★★★ Directed by: #SaschaKarner Written by: Sascha Karner Starring: #LeighCarr, #RobertLowndes, #MirandaWinn Short Film Review by: Chris Olson SeaSapien Movie Review A film noir short where the ocean is the sky from #filmmaker Sascha Karner, SeaSapien is a bold piece of cinema that struggles to stay afloat among its own ambition. Starring Leigh Carr as an investigator looking into a mysterious boat that has fallen from the sky and landed in his town. His search finds himself face to face with a mermaid (or SeaSapien) whom he instantly falls in love with. Can he save her from the wretched looters who have absconded with her? And will he get to learn more about the world she is from? Splash meets Chinatown with a touch of Percy Jackson, SeaSapien knows how to riff on its cinematic lineage. Karner seems determined to invest the audience in the film's stylistic enthusiasm rather than a fulfilling narrative. The limited running time coupled with the exhausting number of locations means that viewers will likely get the bends whilst trying to keep up with our resolute investigor-cum-narrator. That being said, we are given plenty to chew on when it comes to imagination and action. The infusion of a black and white approach with a #fantasy storyline gives the short film a 1950s B-movie feel, where outlandish premises were the norm and audiences were compelled by the surreal crash landing on the everyday. It's a shame we don't get time to breathe during Karner's piece, as there seemed to be so much potential exploring left to do. Had we been given more time with the central character, his quest could have felt more engrossing. There were some issues with the #filmmaking, in particular the sound. The narration was all over the place in terms of levels and Carr's voice didn't really carry the gravitas it needed. Likewise the plethora of settings being conveyed to the audience felt flimsy at times and robbed the scenes of their emotional depth. Such as the crane scene which could have been far more thrilling had the low-budget aesthetic not been so distracting. This is not always something within the filmmaker's control but to have included such a variety of locations on a limited budget and running time was, and ultimately left the short movie feeling breathless. A fun dip in the water from Sascha Karner then, SeaSapien brought all the fun toys to the pool but stays in the shallow end and we get out before anyone has a chance to get even the slightest bit pruney. #ChrisOlson #FilmNoir

★★★★ Directed by: #JimmyStengel Starring: #DavidWilliams, #AshleyWilliams and #JourneyWilliams Music Video Review by: Rachel Pullen War LOL Movie Review War...uh, good god lord, what is it good for?....Lol apparently, but we already knew that didn’t we? Yes war is good for many things; increasing domestic manufacturing, thinning out the ‘’numbers’’, digging for peace and all that jazz, but war does not always mean bombs and guns and precision marching, what about our internal war? Our conflict? It looks like we just got deep. This week I have used my eyes and ears to enjoy the musical and visual styling’s of Jimmy Stengel’s music video for his latest track War LOL, a song that perhaps looks at the struggle we are having internally with an external world consumed by media and technology. The video focuses around a young family, who are consumed by their media devices, their young daughter though is more drawn to the nature that surrounds her; we see a family in conflict and a daughter on the fringes, and yet no one puts down the phones for long enough to care. The style of this #musicvideo reminds me of Cigarette Burns [a short horror flick by my boy John Carpenter] with the foreground and background presenting two different images; we see a lot of idyllic family life laced with images of war and bombs, ones that have been thrown around in the media for decades, the juxtaposition reminds us that no matter what life is like from the outside, it may be a very different case upon deeper inspection. The colours and choice of shots jump off the screen at you, this is a visually stimulating piece of #filmmaking, and although audiences may find some of the effects to feel a little dated, they will still was drawn in by the style in which Stengel presents his work, his timing with the music brought an excellent sense of immersion, and added another layer to the project. The one shot where random shoes kick over some kids toys was...confusing, why hate the toys, whose shoe is this?, I am assuming the phones exploded, the government busted in [because you know, phones and the government go together like cheese and sadness] and kicked over a bunch of stuff like the bullies that they are, ate the phones and left through a window. Overall this is a good effort for a project on a budget, also the song is catchy as hell, as a musician myself I can enjoy the effort that has been put into this work and recording, and trust me you will be singing that catchy chorus all day long...cos war is totally LOL. #RachelPullen

★★★ Directed by: #SezenKayhan Written by: Sezen Kayhan Starring: #AyrisAlptekin, #MuratKiliç, #SezgiMengi, #CemBaza Short Film Review by: Chris Olson A Hard Day in the Empire Movie Review A satirical short film from #filmmaker Sezen Kayhan, A Hard Day in the Empire takes a glowering look at the embedded gender discrimination that takes place in our society and workplaces. Taking place during the shoot of a new television show, we meet Cansu (Ayris Alptekin), an overworked and underappreciated art department assistant whose tireless efforts are met with scorn and reprisal from the show's unrelentingly mean director (Murat Kiliç). As each of Cansu's attempts to please the man in charge receive increasingly hostile reactions, we also witness a growing sense of sexism permeating the shoot. Having long since been revealed for inhabiting the very worst of sexual predators and a deeply rooted economic unfairness towards women, the film and television industry is the perfect setting for this tale of abusive male power. Kayhan being a female director is likely to be drawing from experience, either her own or those she knows within the industry. This sense of authenticity gives A Hard Day in the Empire a harder edge. Regrettably the narrative is undercooked, as is the characterisation. There are small moments of development, such as learning of Cansu's unpaid rent, but these aren't furthered enough for the audience to fully align themselves with her suffering. The director, whilst unlikeable, is not villainous enough for the viewer to feel a call-to-arms energy and instead we view his nitpicking as mild eccentricity rather than conscious manipulation. The mansplaining which occurs during the shoot is arguably the most offensive aspect to the central character and her inevitable reaction feels aimed at powerful men in general. The #filmmaking is solid but lacks any remarkable prowess. We aren't struck with much atmosphere which creates a struggle when the jokes are trying to land. Although, there is a nice recurring gag about moving props in the scene which will get laughs, as will the actor's sweaty chin. Behind the scenes of movie making can often be a choice setting for comedy (see Hail, Caesar). The hijinks and calamity that ensue when the cast and crew are put under enormous pressure and limited budget can bring out some seriously funny scenes. To have laced this with a strong thematic depth could have seen A Hard Day in the Empire become a noteworthy short film. However, the uninspired narrative and comedic misfires turn it into a footnote of mild and harmless upset than the sharp and burning outrage it could have been. Watch the Short Film Trailer

★★ Directed by: #SebastianShackel #JordanTonge Short Film Review by: #ChrisBuick For those who commute in and out of big cities such as London, there is a somewhat well-founded reputation preceding the kinds of interactions (or lack of) that can occur on such journeys. Masses of people crowded together in what are essentially metal tubes, all staring at their various electronic devices or newspapers, rarely bothering to look up even if someone was on fire except for sharing a look of bewilderment and slight disdain for anyone who might throw a casual or inoffensive word their way. The 38 to Hackney takes a first-hand look at this type of daily excursion through the words and experiences of Brian, a commuter in the London area. Lamenting the lack of interaction and good-will on the capitals transport systems, Brian calls for better human connection and more pleasant experience overall between fellow commuters in the hopes of making everyone’s journey and world that tiny bit better. The key issue here is that the film is not revealing any information that we don’t already know, or at least not in any ground-breaking way. It is true that we as a society are all seemingly interacting and conversing less each day, eyes constantly glued to our phones and opting for texting rather than talking. The films message is an important one, but it’s not driven home by anything substantial or new and in all honesty, it is delivered poorly through the medium of commuter Brian, who of course means well who rather than delivering a rallying cry, instead comes across as the ramblings of someone with no particular story to tell. The film itself is presented through a series of stills and clips via an old-fashioned slide reel aesthetic, which works well at first, emphasising the closed-off view people have on these journeys of the world around them, the images displayed just passing peripheral glimpses during such a commute. But after a series of indistinct closeups of buses, trains and crowds, it becomes all too easy to lose interest in this, which then leaves the film with little else to offer. An interesting visual concept, but despite its well-meaning intentions, The 38 to Hackney doesn’t seem to inspire much of anything, let alone change or discussion. #ChrisBuick

★★★★ Directed by: #JackArcher, #JosephArcher Written by: #JackArcher Starring: #ChristopherMulvin, #MayalaniMoes, #SkyCheema, #PhoebeFarrington, #EdNewman, #TobiasCornwell Film Review by: Darren Tilby Oh, it’s a familiar sight: the panic backstage as a band prepare to go on and perform the biggest gig of their lives! Panic usually caused by a member of the group who has decided to have a breakdown over something trivial; or gone missing; or, in this case, after the lead singer has passed out after taking a pill. But rarely is this cinematic rock-and-roll staple displayed with such strong comedic inflexion and entirely within 15 minutes...in a single shot. Set during the 1990s, we follow the misfortunes of a typical 90’s band on the eve of their biggest performance yet. Lead singer, Ryland (Sky Cheema), Bassist, Simon (Tobias Cornwell), Drummer, Miche (Phoebe Farrington), and Charlie’s (Ed Newman) plans are almost scuppered however when Ryland downs a mysterious pill and collapses onto the sofa. This mishap precipitates a string of increasingly humorous events as the rest of the band, and their foul-mouthed and stressed out manager Martin (Christopher Mulvin) struggle to rectify the problem. The humour in On In 15 is excellent. There are moments where the gags fall a little flat or where line delivery feels a little awkward, but it’s easily forgivable considering how much it gets right. Writer and co-director Jack Archer’s script is largely to thank and has a thoroughly enjoyable feel throughout. Performances from the cast are also superb and compliment the movie’s writing and directors Jack and Joseph Archer’s choice of filming method exceptionally well. But standouts, for me, come from Mulvin’s less than managerial display and Farrington’s no-nonsense, only female member of the band, who, it turns out, is the only one with any common sense. Where On In 15 really shines though is in Dominic Howlett’s superb cinematography. The film is shot with a handheld shaky-cam look, which adds to the behind-the-scenes atmosphere of the movie. Most impressively, though, is that at no point during the 15-minute runtime does the camera cut away. This is a 15-minute long single take, which is no mean feat and takes a great deal of planning and skill to shoot. Especially when there’s so much physicality, movement, and intensity running through the film. The filmmakers, crew, and cast should be commended for even attempting it, let alone pulling it off so convincingly. On In 15 is a brilliant piece of comedic filmmaking, one that’s as technically proficient as it is funny (very). There’s something instinctively British about it all, and the 90s setting works a treat. There are a few issues, but this is a well-written, well-paced, and good-natured movie with excellent direction and a superb cast at the top of their game. Well done.

★★★★ Directed and Written by #DavoHardy Starring #DavoHardy, #JoshuaSealy, #PaulMercurio, #SageGodrei Film Review by #JackBottomley As the world keeps on spinning, eras continue to change and for all the political terror, social media fuelled panic and environmental issues of our current climate, there is hope in the shape of a wider (and ever expanding) diverse array of voices. Now more than ever before, the film industry especially seems to be opening up and widening its gaze for people of various races, ethnicities, sexualities and experiences, as blockbusters like Aquaman, Moana, Star Wars films and the upcoming Birds of Prey stand as testament of. However further steps are being taken and in A Silent Agreement fiction becomes truth in a very personal and powerful story about love, passion and the industry. Written, edited, directed by and starring #DavoHardy, this Australian film was very timely back on its release (as the Australian Marriage Law Postal Survey was at its apex) and is perhaps even more so now. After constant calls for diverse projects and debates surrounding such films, A Silent Agreement is an unapologetic story about a gay relationship, the perceptions of disability and the nature of a sometimes carnivorous industry. The story concerns Reuben Heywood (Hardy), an aspiring stage performer and writer, whose career goals are tested by his anxiety (which has resulted in a speech impediment) and how people perceive him. However, in profoundly deaf young man Derek (#JoshuaSealy), Reuben not only finds love but a driving force that helps him reach his goals and proudly embrace who he is, even as he comes to realise that there are many barriers along the way. Unlike many representations of homosexuality in film, A Silent Agreement is far more honest in its depictions, and it makes the central love story blossom all the more as a result. As the narrative begins to increasingly infuse facts into its fiction, this story feels real, tender and often leaves you feeling moved and rather inspired. Hardy is fantastic as Reuben, a passionate man, flawed in some ways and excellent in others, a man who has used his experience and newfound love to create the ultimate tribute to that love and seeing that tribute threatened makes the film a compelling watch. One that dissects artistic integrity, the uncomfortable transformation of diversity into a box ticking promotional tool and the age old cautionary tale about a greedy figure manipulating their way into calling the shots and taking credit owed to someone else. In this case #PaulMercurio’s genuinely hand-wringingly sleazy and liberty taking bulls**t artist Gareth Donahue. Although the real scene stealer is Sealy’s Derek. This young man not only motivates and illuminates Reuben but by encouraging him as he learns Auslan (Australian sign language) and expands the communication, it makes for an onscreen romance that goes much deeper and becomes more special. Sealy is a bright core to this story, with a heartwarming performance that instantly draws us to his character and establishes this onscreen pairing. There is also strong supporting performances from #SageGodrei as producer Gareth’s crisis of conscience suffering wife Lillian and #RhondaRourke as Derek’s supportive mother Faye. From great cinematography by #BebiZekirovski (a well captured bubble sequence in particular) to specifically strong uses of scoring by #JamieMurgatroyd, this really is a team effort of an enthused cast and crew (some of whom sign fluently or are part of the deaf community themselves). Everyone is clearly on the same page as to this film’s wonderful motivations. In that, actions really do speak louder than words. Some of the story’s later developments do feel a little sudden and a family breakdown scene feels a bit spontaneous in setting up a darker change of pace but this is still a very profound tale of love, identity and to what extent artists can/should/shouldn’t alter their vision, especially when it comes from the heart.

★★★ Directed by #SophiaTakal Written by #SophiaTakal #AprilWolfe Starring #ImogenPoots #AleyseShannon #LilyDonoghue #CaryElwes Film Review by Hope Madden In the history of cinema, the number of bad, misogynistic horror movies is too high to count. I literally cannot count that high. So, even though Black Christmas is not a good horror movie, it’s somehow comforting to know there is now at least one bad feminist horror flick. Co-writer/director Sophia Takal (writing alongside April Wolfe) puts a new spin on Bob Clark’s seasonal classic. (Well, Clark also directed A Christmas Story, but I’m talking about his 1974 original Black Christmas.) Christmas break is upon the Hawthorn College campus and students are slowly trickling home. Any sorority sisters left at school will wish they’d made other plans. Clark’s bloodier yuletide gem remains relevant because it’s a pre-slasher slasher, meaning that it doesn’t entirely follow the formula because there was no formula for slashers in 1974. Many consider Black Christmas to be the first of that sub-genre, so it subverts expectations because, when it was made, there were none. Fun! The second reason people return to it annually is the creepy ass phone calls that still somehow manage to be chilling. Takal definitely frustrates with phones, although not to nearly the same chilling effect. But she does manage to give the formula a switch-up. Imogen Poots leads the cast as Riley, and we know Riley is the film’s hero because she has the most to overcome. Poots is a reliable performer, though she struggles to give Riley much character. Still, you see flashes of her talent, especially in an infuriating conversation with campus police. Aleyse Shannon leaves a more interesting impression as activist/bestie Kris, and Cary Elwes makes a welcome, oily visit as the professor you really, really hate. Unlike the ’74 original or the unwatchable 2006 reboot, Takal’s Black Christmas is PG13, so don’t expect any real scares or envelope-pushing violence. Where Takal takes chances is with the message that rape culture has to be burned to the ground. The film is a blunt instrument, but there are moments in the dialog that are both cathartic and funny. Female characters are treated with sincere scrutiny and empathy (except in the film’s prologue, which is just disappointing). And yet, the leap in logic between “let’s go to the cops” and “here’s my supernatural theory” is so grand, so bold, so ludicrous that you almost have to admire it. It absolutely sinks the movie, there’s something applause worthy in the wrong-headedness of it. The plot ends up killing Black Christmas, which is too bad. Takal threads some audacious take downs of bro culture throughout a film with a lot of insight. It’s just not a very good movie. #HopeMadden

★★★★ Directed by: #SimonBoisvert Starring: #SimonBoisvert, #DianaLewis Film Review by: DarrenTilby Once described as “the Canadian #EdWood”, Simon Boisvert is known for making, mostly, terrible low-budget films. The kind of terrible films which often garner a cult following because, for all their badness, they’re entertaining. Much like famed director Edward Wood’s Plan 9 From Outer Space, or, more recently, #TommyWiseau’s #TheRoom. But it’s easy to forget that behind these films we all so gleefully laugh at is an imaginative and well-intentioned individual, one who may not be the most technically proficient; or artistically inclined; or terribly good at writing. But one with stories to tell, as well as his/her own story. This is Boisvert’s story. Bold & Brash follows in the footsteps of #TimBurton’s #EdWood and #JamesFranco’s #TheDisasterArtist in the way it approaches its subject matter. This is a frank but sympathetic look into the professional life of Simon Boisvert, whose film career began in 2001 with a string of French-language films (before eventually moving onto English-language film in 2005) which he wrote, produced, and starred in. The difference is, this isn’t a drama with actors and whatnot, but a documentary that interweaves interviews from personal friends, colleagues, and Boisvert himself, with footage from his previous films. And like Wood before him, Boisvert seems to possess the vision for his films but not necessarily the talent required to bring them together—particularly with the writing. It’s worth noting, however, that during the documentary It’s made clear once Boisvert began directing his films (#Barmaids 2005), there was a marked improvement. That trend continues with Bold & Brash. This is a really well put-together documentary that flows through Boisvert’s filmmaking career with grace and clarity. The interviews are well-shot, and there’s some well-placed behind-the-scenes footage spliced into the film, relevant to what’s being discussed, which allows us to appreciate the situation all the more. The audio quality is clear and subtitles (as there are French-speaking peoples interviewed) are easily legible. But #MathieuGrondin’s superb editing is what makes the film work so well...at least from a technical standpoint. The sincerity in which the interviewees conduct themselves also works really well here and is incredibly refreshing. Not one of the numerous people interviewed hold back any criticism of either their co-stars, the filmmaker, or indeed, themselves. Having said that there’s very little vitriol amongst any of Boisvert’s cast of regular collaborators, and most seem to have, generally, fond memories of the work they’ve done...warts and all. Indeed, even Boisvert himself owns the mistakes he’s made in the past with good humour and consideration. This is Simon Boisvert’s story, make no mistake about it. But, at the same time, his story could be anyone’s, and I’d be surprised if there weren’t hundreds of budding filmmakers – all with stories to tell but with no money to tell them – who have struggled to overcome the same obstacles as him. For me, this is how Bold & Brash works best...as an examination of indie filmmaking in the (relatively) modern age. At one point during the film, the question “Should you be doing movies with such a small budget?” is posed. The answer comes back (“no”), but I disagree. Inventive use of equipment and locations and a good imagination can overcome many problems, you’ve just got to try. In this way, Bold & Brash isn’t only the title, it’s advice, given freely to upcoming filmmakers everywhere. And there’s something inherently uplifting about that.

★★★★ Directed by #JakeKasdan Written by #JakeKasdan #JeffPinkner #ScottRosenberg Starring #DwayneJohnson #KevinHart #JackBlack #KarenGillan Film Review by George Wolf Recent box office totals have sent a pretty clear message: if you want a butts-in-seats reboot, you gotta come with a strong new hook. Jumanji: Welcome to the Jungle got it right two years ago, and now most of that gang is back for The Next Level, which is smart enough to add a few new wrinkles (plus some trusty old ones) for freshness. We catch up with our four young heroes a year removed from high school and trying hard to keep in touch. Over Christmas break from college, Spencer (Alex Wolff), Martha (Morgan Turner), Bethany (Madison Iseman) and Fridge (Ser'Darius Blain) make plans for a meetup, but Spencer doesn't show. Hearing those familiar drums, the other three quickly figure out he's been sucked back into Jumanji, and decide to go after him. I mean, they beat it once, right? New game, new rules, brand new hook. Bethany is left behind, but two new players aren't: Spencer's grandpa Eddie (Danny DeVito) and Eddie's ex-best friend Milo (Danny Glover). Know what else? Everyone gets a new avatar. Well, not Martha, she's still badass Ruby Roundhouse (Karen Gillan). But this time, it's Eddie who gets the smoldering heroic intensity of Dr. Bravestone (Dwayne Johnson), while Fridge is portly Professor Shelly Oberon (Jack Black), Milo is diminutive zoologist Moose Finbar (Kevin Hart) and Spencer is newly-added cat burglar Ming Fleetfoot (Awkwafina). The next level mission: free Jumanji from the evil clutches of Jurgen the Brutal (GOT's Rory McCann), or die trying. Game on! Watching the four adult stars channel teenagers in the first film was a blast, but the avatar switches here are the smart plays, and the body swaps don't stop once the game begins. Some of the gags do settle for low hanging fruit (i.e. old people are easily confused) but plenty others are clever and inspired. The film itself even gets in on the switcheroo spirit, with fewer solid laughs but a markedly better adventure. Welcome to the Jungle's riffs on The Breakfast Club make way for director Jake Kasdan's set piece homages to Mission Impossible, Indiana Jones, Kingsman and even Peter Jackson's King Kong in a thrilling escape from angry mandrills. Writers Chris McKenna and Erik Sommers do not return, which I'm guessing is a major reason the life lesson feels don't land as smoothly this time. But Kasdan and his team hit the big shots. They give us a reason to be interested in a return to Jumanji, and plenty of fun once we get there. #GeorgeWolf

★★★ Directed by #ClintEastwood Written by #BillyRay Starring #PaulWalterHauser #KathyBates #SamRockwell #OliviaWilde Film Review by George Wolf Richard Jewell is a film Clint Eastwood has reportedly been trying to direct for years, and no wonder. It’s the story of a heroic man forced to fight against bureaucrats and parasites who question his heroism, which seems to be Clint’s favored genre. Jewell, of course, was a hero at the Centennial Park bombing during the Atlanta olympics in 1996. A security guard who first spotted the bomb and was helping clear the scene when it exploded, Jewell was later named as the FBI’s prime suspect, and had his life turned upside down for months until the feds gave up. It’s a pretty clear case of a man wronged, and a compelling story clearly worthy of a film. But while Eastwood and writer Billy Ray tell much of it well, their zeal for painting broad-stroked villains is hard to overcome. After years of standout supporting roles (I, Tonya, Black KkKlansman) Paul Walter Hauser takes the lead as Jewell and grounds the film with a terrific and often touching performance. As suspicion around Jewell grows, the bonds created with his lawyer and his mother (Sam Rockwell and Kathy Bates, both great) show Eastwood and Ray at their nuanced best. The law and the press don’t get off so easy. That’s not to say they should get a pass, far from it, but Atlanta Journal reporter Kathy Scruggs is drawn so one dimensionally, Olivia Wilde might as well be twirling a mustache every time she’s onscreen. The Journal is currently threatening legal action over the depiction of Scruggs (now deceased, as is Jewell) trading sexual favors to an FBI agent (Jon Hamm) for info, but the film’s slut-shaming isn’t reserved for just one reporter. They’re all whores. And in case you miss the strategically placed sticker in the lawyer’s office that reads “I fear the government more than I fear terrorism,” Eastwood returns to it more than once. That’s grandstanding, not character development, and ends up undercutting a layer we could have gotten so much more intimately solely through Rockwell’s performance. Richard Jewell‘s story is a good one, a tragic one, and a cautionary tale that deserves telling. And the film it deserves – the one where a common man finds the will to fight for his dignity – is in here, you just have to wade through some blanket scapegoating to find it. #GerogeWolf

Directed by #FernandoMeirelles Written by #AnthonyMcCarten Starring #JonathanPryce #AnthonyHopkins Film Review by Hope Madden How funny is it that Hannibal Lecter is playing Pope Benedict XVI? That’s not the only sly jab Brazilian director Fernando Meirelles (City of God) takes at the pomp and scandal of the papacy in his latest, but the punches come early and make way quickly for a tone of reconciliation. Indeed, The Two Popes may be more forgiving than many people will appreciate. Or accept. But it’s hard to fault the casting. Anthony Hopkins is better here than he’s been since his Oscar turn as the flesh eater. Frail and humorless (but trying!), Pope Benedict becomes a recognizable figure, one whose solitude and study have isolated him from the people he’s meant to protect and lead. Jonathan Pryce is perhaps better than he has ever been. An ever reliable “that guy,” Pryce has built a career on versatility, never so showy he outshines the lead, never so unfussy as to be easily ignored. That facility with chemistry elevates his performance here, and as the “everyman’s” pope, Pryce becomes the vehicle for the audience. Together the two banter back and forth, easily turning Anthony McCarten’s lofty theological and spiritual dialog into passionate conversations between two peers. The Two Popes offers considerably more nuance than The Theory of Everything, Darkest Hour or Bohemian Rhapsody, although McCarten will never be chastened for writing an unforgiving screenplay. What he’s done with this script is imagine what the dialog between these two men might have been like as Catholicism moved headlong toward a pivotal event unseen for 600ish years. A bit like The Two of Us, Michael Lindsay-Hogg’s 2000 fictional conversation between Lennon and McCartney (a pair the popes mention more than once), this film is a smartly crafted fantasy of the behind closed stained glass meetings that might have led to the changeover. The humor is undoubtedly the brightest surprise the film has in store, but Meirelles keeps the film quick and interesting, his filmmaking simultaneously intimate and elegant. The missteps come as he refocuses attention on the future Pope Francis's rocky past. These sequences drag, boasting neither the visual flair nor the vibrancy of the modern footage. It’s hard not to also mark as a weakness the way the film simultaneously admonishes and reflects the Church’s tendency to be too forgiving of clergy. Still, The Two Popes is hard to resist. In the end – especially at the end – the film is almost criminally charming. #HopeMadden

★★★★ Directed by #LaurenGreenfield Written by #LaurenGreenfield Starring #ImeldaMarcos #BongbongMarcos Film Review by Hope Madden Is there anything more dangerous than a sense of entitlement? This belief in being owed something unearned—a theme that’s played in a number of filmmaker Lauren Greenfield’s documentaries about the absurdly wealthy—takes on a more sinister stench in her latest, The Kingmaker. With surprising access and intimacy, Greenfield delivers a behind-the-scenes look at the Marcos family’s return to power in the Philippines. It’s a dark, almost surreal image of what passes for reality in this post-truth world and it is depressing A.F. We spend most of our time with Imelda Marcos, best known for being the first lady of the Philippines during Ferdinand Marcos’s dictatorship, and for owning thousands of pairs of shoes. “Martial law, that was the best years of Marcos because that’s the time he was able to give the Philippines sovereignty, freedom, justice, human rights,” Imelda wistfully remembers of the period during which 14 of 15 newspapers closed, 70,000 people were incarcerated—half of them tortured—and 3200 people were killed. But according to Imelda, “There are so many things in the past that we should forget. In fact, it’s no longer there.” These days, Marcos devotes herself to supporting her son Ferdinand “Bongbong” Marcos’s political aspirations. As Greenfield follows along on Bongbong’s vice presidential campaign, she frequently pauses to reiterate some salient points from the last time a Marcos ran that country. Two journalists and a teacher share their stories of torture, including rape, under the regime. In an almost surreal yet bracingly telling piece of filmmaking, Greenfield also spends time with the islanders most effected by Imelda’s fondness for exotic animals. Marcos reframes her capacity to loot her nation to serve her own pathological spending habits as mothering, love. Indulgence is love. Grotesque, criminal self-indulgence at the expense of her nation’s citizens? Well, she claims that never happened, but if that Monet painting that she definitely did not purchase with ill-gotten money has been found, can she get it back? The corruption hangs from this family like a mink stole, and The Kingmaker doesn’t deliver the same empathetic shock value to be found in Greenfield’s 2012 doc The Queen of Versailles. Instead, we watch as a nation forgets its horrifying history and, swept up in the “everybody loves a bully” philosophy that seems to have overtaken the entire world, sits complicit as a family of criminals and looters takes its seat again at the head of the nation’s table. #HopeMadden