★★★★ Directed by: #RichardBatesJr. Written by: #RichardBatesJr. Starring: #RobertPatrick, #AmandaCrew, #KimDelaney Grimmfest Film Review by: Darren Tilby Tone-Deaf plays on those generational tropes we’re all well accustomed to being thrown around these days. Whether it’s the older generation insisting “I never had anything handed to me!”, “I had to work for everything I have!”. Or the younger generations inability to live without their phones for more than a few hours. Tone-Deaf ridicules and pulls it all apart with considerable finesse. Much like her latest ‘It’s complicated’ relationship (which has just ended in the most millennial way ever), Olive’s (Amanda Crew) life is full of complexities. But when she loses her job after berating her creepy boss (also in the most millennial way ever), she decides to take a step back and retire to the country for the weekend. Renting the beautiful family home of widower Harvey (a delightfully unhinged performance from Robert Patrick), Olive seems to have found the perfect retreat. Unfortunately, Harvey is in the middle of a psychotic breakdown. And he isn’t too keen on people of the younger generation, who he sees as weak and entitled. But, in the end, are we really so different? Are we so different? That’s the question posed by Richard Bates Jr. In consideration of this, Bates employs the use of a range of cinematic techniques. There are plenty of “subtle” moments of dialogue—“Fucking millennials!”. And shared traits between the two lead characters – Olive’s physical weakness and Harvey’s mental weakness – suggest we’re not so different after all. This mirroring plays a considerable part in the film, and Bates uses it admirably. Particularly in the depiction of Olive’s best friend Lenore (Hayley Marie Norman) and mother Crystal’s (Kim Delaney) sex life. Both...enjoy themselves very much; Lenore with a variety of one night stands – which are usually disappointing and involve drugs – and Crystal with her toyboys and poolside lifestyle. There are small differences here and there, but generally, they are very much the same. It’s all designed to make us question our differences, and, in my opinion, Bates pulls this off really well. Of course, none of this would be possible if not for the sublime acting from its cast and their ability to deliver on both Bates’ superbly written dialogue and screenplay. There’s an immense joy to be had in both Robert Patrick and Amanda Crew’s performances and the situations their characters find themselves in. Some are comically bemusing. Olive being interrupted by Harvey’s son, David (Ronnie Gene Blevins), walking into her bedroom is a wonderfully awkward (and relateable) interaction. Then there are incredibly visceral and sudden displays of violence which, thanks to marvellous special effects, pack quite the gut punch. Interspersed throughout all of that are moments of deep melancholia—the film is about a lonely widower losing his grip on sanity through grief after all. These individual moments of comedy, and of violence, and sadness are all handled really well. But, while it does make for some compelling tonal shifts—again, mirroring Harvey’s declining mental health and extreme mood swings. Because of this, however, it can feel a little disjointed at times. So...are we so different? Well, yes, we are...and no, we’re not. There may be some seemingly chasmic differences between our generations (millennials and baby boomers). Still, actually, these are just cracks on the surface. Bates, through excellent writing and direction, shows us that our similarities are considerably more deep-rooted than anything that divides us. Capturing and critiquing the atmosphere of today’s cultural and political climate. Yes, the millennial generation has grown up with certain privileges the baby boomers didn’t have. Internet shopping, mobile phones, and access to better education being chiefly among them. But there’s more competition, more stress, and more need to excel now than ever before. Indeed, we all have our strengths, and we all have our weaknesses, and it’s great to see this put to film in such a clear and concise manner.

★★★ Directed by: #KennethRFrank Written by:  Kenneth R. Frank Starring: #ChrisMollica, #FrankFailla, #ChandlerRosenthal Indie Film Review by: Corey Bulloch Family Obligations indie film review A heartwarming story about an emotionally stunted man learning to appreciate life in the face of a family tragedy, Family Obligations delivers realistic characters and dialogue with its well-written script. Kenneth R. Frank serves as both writer and director as he tells the story of Peter Steele who in the wake of his father’s death finds himself reconnecting with his estranged uncle Frank who has been diagnosed with terminal cancer. Peter also forms a friendship with Frank’s neighbour Melanie and her young daughter Mia. Through these repeated interactions, Peter who wants to find peace against the complicated relationship with his father begins to help both Frank and Melanie and slowly opens himself up emotionally. The strength of the film is in the script itself which may fall victim to a few predictable story beats but never has its characters feel inauthentic. It's the realism in the characterisation and dialogue of Family Obligations that makes it a compelling viewing as Frank’s screenplay bring forth the struggle and frustrations of all the characters. Chris Mollica as Peter never comes across as unlikeable despite his abrasive personality, he’s a man trapped in a shell of his own making. Mollica finds this great balance of keeping the character repressed but allowing a sardonic wit to emerge. He may not nail every emotional scene but Mollica has a terrific comedic timing that adds some unexpected levity to the drama. Frank Failla is similar with his scenes as Uncle Frank having him reflect on the inevitability of his death while still having great dialogue displaying his stubborn attitude. Uncle Frank is essentially a mirror for what Peter could become if he continues to shut himself away from everyone. Mollica and Failla have great scenes together but there are still moments where they can feel like caricatures, it's Chandler Rosenthal who steals the film with a performance that elevates the believability of the film. Rosenthal’s Melanie transcends the page and comes to life as the minuscule details in her dialogue speaks to a well-developed character history. Scenes between her and Mollica have them discuss their childhoods and dreams and has the film’s message of emotional connection really resonate. Melanie is a character who has no real stake in Frank or Peter’s life, she becomes involved out of place of compassion and that breaks through into Peter and has him begin to confront the issues within himself. Melanie, however, isn’t a character solely to support to Peter as the film never loses sight of the characters own agency. The main issue with the film is the technical execution of the cinematography and the sound design which distracts the audiences from the emotional intimacy of the script and performances. The majority of the film consists of shots with flat compositions, soft focus and a strange orange tint. The emotion of the story is not reflected in the visuals as watching Family Obligations can feel alienating against its own messaging. Monologue scenes have the illusion broken by the jolted move of a camera or sudden changes in aperture during an establishing shot make the experience frustrating. Same issues apply with the sound as varying levels of quality and volume just distract from the immersion of the story. Even with the technical issues, Kenneth R. Frank still delivers an emotionally satisfying journey for his characters. The lack of visual cohesion hurts the intended emotional effect but the strength of the script and the actors are enough to have the film still be a story worth watching. #CoreyBulloch #Indiefilm

★★★★ Directed by: #AdamRandall Written by: #DevonGraye Starring: #HelenHunt, #JonTenney, #JudahLewis, #LibeBarer Grimmfest Film Review by: Darren Tilby American #suburbia: white picket fences, perfectly mowed lawns, and daily “Howdy neighbours!” Surely the perfect place to raise a family? But peel back the layers of this idyllic #suburbia, and you may find not all is as it first appears. What’s lurking under the veil of #suburban tranquillity? That’s the concept behind writer Devon Graye and director Adam Randall’s thriller-mystery, #ISeeYou. A film in which strange happenings surround the family of Detective Greg Harper (Jon Tenney) as he investigates an apparent copycat abduction. Just below the surface of Detective Harper’s seemingly privileged home life lies a strained and tenuous family unit. Greg devotes his days to his work and spends his nights on the couch since finding out about his wife’s, Jackie (Helen Hunt), infidelity. Their son, Connor (Judah Lewis), also can’t forgive his mother for “breaking up our family!” But as apparent supernatural occurrences in and around the family home begin, it may be that deeper still, something more sinister is at work. The first thing to say is that #ISeeYou is really a well-written piece of filmmaking. Its narrative is split into two differing points-of-view that both take part over the same period of time. The first is seen primarily from the various family members; while the other details the exploits of two “professional phroggers”, played by #OwenTeague and Libe Barer. The (actuality of the) “supernatural” aspect of this movie is what really sets it apart. You’re essentially getting two films for the price of one. The first is a supernatural #thriller, while the second is a murder-mystery. But it’s the method in which these two stories interweave and, ultimately, collide that makes the movie so fascinating. And, yes, there are plot elements in this film which don’t play out as subtly as they should, and dialogue can be a little blatantly stated. Which can make any eventual revelation less effective. But there are so many layers here, you’ll never see them all coming, even if you’re a well-versed fan of the genre. From beginning to end, #ISeeYou keeps the viewer engaged with riveting performances (across the board), interesting characters, and well-judged misdirection. Technical proficiency is essential in any film, obviously. But in the murder-mystery genre, it’s crucial. The manner of the framing, the way the camera moves, and the editing techniques employed can suggest and imply all manner of things. Linger on something for too long, and you overstate its importance, cut away too soon, and you might as well have not bothered. Thankfully, #ISeeYou gets this balance just right. #PhilippBlaubach’s superb visual composition and #JeffCastelluccio’s timely editing guide the viewer gracefully through the plot’s complexities, without ever feeling confused or untidy. No small feat for a film with two entwining narratives and a host of distorted plot elements between them. Indeed, #ISeeYou is an impressive piece of work. In both its tone and approach, it reminded me of #RobertZemeckis’ #WhatLiesBeneath and #DavidKoepp’s #StirofEchoes. Two films I enjoyed very much. I just wish certain moments had played out with more subtlety and were less overtly obvious. But the film’s terrific performances, multi-layered narrative, and the plethora of (generally) well-placed allusions to the truth make this an unmissable experience.

★★★★ Directed by: #MatthewRFord Written by: Matthew R. Ford Starring: #SharniTapakoBrown, #MayaSzlachetko, #ChrisMcQuire, #GregHobbs, #ThereseCollins, #AndyChaplin Short Film Review by: Chris Olson Safely to Shore movie review Emotive and brimming with tension, #filmmaker Matthew R. Ford's short film Safely to Shore is a dramatic and violent exploration of abuse. The storyline combines hard hitting drama with a thriller pace and some supernatural influences. Sharni Tapako-Brown plays Matylda, a self-harming prostitute whose abominable situation sees her at the mercy of a brutal pimp (Andy Chaplin). Her only solace seems to come from a caring client (Chris McQuire). Another, unnamed woman (Maya Szlachetko) awakes deep in the woods to be found by a mystified married couple (Greg Hobbs and Therese Collins) and baffles the hell out of them with bizarre behaviour and a strange object. What ensues is a collision of these two women's worlds. A complex power struggle exists for each of the main female characters in this story. Their lives seem to be shaped and dictated by the actions and needs of men; from Matylda's aggressive pimp or even her nice client who convinces her to rebel, to the mysterious woman's saviour in the woods who happens to be a man. The imbalance of male protection and threat is a palpable theme. Whilst the atmosphere curated by Ford as a director is immersively tense and compelling, the story trips itself up numerous times and perhaps tries to do too much. The narrative could easily have filled a feature length piece and may have accommodated more clarity for the audience, rather than a short film format that felt slightly overstuffed. The performances are strong, even with a few moments a clunky dialogue. Tapako-Brown is fierce to watch on screen and she copes well with the physical demands of certain scenes, such as the self-harming sequences or violence with her pimp. Chris McQuire is also splendid to watch, in particular his chemistry with Tapako-Brown as their relationship grows and mutates. Safely to Shore utilises some visual flair to dress the movie with minor successes. The black screen moment where the two main characters chat is cleverly delivered is a little indulgent. The use of darkness is intelligent, too, creating a sense of foreboding for Matylda with the night scenes and a sense of escape for the unnamed girl who we see more in the daytime. A strong outing from filmmaker Matthew R. Ford, Safely to Shore grapples well with heavy themes and a dark narrative. Had the storyline been given more breathing room a more controlled outcome may have been achieved but what's here is still compelling and moving in the right places. #ChrisOlson Watch the Movie Trailer:

★★★★★ Directed by: #MartinScorsese Written by: #StevenZaillian Starring: #RobertDeNiro, #AlPacino, #JoePesci Film Review by: Alfie Kaye The Irishman Movie Review Martin Scorsese’s latest film, The Irishman depicts the life of Frank Sheeran, an army veteran who held close affiliations with the Bufalino crime family and Labor Union Leader Jimmy Hoffa in post-World War II America. It’s adapted for the screen by Steven Zaillian from Charles Brandt’s book I Heard You Paint Houses. The first shot is a tracking shot drifting through the walls of an elderly care facility before settling down to meet ageing, ill of health Frank Sheeran (De Niro). On the surface, the shot works to introduce the character, but in actuality, it tells you everything you need to know about The Irishman thematically. This is a story about mortality, betrayal and regret – all themes captured in the opening shot. It’s a film only Scorsese could make. A film brave enough to develop the humanity of its characters without ever flinching in the face of their sins. A film that explores American history and politics throughout, cut together between some uncomfortably funny sequences. It’ll be easy to make comparisons to Scorsese’s earlier works Goodfellas and Casino. But whilst Goodfellas brazenly explored the attraction to such a lifestyle and Casino took you on a Mafia-centric American history lesson, The Irishman hypnotises with a melancholic tone bursting out of its heart, showing the audience the dark reality of such a lifestyle. It never glorifies the lifestyle; it understands it. And as always, the score is visceral, cleverly blurring the lines between diegetic and non-diegetic sound working as a symbol of culture and time. A lot has been made of the ‘youthification’ of its cast. When you first see it, it’s very noticeable. Although I think it’s noticeability has more to do with the constant talk about it beforehand, as opposed to the quality of the technology. Very quickly, you forget about it. Thelma Schoonmaker’s editing once again proves she is the master of her profession. To have the patience to allow for important character development, maintain its melancholic tone throughout all while cutting a three and a half hour film that flies by is an impressive achievement. It is long, but never arduous, and there’s not a single frame I’d remove. To single out any individual of the cast would do a disservice to the ensemble. De Niro turns in a subtle, disciplined, and introverted performance as the stone-hearted Frank Sheeran that makes you forget about Dirty Grandpa and Grudge Match. Pacino is taking full advantage of getting to work with Scorsese for the first time, giving a vivacious, charismatic turn as Hoffa. And Pesci is so gloriously restrained as Russell Bufalino (the antithesis of his other mob roles) that it breaks your heart that he will more than likely go back to enjoying his retirement now The Irishman has finished shooting. It’s as if the cast see parts of themselves within the themes of the film: they’re showing you just as much of themselves and their own history as they are the characters they’re portraying. Stephen Graham deserves equal acclaim as all of the above playing the awkward, and at times, terrifying Anthony Provenzano. The devastatingly poignant third act takes this film from instant classic to a masterpiece. It sneaks up on you and surprises you. It’s only on reflection that you realise the final act is where the story was always heading. It becomes more than a tale of politics, Mafia and violence; it becomes a commentary on how the three isolate you and leave you alienated. All culminating in a final shot that will stay with you for a long time after seeing it. Who’s to predict the chances of seeing these on and off-screen legends collaborating again? It may never happen. And that is why (standard of film aside) I’ll always be grateful to The Irishman.

★ Directed by: #MolSmith Written by: Mol Smith Starring: #SophieTownsend, #KemalYildirim, #LorieLanieShanks, #MellMills, #TessaMcGinn, #AmelieLeroy Indie Film Review by: Jasmine Holly Bullock The Lorelei is a fantasy/ crime mystery film created by Mol Smith, who was clearly influenced by the German myth of the Lorelei. The Lorelei was said to be a mermaid, or a water nymph, who would lure men to their deaths at the River Rhine. The Lorelei, like the sirens, used her beautiful voice to entice men and trick them. As well as this, the film also explores themes of sadomasochism, prostitution and love. The Lorelei follows many characters, but the main ones seem to be Daniel (Kemal Yildirim), Sarah (Sophie Townsend and Rebecca (Lorie-Lanie Shanks). Rebecca hires Daniel as a private detective to find her father’s murderer, meanwhile a string of other men’s bodies start appearing. The plot was a bit hard to follow at times but I think this was mostly due to the fact that the character relationships were also hard to follow. I couldn’t always tell who cared about who or who was in a relationship with who, especially when it came to Daniel and Sarah. On top of this, the acting was unfortunately mediocre; I suppose some actors performed better than others yet there were no stand-out performances for me. In regards to the score: it was alright. The main theme tune is slightly irritating once you hear it for more than 5 minutes. I understand that the female vocals are included for the purpose of alluding to the Lorelei mythology, nevertheless it wasn’t the best to have to listen to throughout most of the film... it isn’t exactly a score written by Hans Zimmer (which I would gladly listen to throughout an entire film!). Also, random edits or cuts in the music are slightly grating. Presumably the cuts were to suggest important moments and moments of recognition which is fine, but sadly the editing was off. At certain points you can even clearly hear and SEE when dialogue has been dubbed because the sound quality varied too much and the dubbing was badly done, and this was extremely distracting. The editing in general is what let me down the most in this film. The Lorelei is a feature length film and has a run time of just under 2 hours, however within the first 10 minutes, you can tell that it isn’t going to be of the highest quality in regards to the editing and cinematography. You notice some very abrupt changes in shots that happen too quickly and last for such a minute amount of time, you wonder if the shot was even necessary. Furthermore, some fractions of scenes are cut out, I assume in an effort to cut down time, but it comes off as sloppy. One minute a person is there and the next they’re not! ANOTHER issue with the editing I had was the decision to add filters, which seemed amateurish. Although it’s an easy way, it’s not the most skilful way show a change in time or place, which is what the filters were purposed for. Some of the filters chosen actually lowered the visual quality of the film. Not to mention that a lot of the flashbacks shown were a waste of time, the audience should be given some credit in their ability to remember something that was shown to them 5 minutes ago... they don’t need a flashback! Overall, there were just too many sub-par factors about this film that made me dislike it. I think Mol Smith’s initial idea and story was an interesting and appealingly nitty-gritty one but it just wasn’t executed well enough. The Lorelei is available to rent on UK Film Channel. Click the banner below to go there now.

★★★★ Directed by: #MirrahFoulkes Starring: #DamonHerriman, #MiaWasikowska, #BenedictHardie, #TomBudge, #GillianJones Film Review by: #BrianPenn If you grew up in England, a day at the seaside was an essential part of any child's social development; donkey rides, the funfair and of course Punch & Judy; those irritating but strangely compelling puppets who smashed the living daylights out of each other. Ever wondered where they came from? Before you reach for Google you might try this new film by Mirrah Foulkes. It takes the principle of what if and offers a new spin on one of history's greatest double acts. Our story takes us to the town of Seaside (obviously not by the seaside) in the midst of a puritan kick; where witch burning and stoning of heretics is reality TV for the locals. Punch (Damon Herriman) is the womanising, heavy drinking puppeteer; while Judy (Mia Wasikowska) is devoted wife and gifted performer. The couple are desperate for a talent scout to see their show but seem destined for mediocrity. Bumbling constable Derrick (Benedict Hardie) tries to keep order but is constantly outwitted by zealous Mr Frankly (Tom Budge). Punch is left to care for baby with inevitable consequences. As a result, Judy is badly beaten by Punch and ends up in the heretics’ camp. She is nursed back to health by Dr Goodtime (Gillian Jones) and plots revenge against Punch. The film cleverly pulls at the threads of a story that most people know well; Punch drunk and constantly mislaying baby; a pesky dog who keeps running away with the sausages; and a bumbling policeman waving a truncheon around. But it now has a dark and sinister edge that keeps the audience on their toes. It can also be very funny as it takes crafty pot shots at Hollywood blockbusters; so creating a melting pot of ideas that keep the plot gently boiling away. Framing the story is marginally easier with a largely blank canvas; the true origins of Punch & Judy are buried deep in centuries of folklore and received tradition. So it can be re-shaped and re-written at will, much like a pantomime. The cast play it serious only when absolutely necessary; the male and female leads naturally stand out, although Mia Wasikowska bears a striking almost uncomfortable resemblance to Gwyneth Paltrow. It is a beautifully assembled piece, full of vibrant images that never fail to hold the attention. At the risk of sounding flippant, it remains the earliest portrayal of domestic abuse, and is telling that Judy gets top billing over Punch for a change. The closing titles play out over a charming black and white film of children watching a traditional Punch & Judy show. It just proves what can be done with old fashioned slapstick intended to amuse the kids?

#FilmFestival > #PressRelease GRIMMFEST ANNOUNCES 2019 AWARD WINNERS PLUS £100,000+ WORTH OF PRIZES This October, GRIMMFEST, Manchester's International Festival of Fantastic Film, celebrated its eleventh anniversary with its biggest line-up of film premieres ever, along with audiences to match. Now the Festival Jury's votes are all in, and the audience ballots all tallied up, Grimmfest is proud to reveal this year’s award-winners: Horror Channel Achievement in Horror Award JEN AND SYLVIA SOSKA (AMERICAN MARY, DEAD HOOKER IN A TRUNK, RABID) Best Feature (Sponsored by M2 MediaPost) WHY DON’T YOU JUST DIE! With Special Mention for EXTRA ORDINARY Best Director (Sponsored by M2 MediaPost) KIRILL SOKOLOV, WHY DON’T YOU JUST DIE! With Special Mention for ROB GRANT (HARPOON) Best Screenplay (Sponsored by Final Draft and InkTip) HARPOON With Special Mention for A SERIAL KILLER’S GUIDE TO LIFE Best Cinematography (Sponsored by One Bright Dot) 4x4 With Special Mention for WHY DON’T YOU JUST DIE! Best Score (Sponsored by Grimmfest Films) ARTIK With Special Mention for TONE-DEAF Best Actor PETER LANZANI, 4x4 With Special Mention for MUNRO CHAMBERS (HARPOON) Best Actress MAEVE HIGGINS, EXTRA ORDINARY With Special Mention for POPPY ROE (A SERIAL KILLER’S GUIDE TO LIFE) Best SFX (Sponsored by Fangoria Magazine) WHY DON’T YOU JUST DIE! With Special Mentions for BLOOD VESSEL and THE WRETCHED Best Kill (Sponsored by Dread Central) SATANIC PANIC With Special Mention for HARPOON Best Scare (Sponsored by Rue Morgue magazine) THE WRETCHED With Special Mention for BLOOD VESSEL Best Short (Sponsored by Shudder) LIMBO With Special Mention for HOW TO BE ALONE and LOOM Finally, as voted for by Grimmfest 2019 attendees: The Audience Award (Sponsored by Shudder) EXTRA ORDINARY With Special Mentions for LITTLE MONSTERS and WHY DON’T YOU JUST DIE! The Festival Jury Panel consisted of 6 carefully selected figures from the world of genre cinema: Actress, producer and Grimmfest 2018 Lifetime Achievement award-winner Barbara Crampton UK film critic Anton Bitel UK producer Jennifer Handorf UK film critic Nikki Baughan US producer Amanda Presmyk at Fangoria Canadian sales agent James Fler at Raven Banner Grimmfest is even more delighted to announce that the creators of WHY DON’T YOU JUST DIE!, who won both the BEST FEATURE and BEST DIRECTOR awards, will be awarded £80,000 worth of post-production services courtesy of Festival Award Sponsor, M2 MediaPost, which can be used as finance against a future film production. WHY DON'T YOU JUST DIE! is a blackly comic and brutal Russian crime drama that was one of the big talking points at Grimmfest 2019. With favourable comparisons to Tarantino and the Coen Brothers at their most noirish, it marks a truly dazzling feature film debut for writer-director KIRILL SOKOLOV. The film will be released by Arrow Films, under the Arrow Video label, in the UK, US and Canada in March 2020. Kirill Sokolov said, "I'm absolutely happy! It is so important for a young filmmaker to get rewards for your work. The best inspiration for the next steps. Huge thanks to GRIMMFEST! I'll do my best!" This year, Grimmfest also launched their very first BEST WORK-IN-PROGRESS award, which was judged by the festival team. This year’s winner is KARLI by directors Paul Gerrard and Mike Clarke, who will receive £20,000 worth of post-production funding courtesy of M2 MediaPost, plus an offer of international sales representation from Film Seekers and a year’s subscription to Screen International magazine. Michael Laundon of M2 MediaPost said, “M2 MediaPost is honoured to sponsor both BEST FEATURE and BEST DIRECTOR for this year’s Grimmfest and it's great to see KIRILL SOKOLOV's amazing kinetic and stylish Russian thriller picking up both awards. We are looking forward to working with him on a future project and excited to also sponsor the new WORK IN PROGRESS award of which Paul and Mike’s new project, KARLI, is a worthy recipient.” #Grimmfest 2020 will take place in early October in Manchester UK. Film submissions will open December 2019 via FilmFreeway. More information about the festival can be found at www.grimmfest.com #GrimmfestFilmFestival #Horror

★★★★ Directed by: #VinceGilligan Written by: Vince Gilligan Starring: #AaronPaul, #CharlesBaker, #MattJones Netflix Film Review: by Brady Clark El Camino: A Breaking Bad Movie Review It’s been six years since the Breaking Bad finale when we saw Walter White’s meth empire crumble to the ground as he lay dying next to his precious lab equipment, wrapping up possibly the greatest series of all time. However, there was only one real loose end that niggled at fans: what happened to Jessie Pinkman after Walt liberated him from neo-Nazi captivity? Thankfully, Vince Gilligan and Aaron Paul weren’t willing to let this answer go either, despite making us wait for it! El Camino picks up directly after Jessie crashes out of the compound gates and races to freedom. A very wanted man and completely traumatised, Jessie must face his past wrongdoings in order to find a new way to live with himself. Whilst El Camino doesn’t necessarily add all that much to the franchise and, indeed like most Breaking Bad episodes, not all that much actually happens within the story, the film is captivating, moving and an overall success. Perhaps because of the audience’s love for Jessie as well as an expectance and forgiveness for the slower storytelling, this swansong stands as a wonderful homage to a stunning piece of television. It is a career high for Paul who, as ever, masters non-verbal acting and demands the most from his character. His dialogue is minimal, at least in the first half of the film, and this culminates in a demonstration of remarkable talent as a leading actor when the final result is so enchanting. Not that he was necessarily ever in the shadow of Bryan Cranston, Aaron Paul still deserves this story and it’s focus for the character of Jessie, who he immortalised as only he could have. El Camino can not be described as surprising – indeed only that which Breaking Bad fans could expect to have happened, really happens. And the lack of many breathing beloved characters no doubt manages the expectations of fans. But the beauty is in the subtlety of reality. The predictable cameos are emotional. The unpredictable backstory is so very enticing. And the conclusion is every bit as understated as you could ever expect from such an excellent collaboration.

★★★ Directed by: #JamesErsted Written by: James Ersted Starring: #BetsyBaker, #AricCushing, #PaulParducci, #EvanAlex Film Review by: Will Girling Just in time for Halloween, The Premonition is a well-produced short horror film from writer/director James Ersted. Featuring solid performances from all of its cast, an appealing visual aesthetic and great 80’s style slasher movie music, The Premonition is nonetheless let down by its lack of substance, which ends the macabre tale with more a whimper than a bang. At dusk on October the 31st, a group of children (including Evan Alex from 2019’s lauded Us) are out trick-or-treating. Arriving out the house of Miss Hooper (Betsy Baker - star of the original Evil Dead), the kids load up on compliments for their costumes, complimentary candy for their bellies and then head on their merry way. As Miss Hooper relaxes into her evening, she experiences a vision of the Grim Reaper (Aric Cushing) coming to the door for to claim her immortal soul. Awaking from her dream, Miss Hooper senses things are not quite right this All Hallows Eve. Could it be something to do with the intruder (Paul Parducci) seen hanging around outside earlier? Considering the high production values and very professional presentation of the film, it truly is a shame that Ersted’s script limps to its conclusion so undramatically. The camera work is slick and satisfying, with a crisp, cinematic tone that perfectly suits the subject matter. The dusk lighting and autumnal colours are highly reminiscent of the original Halloween and the pitch-perfect synth score brings to mind other horror classics, such as A Nightmare on Elm Street. As a piece of Halloween atmospherics, The Premonition works very well; however, whilst the aforementioned movies are masterpieces of tension that leave strong visual impressions on the viewer, this film simply does not do enough with the 5-minutes allotted to it. The result is that it simply doesn’t feel ‘scary’: it’s a pleasant, Tim Burton-esque brand of pseudo-horror; all the elements are there, yet its warm visuals and slow-but-rushed pacing make it a decidedly twee experience. The Premonition is a film that deserves praise, because pretty much every aspect of it is technically handled very well. However, this is a movie which perfectly emphasizes how every component of a work should fit together into a whole, one which is greater than the sum of its parts. Ersted’s ability as a director is considerable but he fails to achieve a cohesive concept here: it is neither scary, nor particularly funny, tragic or anything else in between. It simply ‘exists’, is mildly pleasant, and then is over.

★★ Directed by: #MatthewKeats Written by: Matthew Keats & #VanPoyton Starring: #RossForder, #DavidStoller, #JamieHogarth. Indie Film Review by: Alfie Kaye Directed by Matthew Keats, Make Room in Hell depicts the story of Gordon (Forder), a postman who due to his profession meets “housemaid” Abby. After becoming romantically involved with Abby, he becomes aware of some rare and valuable coins in the house she tends to. Seeing no other way to have a relationship with his son, he assembles other people’s help to steal the coin collection. Gordon, doing his best Walter Neff impression from Double Indemnity narrates the events that take place throughout, in the form of an oral confession to his son. Technically, it’s rather impressive. There’s a real Lynchian quality to Van Poyton’s #cinematography; the cast impresses throughout (in difficult roles); Gabriel Kellet’s score is at times powerful (although at other times, tonally inconsistent), and the script is authentic and on occasion darkly funny. As a purely technical piece, it’s constructed by a confident director who regularly showcases an eye for good and daring #filmmaking. I think the problem with the film lies within the storytelling. Make Room in Hell is heavily influenced by the realism and asperity of Shane Meadows’ work and looks to replicate such qualities. However, what makes Meadows’ work so powerful is his ability to put heart, empathy, and emotional-depth into his storytelling despite simultaneously depicting loathsome characters. Unfortunately, watching it is a hard watch as it feels like an entirely bitter film; it’s a film desperate to show you the absolute worst of humanity from the start, and somehow make them more wretched throughout. I do believe this bitterness and the vulgarity of its characters was deliberate, though. And I’m sure Keats believed such abrasiveness was necessary to really authenticate his message: a message about how corrupted we are by money and the lengths we’ll go too to attain wealth. But the audience watching this will expect there to come a moment when Gordon will realise the errors of his ways, have a cathartic experience and appreciate the detriment of his actions. Thus setting up a teachable lesson to his son. He doesn’t. Instead, it’s quite the opposite; he believes his actions were necessary and justified. Right up until the final line of dialogue, the character remains reprehensible, even going as far as telling his son to “get rich” despite everything that had happened. What starts off feeling like a potentially candid commentary on society’s desperation for wealth, ends up feeling like an endorsement of it. There’s enough here to remind you that you're watching a film constructed by talented people. Technically, it’s impressive and has all the qualities of good independent films: creativity, boldness and resourcefulness. However, I think the narrative arc will alienate the audience rendering the aesthetically pleasing aspects of the film unfortunately impertinent. #AlfieKaye

★★★ Director: #AngLee Starring: #WillSmith, #MaryElizabethWinstead, #CliveOwen, #RalphBrown, #BenedictWong, #DouglasHodge Film Review by: #BrianPenn Ang Lee has a varied CV with films like Hulk, Brokeback Mountain and Life of Pi in his portfolio. The latest addition is Gemini Man, a full bloodied action movie bearing all the hallmarks of legendary producer Jerry Bruckheimer. Like any actioner the storyline fights the visuals but often comes off second best. Ex-marine and government hitman Henry Brogan (Will Smith) has retirement in mind when his latest job narrowly misses a civilian. His boss Del Patterson (Ralph Brown) tries to talk him round but his mind is made up. He sets out for a spot of fishing but soon rumbles Danny Zakarweski (Mary Elizabeth Winstead) surveiling him. Brogan meets with ex agent Jack Ellis (Douglas Hodge); who warns he may have pulled the trigger on the wrong man for the wrong reasons. Suits at the Defence Intelligence Agency are ruffling as they cannot be sure what Brogan knows. DIA chief Clay Verris (Clive Owen) sets Junior on his trail, a clone of Brogan's younger self. Unlike many action heroes, Brogan finds himself a wingman in the Baron (Benedict Wong), fellow ex-marine on hand with a fast car, plane and endless supply of firearms. He rides shotgun with Brogan and Zakarweski as a reluctant passenger. The film moves along at a breakneck pace with some jaw dropping stunts and visual effects. You need to leave your disbelief at the door as it stretches credibility to the very limit. Nevertheless, it is faultlessly executed, and qualifies as a great popcorn movie. Even so, there is something very sterile and clinical about the film. The wow factor hits the viewer in waves mainly because of the visuals. It may be impressive but too frequently buries an intriguing storyline. How do you eliminate a trained killer; not any trained killer but the best there is? Easy, send a clone after him with the same predatory skills and ability; but a version that lacks the wisdom and guile of his older self. Can youthful stamina and physicality sufficiently compensate for his shortcomings? The narrative is there gently simmering in the background but inevitably gets lost. Jerry Bruckheimer may only be one of eleven producers on the credits but has left his paw prints all over it. The downside here is that it becomes a Jerry Bruckheimer production and not an Ang Lee film. But it will doubtless keep the cash registers ticking over nicely.