★★★★ Directed by: #AndrewSlater Starring: #JakobDylan #FionaApple #DavidCrosby #TomPetty Film Review by: #GeorgeWolf For a musician and a record executive, it was the look of an old movie that led them down a path toward becoming documentarians. The movie was 1969's Model Shop, and to Jakob Dylan (Wallflowers, son of Bob) and Andrew Slater (former president of Columbia Records), that film "looked like a Beach Boys record." Inspiration took root, with Echo in the Canyon standing as the sweet fruit of their efforts to research and honor the music that defined the film's setting: L.A.'s Laurel Canyon in the late 1960s. With Slater directing and Dylan serving as producer and on screen guide, Echo digs deep into a fertile musical catalog. Mixing interviews and performances—both new and archival—the film effectively bridges the gap between those who created the music and those who continue to be inspired by it. And, oh, the stories are priceless. From Tom Petty (shown in one of his final interviews) winning his copy of Pet Sounds from a radio contest, to Dylan's influence ("You'll have to be more specific," Jakob deadpans), to Neil Young wanting to take on some cops ("he's Canadian!") the tales keep coming, nearly all of them captivating. And, of course, so is the music. Classics from the Byrds, Beatles, Beach Boys, Mamas and the Papas and more are explored from their beginnings, and then reborn. From the studio to the stage, Jakob and assorted guest stars (Fiona Apple, Beck, Cat Power) give the songs new coats of paint, and while this approach casts vanity project shadows on Dylan the younger, the motivations always seem properly reverential. At 82 minutes, the film does seem like it closes the curtain a bit early, but it gets the point across. By the time Graham Nash gives a near tearful declaration that Laurel Canyon in the 60s will one day stand with Paris in the 30s as a watershed of collaborative art, you're not apt to argue.

★★★ Directed by: #DermotDaly and #IvanMack Starring: #KathrynHanke Short Film Review by: #BrunaFolettoLucas Dermot Daly and Ivan Mack’s short film Reverse Darwinism is fun. It is a four-minute rant by a woman who calls herself Professor Vanessa (Kathryn Hanke), whether she is a real professor that’s for the audience to decide but given the place she’s in and her mental state it is a bit difficult to take her seriously. Professor Vanessa pokes fun at what the human being has become, herself included, but she does give good tips to save humanity (“read books or wank faster”). The film, just like its only character, does not take itself seriously. Kathryn Hanke is very convincing as a woman who is going through a bad break-up and decides to lay out her anger on what we assume is her YouTube channel. The setting gives Reverse Darwinism its atmosphere – it is filmed in a basement, but with thoughtful touches. Behind Vanessa there’s a shelf with three books and some pens (which I assume she has never used). On the wall there are some pictures of Stephen Hawking (and herself photoshopped together) and Darwin, which seem to have been printed at home – Vanessa’s approach in trying to be the “real deal”. However, right next to her there’s a bin and a washing machine with wires everywhere. It looks like a bunker she would take people during an alien invasion (which she probably would believe). Her clothes and her “props” show that she cares and that she tries hard, perhaps that’s what makes this film interesting. We cannot take her seriously, no matter how much we might want to because we can see that this woman is suffering inside and this is her way of coping with it. The camera is placed in front of Vanessa and does minimum work – it eventually cuts in on some details but doesn’t even focus on the professor’s face when she moves, probably a touch chosen to make her look even more pathetic. As said before, the film works well as an enjoyable ensemble – it is fun, it is quick and it makes you laugh!

★ Directed by: #MathewCullen Written by: #RobertaHanley #MartinAmis Starring: #BillyBobThornton #AmberHeard #JimSturgess #TheoJames #CaraDelevingne #JohnnyDepp Indie Film Review by: #ChrisBuick Based on the novel of the same name by Martin Amis (who helped draft the screenplay), London Fields introduces us to Samson Young (Billy Bob Thornton), who has swapped his small New York apartment with that of another more successful writer (Jason Isaacs) in London to try and find some inspiration and an end to his twenty years of writers block. Arriving in a destitute and near-apocalyptic London Town, he encounters the horrendously uncouth local loudmouth and premier darts player, Keith Talent (Jim Sturgess), as well as the frustrated and stuck-up posh sap, Guy Clinch (Theo James). But the centre point around which they orbit is Nicola Six (Amber Heard), a clairvoyant femme fatale who has foreseen her own death on her upcoming birthday, coincidentally at the hands of one of these three gentlemen. Samson, sensing a great story to make his name, convinces Nicola to allow him to chronicle the events as they unfold for his next novel. Many have said this book was unadaptable and based on what is on display here, that is completely true. The film had a very troubled production. David Cronenberg was signed on in 2001 to direct but left the film. It was pulled from the Toronto Film Festival at the last minute in 2015 due to a lawsuit between director Mathew Cullen and the producers over the final edit and pay, not to mention other legal battles between Heard and the producers, with the director and cast now having distanced themselves from the film entirely. Unfortunately, none of this drama could transfer to the project itself. The backdrop for Mathew Cullen’s London Fields is a London engulfed in anarchy, with riots in the streets and explosions going off left, right and centre. But despite its frantic and intriguing setting, London Fields is not only boring, but ultimately confusing and a drag to watch. There are attempts at creating a thrilling, #noir classic here that just don’t pay off. Over-scored, monotonous character pieces are merged with footage of riots, war and missiles exploding, aimlessly moving from one bewildering scene to the next until the films honestly predictable and unsatisfying conclusion. On paper, the names on this cast list would seem to be enough to pull together something interesting from the novel that could be argued is Amis’ best work, however no one seems to make it out of this one unscathed. Heard is reduced to strutting around as a lingerie model for majority of the film, using her guile to seduce each man in turn relentlessly, although it is never fully clear why. Thornton and James are as bland as they come, and Thornton has a constant expression of an actor who knows this film is in trouble. Even a cameo from Depp doesn’t manage to salvage anything, instead being remembered for a gross and awkward encounter with now ex-wife Heard. But the worst, by a mile, is undoubtedly Sturgess’ horrific and at times nauseating turn as darts prodigy Keith Talent. With a cockney accent that is stuck between bad impressions of Jason Statham and Danny Dyer, as well as a constant facial expression that looks like he is suffering severely from some sort of allergy, this is an over-the-top performance for the ages. “This is a true story, but I can’t believe this is happening” Not only the opening line to London Fields, but also the sentiment you might be feeling as you trudge through this film, waiting for it all to end.

★★★★★ Directed by: Toby Wosskow Written by: #TobyWosskow Starring: #SherldonMarema, #WelileNzuza, #AyandaSeoka, #DimphoMotloung, #MphoNoko Short Film Review by: #ChrisOlson Capturing both the intimate struggles of South African families and the devastating global consequences of illegal Rhino hunting, short film Sides of a Horn from #filmmaker Toby Wosskow is an ambitious and startling feat. Executive produced by none other than Sir Richard Branson, this is pioneering short filmmaking. Welile Nzuza and Sherldon Marema play two brothers at the forefront of the rhinoceros trouble. Respectively, one is a ranger trying to make ends meet by protecting the rhinos from the local poachers, the other is on the cusp of becoming a poacher in order to get the financial support he needs to support his family (his brother included). What transpires is an emotionally evoking story that does justice to the complexities of the dilemmas facing communities where both poverty and animal extinction are rife. Had Sides of a Horn been a documentary film, the potency of the message could have been lost amongst the fist-shaking and the foot-stomping. By wrapping the political edge in a compelling narrative, the short film format amplifies the larger social themes and issues without feeling overtly preachy. We get drawn into this family's woes and attach ourselves to the heroics of the ranger Sumi whilst fearful of which ahem...side of the horn...his brother Sello will fall. And that's not to say the filmmaker tacked on a plot for the sake of calling the piece a drama. The level of filmmaking here is phenomenal regardless of the weighty preservation topic. Scenes are full of intrigue, such as a sequence of Sello walking through the night to the lair of the poachers. The sound of his feet crunching on the ground was almost terrifying. The passionate speech from Dumi's wife about wanting to teach her children about their dad who fought for what is right was also a fantastic sequence. The chemistry between Sherldon Marema and Welile Nzuza was excellent and allowed the short movie to make its point even clearer: there are two sides to illegal Rhino hunting and unless we address both the struggle will carry on. There has been a spate of incredible filmmakers taking up the fight to tell the stories needed to be told in order to shine a light on the global issues surrounding the animals on our planet. Toby Wosskow marks himself as one of the best around with Sides of a Horn, a fully captivating and heartbreaking film that transcends the usual hot air of political point scoring and delves deeper into the human conflict going on. Watch the official movie trailer below.

★ Directed by: #LucBesson Written by: Luc Besson Starring: #SashaLuss #HelenMirren #LukeEvans #CillianMurphy Film Review by: #GeorgeWolf After films such as La Femme Nikita and Lucy, writer/director Luc Besson is no stranger to the "beautiful killing machine" genre, but it seems the sexual treachery of Red Sparrow and the ass-kickery of Atomic Blonde have inspired him to get back in that familiar saddle. His Anna is built on the same sexy Russian assassin blueprint, then adds layers of confusing time shifts, obvious fake outs, and misguided feminist ambitions, all wrapped in a constantly leering camera gaze. Anna (Sasha Luss, back with Besson after Valerian and the City of a Thousand Planets) is plucked from Russian poverty by agent Alex (Luke Evans) and groomed for the spy game by the humorless Olga (Helen Mirren). Anna's cover is her job as a high fashion model, and guess what's this season hottest accessory? Big silencers, slowly screwed on big guns that are framed just so against Anna's lingerie-clad pelvic region. Subtle. Check that, it really is, next to the roommate (Lera Abova) whose only purpose is to ask Anna for girl on girl action, and the CIA agent (Cillian Murphy) whose codename must be Dog in Heat. And yet through all the bad writing and contrivance, Anna's true ambition never wavers. She asks only for a freedom she has never known, freedom from a world that only uses and objectifies her at every turn. And then pot and kettle lived happily ever after.

★★★★★ Directed by: #JoshCooley Written by: #AndrewStanton #StephanyFolsom Starring: #TomHanks #AnniePotts #TimAllen #TonyHale Film Review by: #HopeMadden Almost 25 years ago, Pixar staked its claim as animation god with the buddy picture masterpiece Toy Story, where Tom Hanks and writer/director John Lasseter taught the world how to create a fully developed, nuanced and heartbreaking animated hero. Woody and Buzz returned twice more over the next fifteen years, developing relationships, adding friends, enjoying adventures and life lessons all the while creating the single best trilogy in cinematic history. And a lot of us wanted them to stop at 3. Is that partly because Toy Story 3 destroyed us? Yes! But also, it felt like a full story beautifully told and we didn’t want to see that completed arc tarnished for profit. Toy Story 3 made an actual billion dollars. Profit calls. Right, so let’s drop in and see how the gang is doing. Woody (Tom Hanks in the role he was born to play) loves Bonnie, the youngster who inherited the ragtag group of toys when Andy left for college and we left the theater racked with sobs. But the cowboy just doesn’t feel the same sense of purpose. Enter Forky (Tony Hale, who could not be better), a spork with googly eyes, hand-made and much-beloved friend to Bonnie. Forky longs for the trash, and Woody takes it upon himself to make sure Forky is always there for Bonnie. But when Bonnie’s family rents an RV for an end-of-summer road trip, Woody finds it tough to keep his eyes on the restless refuse—especially when a roadside carnival offers the chance to reconnect with old flame Bo Peep (Annie Potts). Will Woody cast aside Forky, bestie Buzz (Tim Allen) and gang to rekindle something lost and taste some freedom? Josh Cooley (who co-wrote Inside Out) makes his feature directorial debut with this installment. He also contributes, along with a pool of eight, to a story finalized by Pixar veteran Andrew Stanton (his credits include the three previous Toy Story films) and relative newcomer Stephany Folsom. The talents all gel, combining the history and character so beautifully articulated over a quarter century with some really fresh and very funny ideas. Toy Story 4 offers more bust-a-gut laughs than the last three combined, and while it doesn’t pack the emotional wallop of TS3 (what does?!), it hits more of those notes than you might expect. Between Forky’s confounded sense of self and Woody’s own existential crisis, TS4 swims some heady waters. These themes are brilliantly, quietly addressed in a number of conversations about loyalty, devotion and love. This somewhat lonesome contemplation is more than balanced by the delightful hilarity of new characters Duke Caboom (Keanu Reeves) and Bunny and Ducky (Jordan Peele and Keegan-Michael Key, respectively). And the creepy yet tender way villains Gabby Gabby (Christina Hendricks) and her posse of ventriloquist dolls are handled is as moving as it is funny. Characteristic of this franchise, the peril is thrilling, the visuals glorious, the sight gags hilarious (keep an eye on those Combat Carls), and the life lessons far more emotionally compelling than what you’ll find in most films this summer. To its endless credit, TS4 finds new ideas to explore and fresh but organic ways to break our hearts.

★★ Directed by #LarsKlevberg Written by #TylerBurtonSmith Starring #GabrielBateman #AubreyPlaza #MarkHamill #BrianTyreeHenry Film Review by #HopeMadden You have to give it to the marketing team saddled with Lars Klevberg’s reboot of Child’s Play. First came the trailers. You couldn’t see the doll, but you heard that old TV theme song, “People let me tell you ‘bout my best friend! He’s a warm boy, cuddly toy, my up, my down, my pride and joy…” Creepy. And then the posters. You know, still no Chucky doll in the frame, but a ripped-to-shreds cowboy doll splayed across the ground. Well, pardner, Sheriff Woody’s got the last laugh because Child’s Play the film is not 1/10th as inspired as its marketing. It’s a tedious time waster uninterested in plumbing any of its possible themes—single parenthood, poverty, loneliness, tech—for terror. Instead it goes for the obvious prey and hopes star power will blind you to its ordinariness. Discount those straight-to-video installments in the series if you will (and honestly, you probably should), but at least they each tried to do something different. At some point they embraced the ridiculousness of this itty, bitty freckle-faced problem and just ran with it. Not this time. Nope, what we have here is one deadly serious and wildly unimaginative reboot. Hell, the doll doesn't even look good! And yet, Aubrey Plaza, Brian Tyree Henry and Mark Hamill all signed on to star in what amounts to the 8th Chucky film. Why? It’s not the concept. The possessed doll conceit has been updated from the soul of a serial killer to modern technology. Imagine if google home required a super creepy doll in bib overalls to work. Admittedly, there are all sorts of Terminator/Maximum Overdrive/Demon Seed possibilities here, all of which are left entirely unmined. Instead it’s just a defective AI doll (voiced by Hamill himself), birthday gift from a department store clerk (Plaza) to her lonely but clearly too old for the toy son, Andy (Gabriel Bateman, quite good, actually). They’re all good, especially Henry. Too bad the film doesn’t deserve it. Aside from one kill inspired by Texas Chainsaw Massacre 2 (nice!), and performances that are all better than the material, the new Child’s Play is a pretty tedious affair.

★★★ Directed by: #AlasdairBraxton Starring: #JudeBain, #EllieGracie, #SolaOgunyemi, #RachaelONeil and #AlexandraFinnie Short Film Review by: #RachelPullen Alright gang, its that time again, it’s music video time, it's been a while since we have swam around in the fishy plastic filled waters of the music video reviews, so don your trunks, or Speedo, if that’s how you choose to live your life and lets dip a toe into Alasdair Braxton’s music video Start Over. We are not here to talk about the music itself but to set the scene it’s a nice little ditty of the drum and bass variety. When we think of club beats, we think of the typical music video of that genre: set out on a beach in Ibiza with well tanned ladies offering buff dudes multi coloured drinks off a silver tray, and them some montages of babes driving about in a convertible jeep having a real good time. They are probably just going to Homebase. Start Over though is a little different, we delve into the journey of a young woman who comes across a heart shaped stone, cool, she could make it to a necklace and sell it on Etsy, but before she can even consider her new craft career, some man with a bat decides that he is going to be mad and chase them for a while...rude. It seems that this stone possesses some kind of powers...love powers maybe, we see flashbacks of failed relationships, intertwined with dance interludes that possess the quality of self love. We see self sacrifice for another, we see the coming together of lovers. Have all these people fingered the stone? Maybe they got one off Etsy to start with. This music video is as slick as a mother trucker. No expense has been spared to make a visually professional looking #musicvideo, like something that has walked right off of MTV. All the actors are beautiful, competent within their craft, be it dance, painting, acting, each displays a confidence on screen, adding to its professional appearance. Structure though is another thing. Maybe it’s me, but after watching the video a few times I struggled to find a clear narrative throughout; people seem to pop up with little to no explanation and then saunter off to Homebase, or the distance, whatever, point being a clear narrative is definitely lacking and even though it does not take away from the viewing pleasure, it can make it a little frustrating. As a music video this is a superb piece of work, hitting the right shots at the right time, combining crescendos of the music to the most fitting dance sequence of character interaction, well done to all involved in this project and if you ever get bored you can always take the pressure off me and direct my band’s music videos...but be warned my dance style is dad at weddings.

★★★★★ Directed by: #JonOlavStokke Starring: #EspenSandvik, #AndersWenger Short Film Review by: #AlexandraJames Our Father’s Cabin conjures both a warm and melancholy viewing experience. This film follows two brothers who have a volatile relationship but are brought together, on tragic terms, by the death of their father and the burying of his ashes. Final goodbyes play a crucial role within this film, and produce a moving piece which makes for a bittersweet ending that entices the audience and leaves not a dry eye in the house. It was interesting to see the disjointed relationship between two brothers. The bickering and the snapping, even lashing out at each other in fights makes it easier for the viewer to connect to the two characters. It portrays a more realistic side of family relationships, one which does not mask unstable relationships or friction within the family unit. I found this piece extremely tragic in a sense. Both actors were great at showing this uncomfortable, reluctant side to being in each other’s company. As well as portraying the difficulty in breaking down that macho/ masculine persona and showing a more emotional side to men. One which has no choice but to be exposed when it comes to losing a loved one and having to deal with the hardships of burying their own father’s ashes. This certainly made the short film a compelling view, as the typical reaction an audience often sees with the loss of a loved one is hurt and upset. However, there was a mixture of emotions between the two characters and their reactions came across very cold. This automatically grips you and forces the audience to contemplate the underlying issues which surround the family, specifically the brothers’ relationship. This short is subtitled but don’t let a little bit of reading deter you! The film is shot against a natural and serene countryside, dark and ominous with thick fog weaving its way through every crevice. The #cinematography cannot be faulted, and it was enjoyable to look over the surroundings which cleverly fed into the storyline itself. An isolated setting bringing together two distant siblings who are in desperate need to work through their differences. The ending, although sad, was a beautiful way to finish and felt very innovative because there was no over explanation of sorts or an in your face ending. It was subtle and touching and complemented the tone of the overall film flawlessly which was incredibly refreshing. All in all a lovely short film to watch which ticks a lot of boxes in terms of cinematography, location, acting and even storyline. An all-rounder if you like, that will keep you intrigued from start to finish.

★★★★ Directed by: Dimitar Stoyanov Written by: #DimitarStoyanov Starring: #AislinnDeAth, #DimitarShatrovski, #ClareAlmond Short Film Review by: #ChrisOlson An eclectic filmmaking mix from writer and director Dimitar Stoyanov, with his tongue in cheek short film Miracle. A biting of the thumb to the current state of Britain and its attitudes towards immigrants, this is a story of contrast told to highlight the bafflingly flawed ideals of a so-called "civilised" society. Aislinn De'Ath plays Margaret, a pianist whose sophisticated and charmed lifestyle is rudely invaded when a visa-less migrant (Shatrovski) arrives to perform some home repairs. Not only are the man's credentials in question, he has the gall to down her alcohol and die on the kitchen floor. Going through a routine of shock, shame, and dancing with the corpse, Margaret attempts to grapple with her inner liberalism which is at odds with her dislike of immigrants. I probably should have mentioned this film is a dark comedy! Stoyanov is deliberately twanging at tense political strings and themes to tell this story of a clash of cultures. The way in which Margaret makes desperate pleas to inanimate objects (one of which is a unicorn statue) that it's not her fault, perhaps reflects a wider sense of guilt felt by many Britons about the rise of xenophobic rhetoric from worryingly large portions of our people and politicians. There are small moments in the script where the central character reveals her sharper edge towards immigrants, such as her reaction to the man asking for beer when she offered tea or coffee, or when she discovers his rejected visa. The venom in her voice when she says "It's not my fault" is undeniable. This diluted intolerance is the crux of short film Miracle and something which becomes the true villainy of the movie. De'Ath gives a worthy turn in the lead role, balancing the extremes of Margaret's nature without succumbing to cartoonish theatrics. The bizarre sequences where she dances with the body are particularly well acted, injecting some much needed love into a story dominated by bleak and archaic schools of thought. Shatrovski is also superb with his physical performance, lending the short film a great depth in terms of humour and harking back to classic silent comedy techniques. Cinematically, Miracle is a short film flooded with talent. The jaunty harpsichord and piano from Radosveta Harkova was...ahem... instrumental in depicting the juxtaposing ideals of British civilisation with its own intolerance. And the cinematography from Barbara van Schaik was masterfully handled, utilising darker scenes and lighting to capture the nightmarish tone of the story. More #filmmakers like Dimitar Stoyanov are (regrettably) needed to keep telling these stories in such a compelling and entertaining way. If we can undermine the hate-filled opinions and beliefs of our own countrymen and women by ridiculing them, then full steam ahead. It's what Shakespeare would have wanted. Watch the official movie trailer for short film Miracle below.

★★★★★ Directed by: #ThorstenFleisch Starring: #ChristianSerritiello, #EvaFerox, #MariaHengge, #MarilenaNetzker, #HelenaPrince, #DenisLyons, #ShaunLawton Indie Film Review by: #BenjaminSchofield Oh, this was a lot of fun. If David Lynch, David Cronenberg and Gaspar Noé had a few glasses of wine, put on a Marvin Gaye record and had themselves a raunchy, intimate night, they wouldn’t be able to conceive a child, but imagine if they could. Perhaps if there was a way of extracting the DNA from their semen; Lynch’s neosurrealist gene, Cronenberg’s body horror gene, Noé’s intense visuals gene, and injected these into an unfertilised egg cell (perhaps Maya Deren’s would be most appropriate). Then this egg cell could be implanted into a surrogate mother (say, Jane Campion) and if we were lucky enough to have that cell latch onto Campion’s uterus lining, nine months later a child would be born. And I reckon that child would be a bit like Thorsten Fleisch. So who the heck is Thorsten Fleisch? Not only is he the director of Flesh City, but the writer, D.P., editor and composer. What a greedy boy. But when you’re making films this good, you can be as greedy as you like. As for the plot, I must say I’m really not sure what the film is about, and I’m not sure I really care either, but its worth noting that it has drugs and clubs and nudity and violence and satanism and robotic beetles and mad scientists and giant flesh monsters and if those aren’t all good things then I’m not sure I know what is. Oh, and music. Oh boy, the music. Much of the film is structured around a sort of post-apocalyptic MTV, which displays music videos from fantastic fictional bands, and the videos and songs alike are as hilarious as they are horrific. Such a comment could be made to describe the whole film; Fleisch has a talent for balancing comedy and horror in a way that one never interrupts the other. The funny moments complement the disturbing and vice versa. This is catalysed by the actors, whose performances jump unpredictably from hammy to wacky, from wacky to creepy, from creepy to hammy, and from hammy to creepy. However, the real highlight of Flesh City is its style. Of course, we are not at a shortage of films with fast-paced editing and neon lighting, but Fleisch pushes these aesthetics to their logical conclusion, creating a jarring, buzzing headache of a film that truly earns the epilepsy warning that it opens with. I appreciate this may not sound like much of a complement but the result is something you just can’t look away from.

★★★★ Directed by: #RyanKruger Starring: #GaryGreen Short Film Review by: #NathanialEker A bizarre but well-realised dive into drug addled psychosis, Fried Barry allegedly follows the journey of an alien possessing a heroin addict on a joy ride through Cape Town. I say allegedly as you wouldn’t have the faintest clue that this was the plot from watching the short. Fried Barry acts more as a frantic and exhausting, almost vicarious viewing of a terrifying substance trip, which is certainly no bad thing as this scene is shot with graphic intensity. From the tight camera work to the brilliantly unsettling score, all of the elements synergise. Director Ryan Kruger brings it all together with a grisly style and focus that will keep you on the edge of the seat, disturbed yet questioning of what you saw. Free of the burden of dialogue, the pressure is on sole actor Gary Green to deliver, and deliver he does. From manic movements assisted by some snappy effects in post, to horrendous, other-worldly facial expressions, Green gives a purely physical performance that while frightening, also hints at a vulnerability. Regardless of the stellar cinematography and editing, the short would fall flat if his performance was hammy or wooden, but he thankfully brings a hideously realistic portrayal that is appropriately cringe inducing. Kruger shoots the scene frantically, evoking unease and a sense of dread through a high level of professional care. The editing, lighting, and cinematography work in tandem with Green’s performance as well as the unsettling score to deliver an unnatural, high octane scene, veering into the realms of surrealism. Short, sharp cuts in the editing make for a quick pace that piles on intensity without stopping for breath, culminating in a vomit filled finale. These cuts combine with a healthy use of slow motion and speed up effects that benefit the narrative, aren’t used as a pointless gimmick as some action scenes in the blockbuster world tend to use them. Fried Barry is no blockbuster, and certainly no action film. The film aims to disgust through and through, from the body-horror effects of the latter half, to the psychological torture of the horrific imagery towards the finale. The use of chiaroscuro lighting and a bleak colour palette keep the grim tone consistent and help emphasise Barry’s agony. The sound design is filled with spine tingling noises that could be sampled from another world. As our protagonist writhes on the floor, alien shrieks and loud, jarring sounds assault the ears to an effective end. Regrettably, where the film is let down is through unpolished visual effects. As Barry’s eyes expend and his forehead grows, he looks more as if he’s messing about with a webcam filter, rather than having his body expanded by an intergalactic intruder. Overall, Kruger’s horror short is well devised. The narrative is basic and the effects don’t completely hit the mark, but Fried Barry leaves you wanting more. It’s a tad too short and lacking in plot to be five-star quality, but the prospect of an imminent transformation from short to feature is both exciting and intriguing. It’s interesting to wonder where Kruger will take this concept as he extends a quick transformation scene into a full story. As is, if you’re a horror fan, you’ll enjoy Fried Barry. Equally, for an example of lighting, editing, camera work, and sound design working collaboratively to create a visually fantastic piece of film, it’s recommended for any cinephile. Watch Fried Barry on the UK Film Channel now!