a strong narrative drawn from the original Victor Hugo novel. Cats has a non-existent storyline; which can be easily overcome in musical theatre, but the film version needs a proper narrative; this is primarily where it falls down. Our story begins with the abandonment of Victoria (Francesca Hayward). She is befriended by a gang of Jellicle cats led by Munkustrap (Robbie Fairchild). She learns of the annual Jellicle Ball, where a cat is chosen to ascend the Heaviside Layer and return to a new life. Old Deuteronomy (Judi Dench) must decide who receives the honour but is stymied by Macavity (Idris Elba), who has already made Grizabella (Jennifer Hudson) an outcast. For a film that was brutalised before release it's really not that bad. Just in case anyone with an I-Pad now think they're experts in CGI - it's adequate and a damn sight better than anything featured in The Irishman. People apparently got the creeps watching humans with twitching ears and fluffy tails. I can't say it affected me in the same way, but is that seriously all people can talk about? A strong cast perform solidly and the cameos were good fun; particularly Ian McKellen as Gus the theatre cat and James Corden as Bustopher Jones. Jason Derulo also puts in a useful turn as ultra funky Rum Tum Tugger. There was a fine vocal from Jennifer Hudson on Memory, perhaps not Dreamgirls vintage but close enough. Nevertheless it's the CGI jibes that will endure; so much so we can't move for really bad feline puns. It might not be the greatest film in the world, but its a pretty long way from being the worst.

★★ Directed by: #ChristopherBeech Written by: Christopher Beech Starring: Christopher Beech, #ChrisKhosa, #WilliamBanks, #RyanPorter, #LynneSellers, #StewartCrank Short Film Review by: Chris Olson Le Grand Club des Voyeurs Movie Review Short film Le Grand Club des Voyeurs, from #filmmaker Christopher Beech, combines farcical laughs with a penchant for silent comedy that borders on the surreal. Its attempt to thread a lacklustre narrative ultimately leaves the piece feeling unsatisfying yet the moments of classic silent cinema are rewarding. Beech plays an awkward nature photographer who is initially found snapping shots of wildlife and minding his own business. He soon stumbles upon a car with two people (Lynne Sellers and Stewart Crank) in, whom even though the car is off are gunning it - if you know what I mean. To further this embarrassing situation, three men (Chris Khosa, William Banks, and Ryan Porter) are already standing around the car, seemingly enjoying their voyeuristic tendencies. As our photographer starts to document everything he sees, it is not long before he gets the ire of his subject matter. Absurdist and charmingly low budget, Le Grand Club des Voyeurs could have been an impressive Chaplin-esque comedy of sorts. The simple yet risque premise and easy set up meant the piece had a universal appeal and contemporary relevance that requires no explanation or exposition. Sadly, Beech chooses to intersperse inane dialogue and a mild narrative into the final third of the movie, which regrettably renders it innocuous. The performances are uneven, with the three bystanders playing their roles dutifully (hats off to Khosa who will forever have “Wanker” on his IMDb page). Beech was intriguing when silent but the latter section sees him struggling to carry off the plot and character development. Initially, there was something of Rowan Atkinson’s Mr Bean to his portrayal which was full of potential and should have been explored more. The vocal delivery from Sellers felt wooden whilst Crank’s rage was at least mildly compelling. A few odd choices within the #filmmaking were confusing, such as the baffling colours of the photographer’s shots of flowers and trees. Having these natural items appear in striking filters and colours infused an artsy feel to the #cinematography which felt at odds with the tone of the story. The sound design was also jarring, an uncomfortable array of annoying tunes and sounds. Finding comedy in rude situations is fairly easy but delivering a silent film that is compelling in its unique depiction of universal human interaction is not. Had the #filmmakers held their nerve and stayed on this path, we could have witnessed something truly special. Instead, we become unwitting members of the voyeurism club and witness the unfolding of an unremarkable and silly story. #ChrisOlson Watch the Short Film Trailer

★★★ Directed by #JJAbrams Starring: #DaisyRidley #AdamDriver #JohnBoyega #OscarIsaac #IanMcDiarmid #MarkHamill #CarrieFisher Film review by Nathanial Eker Not unlike Ben Solo’s struggle between the light and dark, Star Wars: The Rise of Skywalker lies in conflict. On the one (mechanical) hand, it’s dreadfully paced, exposits more jargon than all three prequels combined, and has a rushed vibe that lurks unpleasantly like a Rancor in Jabba’s death pit. However, much of the tightly packed 141 minutes is unashamedly exciting, offering a story that is far from perfect, but is, in many ways, closer to the swashbuckling silliness of the original trilogy than Rian Johnson’s vision of its predecessor. Following the events of that film and the death of Luke Skywalker, Rey (Daisy Ridley) has been training as the resistance led by General Leia (Carrie Fisher), rebuilds itself. Meanwhile, Leia’s son, Supreme Leader Kylo Ren (Adam Driver) has dominated the galaxy with the might of the fanatical First Order. However, when an old threat, Supreme Chancellor turned Emperor Palpatine, returns from the dead, a galaxy far, far away braces for a generation defining battle. The return of Palpatine raised more than a few scorched Vader eyebrows when it was revealed. Since then, it’s become abundantly clear that his inclusion was indeed a last-minute hail Mary plea for fan good will. Never has there been a greater Hollywood lie than the notion that his return was planned from the sequel trilogy’s genesis. This lie is indicative of the film’s wider problems, almost all of which stem from a lack of natural cohesion with The Last Jedi. The notion that such an all-encompassing franchise had no clear game plan is as baffling as the decision to make Greedo shoot first. This is not the fault of either J.J Abrams or Rian Johnson, but rather the upper echelons of the Disney production hierarchy, who think not of the fans, but of their own greed. As we know, greed leads to hate, hate leads to suffering, and suffering … well, you know the rest. Despite this, Abrams amazingly manages to deliver both a mostly coherent (if contrived) narrative and an action packed space opera. The return of Ian McDiarmid in his most iconic role allows that famous force lightning to melt any cynicism away, as he brings an electric energy to finally craft a compelling threat, no matter how silly his role may seem. Using the various tie-in comics as well as an imaginative head canon, you can loosely craft a narrative where his reappearance makes sense, though to say it’s a stretch is an understatement. Other inclusions, such as the return of the previously side-lined Knights of Ren will likely please Last Jedi haters, though they disappointingly amount to little more than slightly adept Stormtroopers. As an Abrams film, it’s unsurprising that The Rise of Skywalker is visually stunning. The use of practical effects in favour of CGI monstrosities in particular can’t be praised enough. The presence of every real creature, no matter how insignificant, give the film lightyears of personality; a pint sized droid mechanic with a big attitude is a wonderfully charismatic highlight. It’s these small details that give the film that ‘JJ’ stamp of quality, keeping it unmistakably in line with the less flashy aesthetic of The Force Awakens. The action set pieces also offer some of the greatest battles of the entire saga, with the detailed sets of the original trilogy and impressive choreography of the prequels finally coming together to create truly exceptional fight sequences. Examples are plentiful, but the clash of frenemies ‘Reylo’ on a rough sea creates the most exciting fight since the Praetorian Guard slaughter. The Rise of Skywalker’s greatest strength lies in the dynamic between our core cast, who finally start to match the camaraderie of the classic trio. For the first time in the sequel trilogy, Rey, Finn, and Poe feel like friends, as Abrams allows them copious screen time as a group; a masterful improvement on the disparate previous two entries. The choice to time-jump allows for natural narrative development, a desperately needed breath of fresh air after Johnson’s painful mistake to pick up from the end credits of episode seven. In a surprise to nobody, John Williams’ score remains a highlight, as it has during even the darkest times; The Phantom Menace may be a dreary slog of trade federations and taxation blockades but Duel of the Fates remains an exceptional piece of music. This time Williams’ chooses to focus on expanding established leitmotifs, a fitting move for the climax of a nine film saga. Most used is the light and bubbly Rey’s Theme. This is blended nicely with a variety of different pieces, most predominantly Kylo Ren’s Theme, demonstrating their connection (one of the few enduring elements introduced in The Last Jedi). If there’s one criticism of the score, it’s that the force clearly isn’t strong with the prequel trilogy. Despite the promise of a soundtrack that encompasses ‘music from every generation of the saga’, absolute bangers like Across the Stars, Battle of Heroes, and even the aforementioned Duel of the Fates are disappointingly excluded. The issue of how to incorporate the late Carrie Fisher’s General Leia was always going to be tricky. While some may lament the film’s hasty use of archive footage, the decision to tie her to the narrative arc of another character is a smart one that crafts a fittingly respectful end for the greatest Disney princess. Also welcome is the return of Billy Dee Williams as the sauciest man in the galaxy; Lando Calrissian. Though Williams’ part is comparatively small, seeing his charming smile on screen again is enough to send anyone’s medichlorian count through the roof. Manipulative and pandering to nostalgic man babies? Perhaps. But Star Wars has always been a franchise built on repurposing the old, whether that be western iconography or samurai sword play; recycling the iconography of the original films is no different. On its own merits, The Rise of Skywalker is a mess. A mess filled with brilliant, fan pandering moments that’ll make you squeal like a six year old watching Empire Strikes Back in your Star Wars pyjamas. Its structure is more scattered than the post-Order 66 Jedi and its pace is quicker than a Tatooine podrace. However, there’s something so delightfully charming about how frantic and unashamedly fan service heavy it is. It is by far a weaker trilogy cap than Return of the Jedi and even the (grossly underrated) Revenge of the Sith. However, the final film in the Skywalker saga achieves the seemingly impossible; it makes the sequel trilogy fun again. After the divisive and unwarranted hate festered by The Last Jedi, Abrams’ conclusion admirably aims to cater to all, creating the best interpretations of Rey, Finn, and Poe, whilst allowing force veterans to exit with a respectful grace. It’s by no means the quintessential Star Wars, but against enormous odds, Abrams creates a film that captures the spirit of the original trilogy. The force is fun with this one. #NathanialEker

★★★★ Directed by #TerrenceMalick Written by #TerrenceMalick Starring #AugustDiehl #ValeriePachner Film Review by George Wolf “Sign this paper and you’ll go free.” “I am free.” One man’s moral courage provides the anchor for A Hidden Life, writer/director Terrence Malick’s affirmation that a life well-lived is a beneficial one, no matter how small the spotlight. Malick brings his dreamlike focus to the story of Franz Jagerstatter, a conscientious objector who refused to fight with the Nazis in World War II. Franz (August Diehl) and his wife Frani (Valerie Pachner) are living happily in an Austrian farming village with their three young daughters. The work is hard but the peasant villagers share a strong communal spirit, still untouched by the winds of war. Malick showcases the mountain landscape with his customary visual brilliance, teaming with cinematographer Jorg Widmer to envelope us in an expansive and idyllic old world setting among the clouds. But those clouds soon turn literally and figuratively stormy, and as Hitler’s rhetoric is parroted by the villagers, Franz’s commitment to conscience turns him into a prisoner and his family into outcasts who “sin against the village.” Franz finds little comfort from his church elders, who urge appeasement and seek a compromise. But even an assignment away from the front would require an oath of allegiance to Hitler and the Nazi cause – a line Franz refused to cross. The hushed voiceovers, forced perspectives and dreamlike imaging that served Malick so well in his masterfully personal The Tree of Life here seem a bit ill-fitting when paired with someone else’s legacy. A frequent return to lingering shots such as clasped hands thrust into the air lose resonance with repetition, creating a subtle tedium that betrays the nearly three hour running time. Not that Malick’s latest doesn’t deliver emotional power, it certainly does, most pointedly during Franz’s visit with a church artist. Suffice to say the exchange features some of Malick’s most brilliantly concise dialogue, using one man’s honest introspection to frame another’s moral quandary in a heartbreakingly beautiful new light. Try hard, and you can imagine Malick working in a purely historical context, giving a deserving salute to a lesser known man for all seasons. But on its face, the film presents a climate that is all too familiar, one where a rising tide of hate divides families, reduces religious tenets to twisted rationalizations, and where blind rage requires no subtitles. A Hidden Life is at its best when those stakes are clear, and Franz’s unwavering conviction is a sobering history lesson. #GeorgeWolf

★★★★ Directed by #JayRoach Written by #CharlesRandolph Starring #CharlizeTheron #MargotRobbie #NicoleKidman #JohnLithgow Film Review by Hope Madden Bombshell, Jay Roach’s depiction of the unrepentant sexual harassment that poisoned the work atmosphere at Fox News, is equal parts cathartic and depressing. Buoyed by strong lead performances in a trio of unerring talent—Charlize Theron, Nicole Kidman and Margot Robbie—the film also leans on an incredible and sizable ensemble to deliver a surprisingly nuanced look at the shades of grey, of complicity and responsibility when it comes to sexual harassment. “It’s no one’s job to protect you,” Theron’s Megyn Kelly tells newbie Kayla (Robbie). “It’s all of our jobs,” she disagrees. No surprise the script comes from The Big Short scribe Charles Randolph. Roach’s film benefits from the same kind of thoughtful, informative, funny and “can you believe” this approach, but Bombshell lacks much of the rage and outright comedy of an Adam McKay film. Like McKay, Roach left comedies behind in favor of headier, sharper, more political material. Also like McKay, his comedic sensibilities breathe some life into the efforts, helping this film serve the dual purpose of entertaining and informing. And, like McKay, Roach knows how helpful a well-placed comedian can be. Kate McKinnon actually does a lot of the film’s narrative heavy lifting. (Is it wrong I wanted her to play Rudy Giuliani as well?) As a Bill O’Reilly producer who befriends Kayla and helps her better understand the Fox New world, she allows Roach to make salient points about the network and the way it’s run, but because McKinnon is naturally funny and incredibly talented, it feels organic. Her character’s position when it comes to rocking the boat also offers a clear-eyed take on why toxic work environments can go unchecked for so long. Since McKinnon’s character is in many ways the one the audience will most relate to, this is a sly and successful maneuver to keep us from feeling too superior and enabling us to better empathize with characters we may not like as well. Enough cannot be said for the work of Roach’s makeup department, especially that of prosthetic make up designer Kazu Hiro. Theron’s imperceptible prosthetic—along with her own posture and voice work—turn her into an alarming replica of Kelly. Ditto Nicole Kidman, and John Lithgow, whose performance also delivers a wallop. Not that any of this matters if the three central performances lacks in any department. They don’t. Characteristically, Theron, Kidman and Robbie deliver exceptional work, each willing (as they always are) to depict a woman who is not always (or, in some cases, is rarely) likable but who deserves respect and empathy for their suffering and courage. Wisely, Roach and team don’t get swept away by the bracing change and empowerment of victory. Indeed, Bombshell’s final act is a smack I still feel. But its power is its honesty. #HopeMadden

Film Features > Press Releases Film critic and music artist Chris Olson recently released his eBook "20 Best Short Films 2019" exclusively via UK Film Review. Within the eBook he announced his shortlist of the most impressive shorts that he has reviewed this year. Alongside the original film reviews which were published by us, Chris Olson also interviews several notable filmmakers about their movies, such as Tim Earnheart (Ricochet, Safe) and Nicohlas Golden and Angela Godfrey (Forget Me Not). Which Films Made the Cut We encourage our readers to purchase the full eBook in order to see Olson's comprehensive Top 20 short films of 2019. It is exclusively available to purchase in our Store. However, if you want to make a guess, we recommend visiting Chris Olson's four and five star movie reviews over the last year or so. The short films you come across are likely to be found within his eBook. How Do #Filmmakers Get Into the Book Chris Olson only includes films he has personally seen and reviewed, and the eBook in no way represents the entire UK Film Review family's opinions. Should you wish to specifically request Olson reviews your film for 2020 consideration, we recommend you Submit Your Film and leave a note for Chris. About Chris Olson Chris Olson achieved international recognition as: "one of the most influential indie film critics in the UK and globally" (Hugo Diego Garcia, filmmaker) following his founding of UK Film Review in 2012. Having written for several notable publications in London, the music artist turned film critic built his own movie review website which in 2019 has over 30 writers and reviews films from across the globe. Aside from his work as Editor-in-chief of UK Film Review, Olson also founded its sister VOD platform for indie filmmakers UK Film Channel in 2017. The channel, which broke from the main UK Film Review website in 2019, is now home to a plethora of free movies and rentals. Outside of film, Chris Olson is a recognised music artist, having written one full studio album as frontman of country indie band The Codes, and his debut solo E.P. "For Emma", which is available on Spotify. His music features on numerous streaming services such as iTunes, Deezer, Google Play, and Amazon.

★★★★ Directed by: #NoahStrattonTwine Written by: Noah Stratton-Twine Starring: #NedWakeley, #JohnWorthy Short Film Review by: Chris Olson Young, Young Men Movie Review A tender and at times beautiful coming-of-age short film from #filmmaker Noah Stratton-Twine, Young, Young Men captures the quintessential spirit of youth in all its uncertain glory. Ned Wakeley and John Worthy play two school friends who, at the beginning of the movie, open their exam results. This rite of passage lays the groundwork for their journey into the woods where the destination is (hopefully) a super cool summer party with girls. Along the way, our central characters reveal, rebel, and relish in their freedom. Throw a stone in an HMV (if you can find one) and chances are you will hit a #comingofage flick. Whether it's the John Hughes movies of the 80's, or any number of indie outings, teens on the cusp of adulthood have an ingrained place within cinematic storytelling. Noah Stratton-Twine delivers his story using simple ingredients and infusing them with sunlight to reflect the natural beauty of the moments shared by the two friends. Whilst the peril of their future hangs in the air, the atmosphere of Young, Young Men is completely aloof, letting time stand still for a moment, as it does for all kids at the start of their summer break. The performances are superb, in particular the chemistry between Ned Wakeley and John Worthy. Their banter and jovial roughhousing seems entrenched in authentic boy friendships, where the awkward conflict to appear knowledgeable when they literally know nothing is acutely poignant. There is anxiety and uncertainty written all over their faces and it's only when one is comforting the other that they seem in control. Events never take a turn towards crudeness either, unlike a lot of films from this genre. Stratton-Twine utilises limited settings which is to his credit. This story could easily have spilled into classrooms, home life etc, which would have distracted from the alluring momentum of the piece which completely benefits from the simplicity of the shoot. Some of the audio was difficult to hear but this is likely a monetary issue rather than an oversight. As mentioned, there are a plethora of movies to be found within this genre so drawing comparisons is easy, but Young, Young Men felt most comparable to the tremendous 2013 indie film Kings of Summer. The combination of youthful characters and a natural setting allows the subtle nuances of the characters and their dynamics to play out unspoiled. This is a familiar British friendship we are witnessing but the filmmakers deliver it with a refreshing sense of vibrancy and purest cinematic skill. #ChrisOlson Watch the Movie Trailer