★ Directed by: #GrantMurphy Written by: Grant Murphy Starring: Grant Murphy, #DominicThompson, #LiamAlexandru, #DeanKilbey, #ToddVonJoel Indie Film Review by: Corey Bulloch Obviously trying to emulate the styles of modern British gritty crime dramas such as Layer Cake or anything by Guy Ritchie, writer director Grant Murphy can’t deliver the realism he desperately desires. Brumville aims to tell a gripping story about the realities of crime in Birmingham exploring drugs, gang violence, and murder but the flawed script and filmmaking make it difficult for an audience to become invested. Focusing on three storylines covering both sides of the law, Murphy stars as Connor, local drug pusher along with his friends Lee and Mikey who wants to make enough money to get out of the criminal life. This storyline happening alongside the exploits of local crime boss Charlie Jones played by Dean Kilbey as he brings a new wave of violence upon those who betray him ending with a grisly murder and then Brumville follows the police investigation into this death and begins connecting all the storylines together. These connections are slim because Murphy doesn’t have his scenes feel connected to a larger narrative, most of the scenes are just the male characters either indulging in conversations about their sexual activities or committing acts of violence. There is a very juvenile attitude to Brumville as it doesn’t seem to be attempting a story for most of the runtime, certain scenes mention character motivation but there is no real followthrough with any of it making the direction feel aimless. The catalyst for the main drama, Stanley Giles feels like a random appearance until he’s suddenly the focus for Jones’ and the police’s storylines. The connections between the characters are not well established for the audience so the dramatic payoffs in the third act have little effect, the whole film feels like an excuse for Murphy and his friends to play the lamest game of cops and robbers. Only Dean Kilbey’s performance as villain Charlie Jones captures the realism that Murphy wants in his film. The character is cliché, a classic British thug and the dialogue is very crude and obvious but Kilbey is the only actor to make this work to his benefit. Brumville wants to achieve this thematic resonance about crime and the cycles of violence affecting our characters but doesn’t do any of the work to back it up. It’s very hollow storytelling that feels random and doesn’t create any form of emotional or emphatic reaction from the audience. Further seen by the quality of the filmmaking as Murphy’s vision of Birmingham has no discernible cinematic attraction. Shaky and unfocused camera movements, jarring editing and sound design, inconsistent colour temperature, Brumville’s presentation does everything it can to break its immersion for the audience. With its unrealistic characters and dialogue, the lack of visual and auditory grounding for the film is a major detriment to taking anything about the film seriously. It’s not difficult to tell what’s going on but it is difficult to care why any of it is happening as Murphy’s editing builds no tension or intrigue to any of the scenes or character’s fates. A disappointing unfocused attempt, Grant Murphy’s vision of a Birmingham broken by crime and corruption doesn’t achieve the dramatic heights he envisioned. #CoreyBulloch #IndieFilm

★★★ Directed by #UdoFlohr Written by Udo Flohr, #PeerMeter, #AntoniaRoeller Starring #SuzanAnbeh, #ElisaThiemann, #ChristophGottschalch Indie Film Review by #HannahSayer Effigy – Poison and the City follows the forensic investigation against real life serial killer #GescheGottfried, who was found guilty of murdering fifteen people by arsenic poisoning and is considered to be one of the first female serial killers. Set in the German port city of Bremen and inspired by Peer Meter’s stage play Die Verhöre der Gesche Gottfried, the film follows two women – one who wants to work for the law and one who has defied the law. Senator Droste, played by Christoph Gottschalch, hires a new law clerk Cato Böhmer, played by Elisa Thiemann. It is uncommon for women to be working within this workplace setting in the nineteenth century and even though Böhmer has demonstrable experience in the field, she is up against her male peers who look down upon her skills and knowledge of the profession. A medical investigation is brought to the attention of Senator Droste and his team, as a piece of food is brought in which is covered in a mysterious white powder. The food has come from the house which is looked after by housekeeper Gesche Gottfried, played by Suzan Anbeh. The powder turns out to be arsenic, and the film follows the investigation as more instances of poisoning occur to those in Gottfried’s circle of acquaintances. Gottfried is a master of manipulation, as she has the whole town convinced that she is caring for the sick, when in reality she is the reason behind the mysterious deaths. The film is reminiscent of the modern day police procedural, as Senator Droste and Cato Böhmer try to solve the mystery of “Bremen’s poisoner”. The musical score, which is composed, orchestrated and conducted by Nic Raine and performed by The City of Prague’s Philharmonic Orchestra, is effective in creating an atmospheric tension which is haunting and chilling as the narrative unfolds, and the horrific realisation of how many Gottfried has murdered dawns on the characters and the viewer. The structure relies heavily on long scenes of dialogue between the characters, which at times can feel dull and drawn out. However, the acting is particularly strong and the film’s overarching message is a powerful one, as the narrative examines how both Gesche Gottfried and Cato Böhmer are judged and face sexism, even while living out extremely different lives. In 1828, sand from the Sahara Desert which was transported to the north of Germany by the wind caused blood to literally rain down from the sky. In Effigy –Poison and the City, this event is used as a potent image to signify that Gottfried’s reign as the poisoner of Bremen has come to an end, and reinforces how much despair and destruction she has caused in her wake. Watch the official movie trailer for Effigy - Poison and the City below.

★★ Directed by #PhilipBrocklehurst Written by #JonathanSkyeOBrien, #YenniRocha, #PhilipBrocklehurst Starring #JonathanSkyeOBrien, #YenniRocha, #PhilipBrocklehurst Film Review by #JackBottomley Arthouse filmmaking is a creatively limitless space in film discourse and a surely liberating one for the maker, if not always for the viewer. No doubt about it, the spirit of such independence can be a hard beast to master for your audience and depending on what you have to say, how you choose to say it and its thematic connection with the onlooker, you can find yourself alienating some viewers while enthralling others. The key really is an open mind and - with director/writer/producer/actor/cinematographer/editor #PhilipBrocklehurst’s latest film - quite a bit of tolerance for the approach. The film sees a lone man (#JonathanSkyeOBrien) sat bored and eager for some excitement flicking through the channels and seeking personal and sexual fulfilment but struggling to find it. Excitement acts as a tribute to the films of French New Wave director #JeanLucGodard and, like the pioneer it is adoring of and inspired by, this film experiments with the medium but sadly is more Film Socialisme than Breathless. Brocklehurst’s bravery is worthy of deep admiration, for he does comment on some interesting subtexts like surpassed homosexuality, the changing gender balances and modern attitudes towards sex, while also risking losing a huge percentage of any audience with his dedicatedly drawn out approaches and very low budget experimentation. Despite being a real drag, there are probably some interesting things for arthouse cinema enthusiasts to be found here, sadly, overall this offering is far more in your face with its symbolism and does often take the work out of things. Increasingly profane or explicit buzzwords pop onscreen and heavy-handed imagery often abjectly tells you what to think and the first two thirds of the film are patience-sappingly slow and monotonous. Admittedly allowing for meditation on such eroticism if you so desire but it is not a particularly exciting experience of thought and come an extreme sadomasochism fantasy interview sequence mid-film, Excitement seems unsure whether it is played for psychologically sexually obsessive surrealism or just dark absurd humour (with the silly gravelly voice and continuously crude dialogue). Performance is really less important here than the experience, although towards the back end of the movie, we see Jonathan Skye-O’Brien (who also co-wrote the story with Brocklehurst and co-penned the screenplay/was co-cinematographer with Brocklehurst and Yenni Rocha - who features onscreen as ‘The Seductress’) thankfully inject some character and charm into proceedings and in turn actually giving lead Montgomery chance to give us a peak at his true nature, outside of the sexually ungratified desperation that preceded. In fact, the sometimes pulsating music by #VladislavNogin (also credited as sound mixer and dialogue editor) is perhaps the most dominant character in the entire film. Everyone else unfortunately is more of a visual tool in this prolonged and phantasmagorical narrative. Unfortunately this didn’t work for me and as much as I admire the drive, effort and lengths taken to confront viewers, I felt thoroughly ungripped by it. There are some stabs at slight comedy but it is definitely a film with inclinations firmly on the artistic, with the final stretch by far being the stronger piece of the story and actually rescuing the film from tiring you out entirely. Brocklehurst’s film is an endurance test of repetition as I am sure it is intended to be and feels rather like the stereotypical artsy student film. Again though, with the right tolerance, one may find much within its pornographic and impulsive ruminations.

★★★★ Director: #JamesMangold Starring: #ChristianBale, #MattDamon, #JoshLucas, #TracyBetts, #JonBernthal and #CatrionaBalfe Film Review by: #BrianPenn We might still bask in the glow of Lewis Hamilton's sixth Formula 1 World Title; but who remembers British driver Ken Miles? Le Mans '66 provides the answer in this sprawling tale of brinkmanship and ambition. When a proposed merger between Ford and Ferrari falls through, Henry Ford II (Tracy Letts) decides to take revenge on the racetrack. Ford employ designer Carroll Shelby (Matt Damon) to build a car that might defeat Ferrari at Le Mans. Shelby turns to driver and engineer Ken Miles (Christian Bale) to test the new prototype. However Miles, a down to earth Brummie has rattled numerous cages at Ford. Newly appointed race director Leo Beebe (Josh Lucas) is adamant he wants Miles out of the picture. Shelby is nevertheless convinced and sets out to persuade the Chairman. Henry Ford II agrees to let Miles compete at Le Mans provided he wins the event precursor at Daytona. This story is essentially rule maker versus maverick; the reliability of Ford against the raw nerve of Ken Miles. An era when constructors were dependant on great drivers to get the most out of their engines; often at the risk of serious injury or even death. Above it all are Ford and Ferrari; posturing corporate beasts desperate for supremacy. An engrossing narrative does however take some time to fully unwind; while the premise is established early on it took around 100 minutes to reach the race itself. When it does finally arrive the action sequences are spectacular and brutally realistic. Slick 60s styling give the film a tremendous aura and sense of time and place. Whilst the editing could have been slightly sharper, the visuals are a dazzling combination of sound and colour. The only way to see this film is on the biggest screen you can find. Just let the surround sound take over and it becomes compulsive viewing. Bale and Damon are both in sparkling form and share an obvious rapport on screen. It naturally shows when two leading actors get along and makes for a much better film. We learn more about Miles' singular personality and how a force of nature left an indelible mark on Le Mans. It seems curious that his profile has largely slipped from public view. But he can no longer be the forgotten hero of British motor racing; Miles should now take his rightful place alongside other legends of the sport.

★★★ Directed by: #AkanSatayev Written by: #TimurZhaksylykov Starring: #AdilAkhmetov, #AltynaiNogherbek, #AruzhanJazilbekova Film Review by: Kirsty Asher Kazakhstan is the largest landlocked country in the world, with terrain as hugely diverse as its cultural heritage and political history. Its vastness could only be encapsulated in such a sweeping epic as this film, The Road to Mother (2016). This incredible story of a boy separated from his mother and the woman he loves takes its audience across the great expanse of Eurasia over the course of nearly nine decades. The 90 minute film is based on a true story – that of Ilyas (Adil Akhmetov) who as a boy sees his family torn apart amidst the dashed hopes of Stalin’s Five Year Plan to collectivise farming. It is narrated by the grandson of Ilyas in the present day, as told to a classroom of students. In the opening scenes the actor Bolat Abdilmanov has a brief but blistering role as Yeraly, a tempestuous rebel leader and horse thief who refuses to bow to the enforced uniformity of Soviet rule, and who storms Ilyas’ village, warning the community that this new regime will not bring the bright future they were promised. Yeraly, with his fierce countenance and strict gangster morals, strikes a Genghis Khan-like figure and he seems to represent the last dying flame of Old Kazakhstan, of fearless horsemen riding across the steppes even as the twentieth century rumbles into relentless modernisation. His character arc plays a significant part in marking the turning point from the status quo to the fractured regime which cost Kazakhstan 50% of its population during the man-made famine of 1930-33. This also marks the moment Ilyas’ life is changed forever, as he sets out with Yeraly and his uncle Lupkan, a reluctant member of the rebel group. From here, he is taken to the eternal bustle of Istanbul, at the very edge of Eurasia, before ending up in a Russian orphanage where he faces racism and aggression from the Slavic boys, and eventually becoming a decorated World War II hero. It’s fascinating and slightly depressing to behold the whitewashing of traditional Kazakh culture in favour of the monoculture of Soviet Russia, as made evident in the evolving costume and production design, but nevertheless there are small symbols of nostalgic hope dotted through the narrative and mise-en-scene which do well to counter this: Young Ilyas marvels at a flower growing from a stone in the village well with his childhood sweetheart Oumit (played in adulthood by Aruzhan Jazilbekova) and later carves it into the stone wall of a prison cell to remind himself of the beauty to be found in dark places. Or the traditional Kazakh tuzkeez (nomadic wall hangings) that brighten Oumit and Ilyas’ mother Miriam’s bland modern flat during the bleak war years, and serve as their token reminders of home. Perhaps the greatest symbol of love and hope is Ilyas’ mother Miriam, played with dignified resolve and heartfelt emotion by Altynai Nogherbek. While Ilyas’ life churns him across the continent, and his impulsive actions drive him further from home, Miriam is the steady anchor at the centre of this story who never loses faith or hope that, one day, her son will return to her. Ilyas may be the central protagonist, but Miriam is the heart of this tale. A monumental retelling of such a drawn-out tale was always going to have the heavy task of closing the film in a satisfying way, and ultimately the ending felt too rushed and oversimplified for a story with such a wealth of themes and historical context. Nevertheless, this film is undoubtedly a fitting showcase for the cinematic talent in contemporary Kazakhstan and pays grand homage to the twentieth century story of this nation. For that, it is highly commended.

★★★★★ Directed by: #AntonioMilo, #FabrizioFioretti Written by: #AntonioMilo, #FabrizioFioretti Animated by: #AntonioMilo, #FabrizioFioretti, #FrancescoButtarelli Film Review by: Darren Tilby Well...what a fantastic little movie this is. The very definition of what a short film should be: brilliantly put-together and full of originality. Playgrounds is both a homage to childhood nostalgia and an exploration of pop culture history—but more importantly, to the escapism it provides. Playgrounds is an entirely computer-generated and actor less movie based solely within the sanctuary of a child’s bedroom. A seemingly floating Sega Megadrive controller clicks away as a game of Sonic is playing out on a small box TV - of course, we as an audience understand this is to be a child playing. The bedroom adorned in all things nostalgic: a Superman T-shirt, a Godzilla toy, an Optimus Prime toy, and, most spectacularly, a Monkey Island poster!! But there’s more than wide-eyed sentimentality going on here. The sound of, what we presume to be, parents arguing outside runs throughout the four-minute duration of the film. It’s clear, this is no domestic bliss. The hazy pixelation of the world outside of the cracked open door makes the room feel cosy, comfortable, and safe; while the happenings outside are scary and uncertain. This room is clearly a refuge from the troubles outside; hence my referring to it as a ‘sanctuary’ earlier. This is proven – if proof were needed – at around the one and a half-minute mark in one of the subtlest, yet most heartbreaking scenes I’ve seen in a movie for a long time. A simple shadow of a small child in the bedroom doorway and the raising of the second Megadrive controller is all it comprises of. This is clearly a younger brother seeking solace with his older brother in his bedroom to escape the reality of their domestic situation, and it’s devastatingly effective. Impressively, despite there being no dialogue and no real narrative to speak of, Milo + Fab never struggle to communicate the essence of their film. That is the overcoming power of a child’s imagination and how the toys we loved in our youth provided us with much more than we can ever appreciate. In this is way, Playgrounds has strong intimations of Pixar’s Toy Story. And in no way is that a bad thing. There’s always a worry, particularly with short or low-budget movies, that the CGI will be subpar; a problem for a fully CG film. But that certainly isn’t an issue here. The animation itself is absolutely first-class, and while stylised is a totally respectful depiction of the toys we all know and love. There are some really gorgeous imagery and lighting here and terrific sound design that not only adds to the magic of the film but makes it easier to get lost in our own personal nostalgic memories. If you’re able, I’d highly recommend watching ‘Process Video’. It’s a great insight into the effort put into making the film and the techniques used by the artists. For me, Playgrounds is flawless; a perfect example of short film making. It’s an original concept, one that draws you in, right from the start with its stunning visuals and display of retro pop culture. But behind the dewy-eyed childhood memories, there’s a profound exploration of our collective lost innocence. It’s impossible not to lose yourself in this incredibly moving piece of cinematic art, and if it doesn’t even slightly tug at your heartstrings, you may need to see a mortician. Also, did I mention there’s a Monkey Island poster?!

★★★ Directed by: #DavidMichôd Written by: #DavidMichôd, #JoelEdgerton Starring: #TimothéeChalamet, #JoelEdgerton, #SeanHarris, #Lily-RoseDepp, #RobertPattinson, #BenMendelsohn Film Review by: Charlotte Little Australian filmmaker David Michod returns with a Netflix-size budgeted Shakespearean epic, replacing historical accuracy with lengthy monologues and tactile bloodthirsty battles. Michod and co-writer Joel Edgerton dress The King as a coming-of-age tale as old as time, centralising party boy Prince Hal as he reluctantly takes up the throne. Based on characters from Shakespeare's Henry IV Parts 1 and 2 as well as Henry V, The King follows a dishevelled bad boy prince Timothee Chalamet as he finds himself on the throne after the deaths of his brother and his father, Henry IV. His attempts at maintaining a pacifist approach are dashed once he is taunted and provoked by the Dauphin of France, portrayed by Robert Pattinson with luscious locks not dissimilar to those of Shrek's Prince Charming. The Pattison post-Twilight era has never been so captivating, with carefully chosen projects such as The Lighthouse, demonstrating his versatile nature. Pattison's appearance as Dauphin can only either be considered an impressive interpretation of performance art or an intentional trolling of the French accent spattered with strained hesitancy. "I enjoy to speak English. it is simple and ugly." In the original story, Hal embraces his fate as King of England to save a fractured Britain, bringing peace to the kingdom. He discards father figure Falstaff, before becoming the nation's warrior monarch. In this adaptation, Hal maintains a relationship with Falstaff, portrayed by Joel Edgerton, employing him as a trusted adviser on the battlefield. Falstaff's original cynic dialogue about honour and the senselessness of war is scrapped, traded in for warfare qualms and advocacy against the brutal execution of war prisoners. Throughout the film, there is an emphasis on the presence of one-on-one fights between royalty, a narrative which has since been rebuked as historically inaccurate and sensationalised. It should be noted that The King makes an ambitious but admirable effort to avoid the romanticisation of battle scenes, instead depicting the raw gruesomeness and recklessness of warfare. Audiences will grimace at the bloody carnage, as the typical glamorised action shots are nowhere to be seen. Scenes melt into each other, making for poor pacing within significant portions of the film. Although, Netflix never seems to leave audiences disappointed with the cinematography of their productions, something that can also be said for The King. Despite the sombre styling and disregard for historical accuracy, The King is worth a watch, even just for Robert Pattinson's attempt at a French accent. #CharlotteLittle

★★★★ Directed by #SeverinFiala #VeronikaFranz Written by #SergioCasci #SeverinFiala #VeronikaFranz Starring #RileyKeough #JardenMartell #LiaMcHugh Film Review by Hope Madden It’s Christmas, and regardless of a profound, almost insurmountable family tragedy, one irredeemably oblivious father (Richard Armitage) decides his kids (Jaeden Martell and Lia McHugh) should get to know the woman (Riley Keough) he left their mother for. A week in an isolated mountain cabin during a blizzard should do it. Dad stays just long enough to make things really uncomfortable, then heads back to town for a few days to work. Surely everybody will be caroling and toasting marshmallows by the time he returns. Though everything about The Lodge brings to mind A24 horror—for a number of reasons, Hereditary in particular—the film is actually a Hammer effort. No longer the corset-and-bloodletting studio, Hammer’s millennial output has been sparse but often quite good. Choosing to back filmmakers Severin Fiala and Veronika Franz making their follow up to the supremely creepy Goodnight Mommy should be a solid risk to take. Here the pair does not shy away from the body of “white death” horror that came before The Lodge, with eerie and sometimes humorous nods to The Thing and The Shining, among others, haunting the piece. The film also brings to mind A24’s It Comes at Night, another quiet film that saw Riley Keough trapped in an isolated abode with unsettling family dynamics. Keough is riding an impressive run of performances and her work here is slippery and wonderful. As the unwanted new member in the family member she’s sympathetic but also brittle. Jaeden Martell, a kid who has yet to deliver a less than impressive turn, is the human heartbeat at the center of the mystery in the cabin. His tenderness gives the film a quiet, pleading tragedy. Whether he’s comforting his grieving little sister or pleading with Grace (Keough) to come in from the snow, his performance aches and you ache with him. A healthy ability to suspend disbelief will aid in the experience The Lodge has to offer, but there’s no denying the mounting dread the filmmakers create, and the three central performances are uniquely effective. Thanks to the actors’ commitment and the filmmakers’ skill in atmospheric horror, the film grips you, makes you cold and uncomfortable, and ends with a memorable slap. #HopeMadden

★★★ Directed by #ElizabethBanks Written by #ElizabethBanks #EvanSpiliotopoulos #DavidAuburn Starring #KristenStewart #NaomiScott #EllaBalinska #ElizabethBanks Film Review by George Wolf We’ll know soon enough if there was high demand for a new Charlie’s Angels film. But 16 years after the close of the Drew Barrymore version, Elizabeth Banks apparently thought she could bring the franchise a welcome freshness. She was right, mostly. As writer, director and co-star, she’s a Banks of all trades, and just one of the Bosleys assisting a team of Angels. In this Charlie universe, “Bosley” is a rank, not a name, with famous faces such as Patrick Stewart, Djimon Hounsou and even Michael Strahan as some manner of Boz. But it is Banks’s Bosley that is on the case when Angels Sabina (Kristen Stewart) and Jane (Ella Balinska) must protect Elena (Naomi Scott), a brilliant systems engineer who stands between bad guys and some lethal new technology. Even with its updated vibe, Banks’s vision seems more in line with the original TV series (12 year-old me was a big fan). Barrymore’s films did bring some charm, but too often treated style as weapon of submission. The feeling this time is more of an easygoing wink-wink, with plenty of callbacks to franchise history and some well-staged battle angel set pieces. There’s plenty of girl power, too, and while these Angels aren’t first to that party, they fit in quite nicely. They value friendships, they own their sexuality without being sexualized, they’re skilled, strong and always ready to rib each other about awkward flirting or a love of cheese. Even with the surprises and fake outs it holds, the spy story is a bit too slight to support a full two hours. But, no surprise, it is worth staying for credits that offer plenty of smile-inducing cameos. Banks deals plenty of hands with Charlie’s Angels, overplaying none but the running time. So while it’s not a laugh riot, it is self-aware and amusing, its action heavy without undue disbelief and it feels like a reboot we needed, whether we realized it or not. #GeorgeWolf

★★★★ Directed by #ShirleyClarke Starring: #JasonHolliday #CarlLee Film review by Nathanial Eker Exemplar of the cinéma verité movement, Portrait of Jason is acknowledged as a powerful reflection of 1960s American culture. The manner in which Jason speaks of people of colour, of homosexuals, and of class is incredibly telling; it’s a capsule of a less progressive time. There is beauty in his wicked wit, hyperbolic storytelling, and later sentimental breakdown, yet there also protrudes an underlying air of unease that accompanies the latter half of the film. I find it difficult to praise director Shirley Clarke and associate Carl Lee as, despite their successful creation of an encapsulation of the abhorrent historical attitudes towards minorities, they themselves ironically become an oppressive authority, exploiting Jason as a means to a creative end. Jason Holliday, originally known as Aaron Payne is quite the character. Literally, as it becomes increasingly difficult to separate the man from the persona. As Clarke said in a 1983 interview; ‘Jason is not your average human being.’ He’s an African-American self-confessed conman, later identifying himself as homosexual, an element of his character that becomes vital as he discusses his upbringing towards the film’s end. Holliday remains the singular presence of the picture, alarmingly becoming increasingly intoxicated; by the final five minutes there is little more than a drop in his bottle. The only other forces are the disembodied voices Clarke and Lee, their prodding questions beginning innocently enough before the pair lean into more avant-garde tactics and insult the man with disturbing ferocity. The amateurish quality of the film is synonymous with the documentary focused cinéma verité: it’s shot on a handheld camera, with a shoe string budget in black and white, and with numerous synching issues and production errors. This clumsy style is obviously indicative of the movement; to get away from the American studio system of happy endings and plot conveniences, and instead focus on real life; on the people out there trying to survive. The film’s cultural legacy is unmatched, and it says more about the treatment of black people, people of a lower class, and of homosexuals in its 105-minute runtime than any piece of recent media. This importance should be in no way diminished, and the very fact that a black, gay man of low social status was given such a platform only two years before the Stonewall riots is significantly groundbreaking and frankly, a miracle. The content of the film is therefore exceptionally interesting and so engaging that it represents perhaps the fastest 105 minutes of my cinema viewing life. However, assessing the film on its moral fibre, I find it problematic. There is something disconcerting about two upper class white artists provoking a minority with expletive insults into giving them their desired response. In the same 1983 interview, Clarke addresses these concerns, saying that ‘Jason ends up winning in that film.’ For me, the use of alcohol to provoke his final breakdown, paired with Lee’s incessant abuse diminishes the impact of the finale, and is morally reprehensible. Obviously, techniques like this represent the very nature of experimental filmmaking and particularly the cinéma verité. However, I can’t shake the feeling that despite his witty jokes and often-inadvertent commentary on the state of the 1967 world, Jason isn’t victorious. Clarke and Lee are. Jason is a vehicle for the creation of a project, an experiment that Clarke openly admits was not initially planned to revolve around him. It arose from a ‘discussion of documentary and dramatic films and what was truly true’ to which it succeeds. However, I’d argue that the famous climax merely presents a depressed, very drunk man, sobbing in the way that many do when heavily intoxicated, not a brilliant encapsulation of reality. The notion of putting a man with obvious mental health issues (he talks of his multiple therapists, various pills, and severe alcohol issues) and provoking him in such a way that you make him weep on screen, ultimately damages the brilliance of his thoughtful insights. Portrait of Jason does, however remain a stunning piece of cinema because of Jason. His unique persona(s) and flamboyant manner make him eminently likeable, and his assertions of the world craft a work of art as relevant today as it was in '67. #NathanialEker

★★★★ Directed by #RylandBricksonColeTews Written by #RylandBricksonColeTews Starring #RylandBricksonColeTews Film Review by Brandon Thomas Sometimes, you stumble upon a movie so farcical and so nonsensical that you can’t help but sit up and pay extra attention. With its over-the-top cast, flamboyant direction, and zany plots, Lake Michigan Monster is exactly that kind of movie. Eccentric nautical extraordinaire, Captain Seafield (played by director, writer, producer Ryland Brickson Cole Tews), has hired a crew of professionals to help him kill the sea monster that murdered his father. Along for the ride are “weapons expert,” Sean Shaughnessy (a name that will stick with you in its repetition), “sonar person”, Nedge Pepsi, and former Nautical Athletes adVenture Yunit (NAVY – get it?) officer Dick Flynn. Together, these heroes scour the shores of Lake Michigan hoping to reel in and kill the vicious creature. There’s a crackling energy to Lake Michigan Monster that’s reminiscent of the early films of Sam Raimi and Peter Jackson. The devil-may-care attitude that led The Evil Dead and Bad Taste to cult royalty is present in every frame of this entertaining creature feature. Tews begins his movie at a sprint and never lets up on the gags, monster attacks and cheesy jokes for the next 78 minutes. Have I mentioned how funny this movie is? The jokes have a juvenile charm to them that keeps the tone light-hearted. Mean humor doesn’t appear to be in Tews’s vocabulary. Yes, characters die, but they do so with such whimsey way that you end up smiling and laughing more than weeping. The characters in the film are essentially live-action cartoon characters. Leading the pack is the director himself as Seafield. Tews’s comic timing is impeccable as he plays the fearless sea captain as a mix between Popeye the Sailor and Homer Simpson. It would be a mistake not to mention the incredible look of the film. Shot on grainy, black and white 16mm film stock, Lake Michigan Monster looks right at home next to the old school monster movies it’s paying homage to. The film’s visual effects often look way better than its $7,000 budget should allow. Sure, these aren’t Lord of the Rings level effects work, but they more than suffice for this B-movie throw-back. Lake Michigan Monster manages to make the most out of its limited resources. What the movie lacks in budget, it more than makes up for with old fashioned ingenuity and enthusiasm. #BrandonThomas

★★★★ Directed by #YujiShimomura Starring #TakSakaguchi Film Review by Rachel Willis How does one kill a ghost? That’s the question at the heart of the mystery in director Yûji Shimomura’s martial arts thriller, Re:Born. The film opens with teams of soldiers hunting a target. When the mission becomes compromised, their commander orders them to fall back. But something is hunting these soldiers, dispatching them with skillful ease, moving in and out of shadows with inhuman speed. We’re given little information about the situation, immediately catching us off-guard as we try to keep up with what’s happening before our eyes. The film crafts a fine balance between what we know and what we’re unsure of. Just as more pieces of the puzzle fall into place, new questions arise, forcing us to pay attention. When we meet main character, Toshiro (Tak Sakaguchi), we’re sufficiently intrigued. Who is this man, and how does he connect to the opening sequence? Toshiro cares for his niece, Sachi, portrayed by the utterly adorable Yura Kondo. Their relationship is interesting, as Sachi showers her uncle with effusive affection while he holds himself back. He’s not cold, but he’s detached. Toshiro’s brother, Kenji (Takumi Saitoh), adds another layer of mystery to the story. As the movie unfolds, the tension builds. A group of men and women are hunting Toshiro. He does his best to shield his niece from these sinister agents, but it’s a web of danger that encroaches into his daily life. Backstory is layered on backstory, but the film manages to reveal more of the mystery surrounding Toshiro without added confusion. We’re never given all the answers, but that’s a good thing. Remove all the mystery, and you’re left with little to ponder. There is a fine line between a great action movie and a good action movie. A great action movie understands the balance between fast-paced action sequences and slower moments that give the audience time to catch their breath. An action sequence that goes on too long starts to become wearying. This is the trap Re:Born falls into as one particularly long action sequence becomes tedious. However, it’s refreshing to watch choreographed fight sequences that rely very little on CG to enhance them. No matter how good CG gets, it will never replace the beauty of a well-orchestrated fight sequence between skilled actors. Re:Born has many of the elements of a great action film. A captivating story and great actors make-up for the few flat moments. This is a film that asks you to pay attention and rewards you for doing so. #RachelWillis