October 8, 2019 | UK Film Review ★ Directed by (Unknown) Film review by Nathanial Eker This film is two hours of the same shot of an inflatable Spider-Man toy in a field. What more is there to add? Oh, there is also the important addition of flies buzzing around the plastic Peter Parker’s cold, rubbery carcass. This obvious attempt at meme creation exists exclusively to prank viewers and critics misfortunate enough to waste their time examining it. That said, the timing is amusingly topical. Released only five days before the ‘Spider-Man leaves the MCU’ scandal, had it delayed a week, you could’ve called it an economic commentary. For the sake of a review longer than fifty words, let’s assume that a considered intent exists behind this exercise in red and blue pointlessness. A cynical critic might see a metaphor for the tiresome, yet pertinent assertion that ‘comic book movies are about to die’; a long-discussed theorem from a sect of journalists, proposing that an inevitable superhero movie judgement day is just one bad film away. (We lived through Batman and Robin, kids; I think we’re fine). If that is the desired message, then the image of a cheap, deceased avatar of the most profitable hero of all time is at least appropriate, if bafflingly strange. Nevertheless, if the intent is satire, the director has failed to create anything worthy of discussion by sheer lack of effort; two hours of the same image is not insightful, funny, or clever. Alternatively, perhaps the creator is attempting to make a subtle, metaphorical objection to the ever-growing industry monopolisation by good old Uncle Walt's mouse eared empire. Or maybe Marvel’s Dead Spider-Man is an artistic reflection on the audience themselves and our obsession with modern myth and tales of spectacular pillars of imaginary virtue. Perhaps the filmmaker simply despises the hordes of Marvel geeks and is chastising us for spending our lives enjoying fantastical escapism, stemming from an uber-hipster loathing of pop culture or just a resentment of fun. A quick analysis of the video’s mock reviews makes it immediately apparent that no, the film is not a grand statement on Marvel, Disney, Hollywood, the film industry, or even society. It’s merely an unfunny joke with no substance. As it consists of one frame, one shot, and one image, there’s little to discuss technically. The camera moves a few inches to the left over the course of two hours, putting the cinematography on par with a retro View-Master toy. The musical aesthetic is little more than a collection of random distorted sounds, sometimes utilising amplification and effects to presumably attempt an unsettling tone. The lighting also alters throughout, though that’s seemingly just the sun moving in real time. The intended effect of the spectacularly minimal post production appears to be to disconcert, though after ten minutes you’ll be more irritated than disturbed. There’s really nothing more to say about Marvel’s Dead Spider-Man except that you’ll simply feel braindead upon watching it. Do yourself a favour and do something productive instead. Learn the beginnings of an instrument, see a friend for coffee, write a short story; two hours can be surprisingly industrious. This macabre practical joke isn’t a clever commentary; it’s simply a troll on anyone unfortunate enough to stumble across its web of idiocy. Still, it probably remains a better Marvel film than Thor: The Dark World, at least. #NathanialEker

★★★★ Directed by: #DavidMarmor Written by: #DavidMarmor Starring: #NicoleBrydonBloom, #GilesMatthey, #TaylorNichols, #AlanBlumenfeld, #CelesteSully, #SusanDavis, #ClaytonHoff, #EarnestinePhillips, #NaomiGrossman Grimmfest Film Review by: Darren Tilby Well, this was a breath of fresh air. After years of being bored to death with the usual demon-raising plotline, David Marmor brings us his take on the secret-society genre. Only here, there’s not a single satanic cultist in sight. Instead, Marmor grounds his film firmly in reality. Having fled her previous life after the death of her mother, Sarah (Nicole Brydon Bloom) seeks a new beginning in Los Angeles. The problem is that she has very little money and only a temporary job. But after a viewing at an LA apartment complex, she is surprised to receive a letter from the landlord, Jerry (Taylor Nichols) offering her – out of hundreds of people – the unit. Sarah is thrilled, of course. Even if she does have to sneak her cat in due to the ‘no pets’ condition on the contract. But as you likely know, if something seems too good to be true, it probably is. If you’re a fan of the genre you’ll know what to expect: suspicious activities, creepy neighbours, secret societies, 1BR has it all. To its credit, it never tries to be something it isn’t, and it never works to be anything revolutionary. It does, however, distance itself with the nature of its cultists. Rather than serving some dark higher purpose, these cultists are more concerned with conditioning their victims into compliance. Writer/Director David Marmor did a lot of research beforehand on various cults and torture/conditioning techniques (some of which were employed by the British during the troubles), and it really shows. So while films such as Rosemary’s Baby have been an obvious inspiration, Marmor derives much more from real-life cults like Sullivanians, The Branch Davidians, and Synanon. The reason all of this works so well (and it does) is because of two reasons. Firstly, the incredibly strong cast. Taylor Nichols heads the sinister group in a standout performance, and Nicole Brydon Bloom radiates charm and affability in the lead role. Factor in terrific support from household names including Naomi Grossman, Giles Matthey, Celeste Sully, and Alan Blumenfeld, and you’re in for a real treat. Secondly, is the film’s almost perfect pacing. Marmor’s excellent writing insists on the movie’s simmering-pot tempo and never feels sluggish. This tension-building narrative is accentuated by both #DavidBolen’s cinematography and #RonenLanda’s accompanying score; aptly maintaining the film’s claustrophobic, almost choking atmosphere. There’s an argument to be had that maybe 1BR isn’t original enough; that it retreads old ground. And, while I kind of agree, I don’t necessarily see that as a bad thing. At least not in this instance. The film-makers have stuck to a tried and tested formula. And while that means 1BR is unlikely to surprise you, knowing where the danger is coming from before the character does can also be an effective way to build tension. My personal view is that it works really well here. What is irrefutable, however, is that the decision to entwine the narrative with inflexions of reality not only sets this movie apart but also makes it feel considerably more relevant in today’s socio-political climate. Which only makes the contents of the film all the more terrifying.

★★★★ Directed by: #DestinDanielCretton Written by: Destin Daniel Cretton, #AndrewLanham, #BryanStevenson Starring: #BrieLarson, #RafeSpall, #MichaelBJordan BFI London Film Festival Review by: Andrew Young Just Mercy is one of those awards-favourite dramas that can easily invite great cynicism from an audience. It is about two men overcoming adversity to fight a corrupt system and secure the right to liberty. It is based on an important true story and it features famous actors in meaty roles. Yet Short Term 12 director Destin Daniel Cretton’s film is important, and it is moving, and it does feature some excellent performances. Just Mercy is everything you would expect it to be from the trailer, but it is certainly no disappointment. The film tells the story of Bryan Stevenson (Michael B. Jordan), a lawyer from Delaware who, straight out of Harvard, decides to move down to the deeply racist state of Alabama in the late 1980s and set up the Equal Justice Initiative, fighting for those on death-row. Stevenson wants to “help those that need it the most” and is desperate to support those from poor, predominantly African-American families who have received little-to-no legal representation and thus have never had the fair trial they deserve. Among them is Walter ‘Johnnie D’ McMillian (Jamie Foxx), awaiting execution for the brutal murder of an 18-year-old girl. Stevenson quickly discovers the startling lack of evidence with which McMillian was convicted, and it soon becomes clear that McMillian is not in prison because he is guilty, but because the cops needed someone to blame and he ‘looked like’ someone who might be a murderer. Despite the overwhelming desire to keep McMillian behind bars, Stevenson decides to defy the DA, the local Sheriff, and much of the town’s population by fighting for a man he believes is innocent. It is easy to be sympathetic with characters in a film such as this, and to be angry at the continuing prejudice in our society. The job of the film, perhaps, is to really make us feel the anger and the pain at the heart of the drama. Whilst the vast majority of Just Mercy’s audience will never even get close to suffering like Walter McMillian suffered, a film can impart a taste of the frustration, rage and futility that form the backbone of injustice. It takes some time for Just Mercy to achieve this, but when it does the film becomes more involving, and its eventual dramatic pay-offs all the more satisfying. Deciding not to shy away from the horrific nature of the electric chair, Cretton makes us understand the anguish and fear of the death-row inmates by obscuring the violence itself but giving us a clear glimpse of its effects. In one particularly chilling scene, the very smell of execution is described, a scene that is disturbing to the core. In another one of the film’s most powerful moments we see the inmates banding together, led by McMillian, to support one of their own. Just Mercy gives us the impression that so many of these men are here either unfairly or on totally false grounds, that shared injustice and literal gallows humour has brought them together. The film was scripted by Cretton and Andrew Lanham, adapting Stevenson’s own memoir. In the grand Oscar-clip speechmaking the dialogue is strong and forceful, if never fully taking flight. This is indicative of an often low-key, natural approach to their writing. It highlights Stevenson’s intelligence but doesn’t give him an Aaron Sorkin-esque articulacy superpower, nor does it detract from the overall thrust of the story. Lanham and Cretton do a good job in their story construction, with a good flow and pacing to the action; they never get bogged down in detail, nor rush to their conclusion. The #filmmakers make a smart move in spending as much time on the unsuccessful parts of Stevenson’s journey as his triumphs over adversity. It allows us to share in the soul-crushing monotony of the DA and Sheriff’s continuous refusal to take him seriously, and the maddening denial of basic facts that Stevenson and McMillian were up against. Cretton frames Stevenson and co. as heroes, willing us to cheer them on as they fight the good fight, only to despair as they are beaten down again and again by Alabama’s deeply ingrained racism. As the story progresses, so much of it is dependent on Jordan and Foxx to sell the pain and determination of their journey. The latter does a fantastic job of displaying the strong, kind heart in McMillian that makes him into a caring friend and even idol for those around him. Foxx’s great skill here, though, is in mixing this sweetness with the deep heartache of a victim of injustice, and the embittered edge of someone who understands the overwhelming prejudice he is up against. It is a superb supporting turn from Foxx, and he is joined in a less showy performance by leading man Jordan. There is a stately, reserved and dignified goodness to his Stevenson, imparting the sense of a man who is so thoroughly decent and smart that dealing with the wilful stupidity and prejudice of those around him is a constant challenge. There are eye-catching turns elsewhere in a strong cast featuring the likes of O’Shea Jackson Jr. and Rafe Spall; Tim Blake Nelson and Rob Morgan are especially superb as other convicts. The latter’s role is particularly moving, playing a Vietnam War vet whose PTSD led him to set off a bomb which killed a young girl. In contrast to McMillian, he has to face the barbarity of the death penalty with a sense of guilt hanging over him. It is a heartbreaking story and one that is beautifully told, adding to rather than distracting from the central McMillian case. Wasted, however, is Brie Larson as Stevenson’s right-hand woman in the Equal Justice Initiative Eva Ainsley. She acts almost solely as a crutch for Stevenson’s character development and gives the Oscar-winning Larson little substance to work with. Just Mercy is a good, probably very good film; I’m not sure it is a great one. It tells a story of familiar beats in a familiar way, taking few risks. Yet I don’t think reinventing the wheel was ever on Destin Daniel Cretton’s mind when making this. Instead, he focuses on honouring the incredible people who inspired Just Mercy with a solid, affecting film. The director knows the weapons he has at his disposal, giving Jordan and Foxx the chance to shine, and pulling at the heartstrings when he needs to. Most importantly, he knows the strength and importance of his story, and he tells it admirably. #AndrewYoung #BFILFF #LFF2019 #LFF

★★★★ Directed by: #VaibhavGhodeswar Starring: #RajeshAmbulkar, #VaibhavGhodeswar, #RavikiranKandakar, #NishantDongre, #AmolWahane Short Film Review by: #BrunaFolettoLucas Cheers! is a short film written and directed by Vaibhav Ghodeswar that, despite its name, portrays a very sad story. It follows Prakash Waghmare’s (Rajesh Ambulkar) last day as he prepares for his suicide. Prakas is a farmer who is unable to cope with his financial troubles and the shame it brings. We are introduced to Prakash as he ties a rope to a tree in order to hang himself. The #cinematography in this scene, done by Azam Karnik who also worked on the sound and editing, is visually stunning and carries depth. Before we see Prakash, the camera lingers on the landscape – it is vast, somewhat beautiful, but more importantly, it is empty. Prakash is a farmer who lost his money and failed to recover it through his work - the landscape shows us how big and isolating it is, the grandness Prakash is against. Moreover, Prakash is shown at the corner of the frame, he is small and insignificant compared to the grandiosity of the land. The camera moves smoothly showing us Prakash’s care when preparing the rope – this sequence packs an ambiguity because although it is a beautiful shot, the action it is depicting is painfully heartbroken. Not only that, the cinematography goes a step further confusing us with its incessant movements – almost like Prakash feels – he is confused and his inert position reminds him, and us, that the world will keep on moving despite his, and ours, immobility. However, Prakash decides not to end his life and takes the rope down. At the same time, his friend, Santosh comes to him to ask for his help – he needs to pull out a dead pig that has fallen into a well. Prakash helps him using the rope he didn’t use before – now instead of ending a life, the rope is being used to fix something, regardless that the object is a dead pig. We soon learn that the idea of suicide did not leave Prakash’s mind, he has simply postponed it. In exchange for his help, he is offered money but turns it down since he won’t have any use of it. Our protagonist accepts to have a drink with his brother – rum, even though it is expensive. Unbeknownst to Santosh, the drink is Prakash’s goodbye. He drains bottles of whiskey and adds old pesticide to make sure his plan will succeed. Ghodeswar’s short film is beautifully intense. We don’t know much about Prakash, therefore the audience is not engaged in stopping him, but rather we want him to succeed. Ambulkar’s portrayal of desperate Prakash is exceptional – he is not over the top, he moves delicately illustrating how fragile and hopeless he is. Ambulkar is portraying a man who breathes but no longer exists. Although there were some problems with the sound and the subtitles, they did not spoil the film for me. I was able to get into the story and deeply feel for the character in mere 22 minutes. And that shows that Vaibhav Ghodeswar did a very good job directing this short.

★★★ Directed by: #KeifGwinn Written by: #TobiasHussey Starring: #MerabNinidze, #NadaSharp, #CharlotteMoore, #JohnVernon, #RobHadden, #JahmaiMaasai Short Film Review by: Chris Olson Father of the Bride meets The Sopranos in this #comedy short film Russian Whispers. Directed by Keif Gwinn and written by Tobias Hussey, planning a wedding has not been this tense since Bride Wars. The parents of a Russian lad (Merab Ninidze and Nada Sharp) visit the home of their soon-to-be in-laws (Charlotte Moore and John Vernon), where they plan to "break ice" before the upcoming nuptials. However, questions of class and tradition soon become a sticking point for the parents, who each have their own plans for their offspring's big day. Full of archetypes and stereotypes, Russian Whispers finds its humour in the great tension that exists when two types of cultures clash. The reserved attitude of the Russians is at odds with the more forward behaviour of the British, yet both sides have a similar trait of not wanting to relinquish control over the wedding. The awkwardness of finance is also used by the #filmmakers, creating a handful of gags at the...ahem...expense of the characters and their money. The father of the bride's numerous plans to call on friends and local suppliers to kit out the wedding is both charming and embarrassing. Gwinn gets strong performances across the board, in particular John Vernon as the aforementioned bride's dad. His retelling of a joke (which crosses over with one of his sons - Rob Hadden - telling it at the same time) was a particular highlight of the short film. Ninidze delivers a strong and composed turn as the reluctant father of the groom. His chemistry with wife Sharp is terrific to watch. Russian Whispers reminded me of Channel 4 TV show Friday Night Dinner, in the we get the simple suburban setting and minor calamity of characters going about uneasy social interaction. As such, the short film fails to be that memorable and rather sketch-like, even if it is efficiently funny during the run time. We are never served huge laughs or even any meaty drama, just appetizers of quick chuckles and inconsequential narrative. Had the story gone to places other than the ill at ease of fairly benign parents (even with the hints at organised crime) there was potential for a resounding clash of cultures comedy feast. As it is, however, the audience is given pre drinks where the food never arrives and we leave feeling satisfied but a little underwhelmed. #ChrisOlson Watch the Short Movie Trailer:

★★★★ Directed by: #ChadCowan Documentary Film Review by #ChrisBuick Filmed throughout America’s Great Plains across an area known as “Tornado Alley”, Stormlapse is a non-narrative documentary comprised of several 8K time-lapse videos, filmed and edited by photographer and filmmaker Chad Cowan, who has spent six years and travelled over one hundred and fifty thousand miles capturing this collection of high-resolution scenes that demonstrate the immense beauty of nature through the extreme and violent power of supercell thunderstorms and tornadoes. For as much as the concept is a simple one, it is also extremely effective. The film showcases everything from starry skies, beautiful sunsets, astounding cloud formations, powerful tornados and magnificent thunderstorms. At times, the imagery seems unbelievable, with some sequences looking simply like artwork come to life, scenes you would think only possible through computer generated imagery. One sequence in particular where tornadoes dance around each other in the gloomy sky is almost like watching creatures from another world. Severe weather has been a lifelong obsession of Cowan, who has been chasing thunderstorms and such ever since he was able to drive and as a result has had his work published globally multiple times in movies, advertisements and news outlets. Stormlapse is a film positively teeming with passion, and what Cowan’s hard work and dedication to his project has produced is an awe-inspiring and equally humbling tribute to our skies. Cowan manages to easily convey the wonder of these atmospheric events and allow us to see their beauty like he does in this evocative display. The film does bring about sense of fatigue as it gets closer to the end of its two-hour run-time, with some images not quite making the desired impact as well as others. The soundtrack for the most part of the film is a brilliant accompaniment to the visuals, with the score rising and falling as the film transitions from the beautiful to the intense, however it does become very slightly monotonous and repetitive as the film progresses. Some of the switches to handheld footage can also be too sharp of a turn, almost bringing you out of the piece entirely. But ultimately, the film lets the imagery speak for itself, and it’s not long before you are once again entranced. In a time when the very future of our natural world is at the centre of intense debate, Stormlapse is a reminder of how unbelievable our world can be and might give viewers a newfound sense of appreciation every time they look up.

★★★★ Directed by: #AlejandroLandes Written by: Alejandro Landes, #AlexisDosSantos Starring: #SofiaBuenaventura, #MoisesArias, #JulianneNicholson BFI London Film Festival 2019 Review by: Andrew Young When the lights go down and Alejandro Landes’ Monos begins, the first images we see are children alone in the dark playing football, blindfolded. They appear to be a pack, somewhere far from civilisation. We soon discover that they are soldiers. Why are they here? Where did they come from? Who are they fighting for? Monos never answers these questions; it is part of its mystique, and streamlines the film into a stylish depiction of savagery and survival. The group, known as ‘Monos’, are a youth branch of some kind of military movement called ‘The Occupation’. We get the sense that they are rebels, rather than state enforcers. Their youthful innocence pairs with an earnest conviction that suggests indoctrination into a cause they now ardently believe in. The unit is led by Wolf, the biggest and seemingly oldest of the group. He is joined by his partner Lady, scared youngsters Rambo and Smurf, violent Bigfoot, joker Dog, silent soldier Boom Boom, and the enigmatic, sometimes frightening Swede. Their existence is a mix of the playfulness and hormones of adolescence, and a sincere desire to do the bidding of their superiors, whatever the costs. The plot, which is of less significance than the tone and mood of the film, sees the Monos put in charge of an on-loan cow and American hostage ‘Doctora’. Things soon go wrong for the young group of warriors, putting their unity to the test and bringing out the character flaws in them all. What Landes does well with his film is explore how a variety of characters cope with adversity and violence. Because he gives the adolescents no backstory, we view them all in an almost identical situation, allowing the differences in their personalities to come to the fore. Where Bigfoot looks for the opportunity to become a leader, Rambo looks for a way out and Smurf struggles to find his killer instinct. There is a conviction and an authenticity to the young actors’ work here. Watching them feels not like being sold a performance but observing fully-formed people, each attempting to cope in their immediate, life-or-death scenario. This was perhaps aided by Landes’ 5-week-long boot-camp preparation period for the actors and the largely non-professional casting - notable exception is Moisés Arias who to a certain generation is Rico from Hannah Montana but here is fully-grown and rather more fond of guns. There is a unity to their group, and a playful camaraderie, but crucially the spectre of death has made them all slightly dispassionate, aware that at any moment the group could be broken. The lack of background to each character and the wide-lens look at several characters at once has its benefits, for sure, but it does also leave forming a deeper emotional connection with any of the group slightly harder. Landes tells his story in an involving, compelling way but not always in a moving one. That said, the film’s final scenes, moving the kids out of isolation and closer to civilisation, hit harder and hint at the upsettingly cyclical nature of conflict. Thematically, this is a rich and intriguing film, stripping war from any ideological basis and instead using it to explore the savagery and fear in us all that an extreme situation such as this can bring about. Landes seems fascinated by human bodies and their base tendencies towards sex and violence, accelerated at this young age by their parentless, conflict-based existence. Stylistically, however, is where the film really takes off. It is a sensory feast, with Jackie composer Mica Levi and DP Jasper Wolf working with Landes to make a film that feels at once grubby and otherworldly. Monos is a film of savagery and beauty. It takes place perched on mountaintops or hurtling through forests and rivers. Through the right lens this setting could look idyllic, but here it is the sight of brutality and the near-total loss of innocence. Landes has crafted something with a clear vision, a film which is often stunning and frequently chilling. #AndrewYoung #BFILFF #LFF2019

★★ Directed by: #KemalYildirim Written by: #StephenLoveless and #JackJames Starring: #HelenClifford, #PatrickRegis, #MikeMitchell, #ChelseaAlcock Indie Film Review by: #AmberJackson Based on a true story, “Rose” is a thriller that leads with a fantastic narrative, but is ultimately let down in its execution. Directed by Kemal Yildirim, this is a story that has incredible potential, but instead leaves its audience with a confusing script and an obsession with violence. Rose situates a young woman (Helen Clifford) in the fictional town of Hellville, who has resorted to prostitution to support her drug habit and her young daughter, Ellie (Chelsea Alcock). When she betrays the proclaimed ‘Czar of Hellville,’ Blondie (Mike Mitchell), he becomes enraged and seeks to punish her. Rose, along with Ellie and fighter Tony (Patrick Regis) seek to escape Blondie’s dictatorship and find a better life together. The film itself was originally screened at Cannes #filmfestival as a short film and, due to its positive reception, was made into this full-length feature. Stephen Loveless and Jack James wrestle with a script that has the potential to be incredibly well-told, but is ultimately seedy in tone, confusing and unfortunately a little dragged out in the middle. Elements of the story, too, were lost to the audience; halfway through the film we suddenly begin to follow Blondie’s character and his almost James Bond-esque scenes – the purpose of which is not entirely clear. Although this sought to explain his motives, this diversion definitely took attention away from Rose’s story. Much of the film too, was steeped in violence – often of a sexualized nature – which was incredibly unsettling to watch. This aspect of the film was overdone in that the brutality of it could have been potentially harmful for some viewers to watch. Despite this, the acting from Clifford and Regis in these hard-hitting moments was fantastic and struck up immense empathy for both Rose and Tony as they struggle to escape Hellville. There was definite merit in the film’s #cinematography and editing work. Jason Impey’s ability to effectively shoot fast-paced scenes was in-keeping with the somberness of the film, making it look like the shots had been taken straight from a video game. Filmed in Northampton, the camerawork gives the town a chilling and dark edge. These were edited amongst flashing shots of characters during their personal downfalls, allowing the audience to understand a little more about the interior of each character and what they have been through. This insight was very effective and helped with the narrative. Production-wise, the team working on the feature was extensive! Yildirim enlisted the help of a very large cast of extras to play prostitutes, children in the park and nightclub-goers in the larger, more public locations. This indeed made each scene very well fleshed out, creating an atmosphere in where the dialogue cannot. The look and feel of the film was a highlight as it catered to what should have been the primary focus throughout; Rose’s story. Kemal Yildirim’s production skills certainly set him apart and it will be exciting to see where he takes his upcoming films. Rose stands out as incredibly well-produced, but at-times unclear and extremely uncomfortable to watch. This movie is available to rent on the UK Film Channel.

★ Directed by: #SousidehChaterjee Short Film Review by: #AlfieKaye Passport, directed by Sousideh Chaterjee, tells the story of a man preparing to travel to Moscow from India. It seems his partner is not too fond of the idea, as she then spends the majority of the film lounging in self-pity - ignoring a various amount of phone calls as she prepares to attend the annual Hindu festival, Durga Puja alone. It’s hard to know what to say when you first see it. Let me rephrase that: It’s hard to quantify just how painstakingly bad it is. There’s an eerie sense of confusion when the credits roll: ‘hang on… did I miss something’? ‘Nothing happened’. And perhaps I did miss something. Perhaps the message or the narrative arc is so poker-faced, that it sailed over my head. But to be honest, if such adroit subtlety exists within the film, I have no interest in finding the needle in the haystack. At best, Passport is self-indulgent; at worst, it lacks any purpose. It’s poorly manufactured, also. Edits are as jarring as one imagines the Titanic hitting the iceberg was - good editing is always seamless and unnoticeable; the use of voice-overs left me confused and took me out of the scene, and certain sequences have no business being there. For 51 seconds the audience are bored to tears watching someone getting ready in a mirror and for a further 41 seconds, we see the same person doodling on a mirror with toothpaste (whoops, I should have said ‘spoiler alert’). Both sequences are irrelevant and wearisome and made all the more problematic by the short seven minute runtime. The fact that I went back to exactly determine the lengths of these sequences acts in itself as an indictment of this short. Saihat Chattopadhyay’s score is interesting, and does a nice job at complimenting the tone of the film, although I wonder if my fondness for it manifests from a general affection I have of the music from that culture. Otherwise, there are absolutely no original or thought-provoking techniques used and technically, it’s a mess. For seven minutes, the audience are essentially being asked to indulge the filmmakers like you would a child when they paint you a picture. If this is a funding or production issue, Chaterjee needed to overcome these obstacles by coming up with innovative and brave ideas and making sure they did the best they could with limited resources. As it happens, the whole film plays it safe and is sloppy doing it.

★★ Directed by: #DanteIanetta Written by: #WilderCarnes Starring: #SofyaNova, #TatyanaYassukovich, and #TimothyJCox Short Film Review by: Will Girling Vera is an icy, cynical piece of cinema from first-time director Dante Ianetta. A strange brew that resembles something like Gaspar Noé and Stephen King (Misery era) meeting in a Russian nightclub at 3am, Vera almost pulls off a thoroughly uncomfortable experience that serves as commentary on the right-wing, nationalistic fervour and xenophobia that’s sadly very palpable these days. However, some very amateur film-making technique sabotages the effort, making the viewer feel that the surface of the issue has barely been scratched. The short film opens as the shyly laconic Vera (Sofya Nova) and naive businessman Jack (Timothy J. Cox) share a sensual moment in what looks like a cheap hotel room. We then cut to an ordinary-looking kitchen where Laura, Jack’s sister, (Tatyana Yassukovich) is preparing food for what will soon descend into the dinner from hell. Jack introduces Vera to his sister and shares their story: they met whilst he was on vacation in Europe and she has decided to start a relationship with him back in the US. Laura is immediately sceptical and makes no secret of her disdain for Vera, taking multiple tasteless shots at Vera’s foreign heritage and cultural background. Once Jack leaves to go for an inconveniently timed smoke break, Laura unleashes and begins to drown her guest with the fermenting curds of the milk of human kindness, which has very much expired within her soul. Laura suspects that Vera is taking advantage of Jack. Is she? My big gripe with Vera overall is Wilder Carnes’ script, which has more holes than Emmental and leaves too much presumed and not enough adequately set up. Laura is a suitably Kathy Bates-esque crazy and Yassukovich’s performance is perversely enjoyable, however the character has a clairvoyant intuition into Vera’s motivations that only serve to undermine the overall theme of the movie when they are assumed to be correct. What initially seemed to be a parable on casual bigotry in the Western zeitgeist turns into something more complicated; not a criticism in and of itself, but we’re only given a very narrow insight into Vera’s past circumstances; aside from the natural sympathy accorded to Vera from Sofya Nova’s softly spoken and humble portrayal, viewers may struggle to reconcile how they’re meant to feel at the end of the film. To Ianetta’s credit, the visual tone of Vera is cold and uninviting. Even during the shots at Laura’s house, ostensibly an ordinary domestic get-together, there is an uncomfortable atmosphere throughout and one can’t help but feel that the food must taste suitably bland and lukewarm too. The camerawork throughout is relatively stiff and undynamic, save for the opening shots in the hotel room and the final shot of Vera walking through the dark streets. It’s tempting to speculate that this was to make the claustrophobia felt by Vera even more apparent. The choice of music is also used to uneven effect: bookending Vera with the same piece of music, Ianetta achieves a certain grace in its use at the beginning, yet the music’s reprise for the end credits feels grandiose and out of step for the ‘kitchen sink’ realism of the film. Vera shows showcases some competent directorial work and occasionally very good performances, but the poor writing ultimately gives a very unsatisfying experience and deflates the project. Strangely enough, Vera’s IMDB page lays out an exegesis of the whole story in the ‘plot synopsis’ section, meaning Carnes obviously had a solid conception of what the story was about and where it was going. That he couldn’t communicate this in the screenplay is odd and disappointing.

★★★ Directed by: #DavidCave Starring: #DannyShayler, #FreyaParker and #ShaunLavery Short Film Review by: Shrubaboti Bose Dystopia St. begins with an urgent message being relayed on a telephone call only to end with the same call, completing an entire cycle. In between the opening and the closing scene, the camera follows the protagonist closely, taking us on a journey through his bizarre life and allowing us to watch him trying desperately to seek an escape from the brutality of his trapped existence. What is it that the director wants to show us? Is there a greater symbol at play here? This movie presents us with an unconventional mode of storytelling that intrigues us and leaves us questioning the significance of each detail that we are invited to witness. The film alternates between the eye of the camera showing us incidents as the events unfold and then switching to a recorded version of video playing on the television, a kind of peculiar documentation of how the events might further unfold, letting both the protagonist and the audience prepare themselves in advance. However, things never go as calculated, there is a certain unpredictability in the whole maze like situation, some small variable that holds the potential to change the whole sequence of possibilities and thereby result in the consequent chain of actions that lead to the inevitable death of the protagonist. What is interesting to note is that David chooses to portray dystopia as a sort of mental block that is manifested by a physical sense of imprisonment. The protagonist is trapped within a dingy shack filled with maggots writhing on the rotten and decaying wooden floorboards, he can’t get out of this nightmarish world where he seemingly repeats his own death over and over again in numerous permutations and combinations. All his efforts to find answers are futile as he can’t escape the labyrinth of thoughts and distractions that lead him astray from his “destiny”. He is stuck in a vicious cycle that no matter how much he tries to break away from, he can’t. It is strangely symbolic of a meaninglessness of life. The movie starts with the dialogue, “To find the answer… keep hold of the key”, a statement metaphorically signifying that finding the key represents the ultimate purpose in life for the man. However, the movie does not end with the protagonist finally finding the key, but instead it ends in media res, while the man is still looking for the key, while he is still engaged in his perpetual search of the meaning in life. Hence, this is a quest narrative that attempts to capture the essence of existentialism and reflects dystopia in the inherent difficulty of merely surviving in a cycle of meaningless lives. For a subject so profoundly philosophical and complicated, this short film makes a nuanced study, bordering the realms of horror and fantasy. Dystopia St. is available to watch on the UK Film Channel. Click the banner below to go there now.

★★★ Directed by: #ChrisBavota, #LeePaulaSpringer Written by: #ChrisBavota, #LeePaulaSpringer Starring: #HestonHorwin, #JillianHarris, #MattKeyes, #KristinaSandev Grimmfest Film Review by: Darren Tilby There are a lot of interesting ideas put forward by writer/director Chris Bavota and Lee Paula Springer’s Canadian horror, Dead Dicks (no, not those dicks). Although calling it a horror movie may be slightly misleading, as there’s only really one or two moments of ‘horror’ in it. This is more like a Cronenberg-inflected science-fiction piece. And while there are elements of the film that don’t work as well as they could, when it does get something right, it does it really well. Bar worker Becca (Jillian Harris) dreams of a better life, and she may finally have her chance. She’s been accepted onto a prestigious nursing programme at the Conn-Gerber (an anagram of Cronenberg) university. But there’s a problem. Becca’s brother, Richie (Heston Horwin), is a suicidal depressive, and she’s been his only support for many years. Then one night, while working a shift at the bar, she receives a disconcerting phone call from her brother. Leaving work early and rushing over to his flat, it’s clear this isn’t the first time Becca has had to do this. She doesn’t look overly concerned and even greets Richie’s irate neighbour, Matt (Matt Keyes), who’s fed up of his loud music. After arriving and finding no sign of her brother, she eventually makes a grisly discovery. Richie has hanged himself in the cupboard—but not all is as it seems. Obviously, that’s not where the film ends, and Richie is soon reborn (quite literally) through a vaginal shaped...thing on his bedroom wall. And so, the film really begins and ends in the confines of Richie’s flat with, primarily, just two characters. It’s just as well then that, apart from some unconvincing emotional delivery, the central performances are outstanding. And, even more importantly, the connection between the brother and sister pairing is entirely convincing. A crucial detail for a film based within such intimate confines. Another crucial detail Dead Dicks absolutely nails is the movie’s depiction of mental illness. And not just its effects on the sufferer, but their family too. I felt Bavota and Springer handled this with care, mindfulness, and complete and, occasionally, brutal honesty. Even going so far as to have Becca express her frustration over how her brother’s condition has negatively affected her own life. This may seem insensitive on first viewing, but it’s an essential aspect of mental illness which is rarely talked about. It’s great to see mental illness represented so well, so accurately, and so thoroughly, as it really helps to normalise these discussions and break the stigma around them. And, without giving too much away, the ending is genuinely heartbreaking and seemed all too real. Dead Dicks is a well-crafted movie but, frankly, none of the technical aspects of the film stands out as being anything more than adequate. Which, honestly, is fine. There are issues in places, however. Narratively, the film can be a bit complex; the film jumps from one reveal to another a little too much. Nevertheless, it’s nice that the film can keep the viewer on their toes, as it does at least keep things interesting. So take from that what you will. Some performances have moments which feel a little stilted and the dialogue can, at times, feel laboured. The few instances of CGI are also weak, but luckily, it’s used sparingly and never intrudes too much. Dead Dicks’ low production value – evident from the beginning – may suggest to the viewer that this is a film of little merit or worth. However, this initial fronting belies a solid science-fiction film which, besides a few issues here and there, is well worth your time. Come for the gore-laden sci-fi, stay for the movie’s substance on mental illness.