★★★★ Directed by: Ben Desmond Written by: #BenDesmond Starring: #RadinaDrandova, #RossTomlinson, #AdamGanne Short Film Review by: #ChrisOlson Evocative and thoughtfully constructed, filmmaker Ben Desmond's short war film Pitfall is a compelling story of conflict and survival. Complete with textured filmmaking and excellent pacing, audiences play witness to an enemies becoming friends, or at least humans, parable. Radina Drandova and Ross Tomlinson play soldiers on either side of the war in Belorussia in 1943, the former a partisan combatant, the latter a German soldier. After a bit of a rough and tumble in the woods the pair find themselves in a large pit, wounded, and still ready to do battle with each other. However, the reality of their situation descends upon them as they realise in order to survive they will need the other to as well. Two strong performances ensure Pitfall doesn't trip itself up. This is an intense, emotional drama that leans heavily on the chemistry of the central characters, so it was imperative that both actors were worthy, which they definitely are. Drandova has a wonderfully wild, almost feral persona, someone desperate to liberate her community from the Germans. Tomlinson is superb as the wet behind the ears type, reluctant to kill his foe but still determined to be a good soldier. The short film was reminiscent of another excellent war movie called Their War where we saw both sides of the conflict and the universal humanity involved. Desmond applies the same technique here but with more urgency and friction because the characters are in such close quarters. It was great to feel the evolving tension as the nature of this collision of combatants changed as the plot developed. By the end, viewers have completely forgotten that the pair nearly knifed each other in the opening sections of the film. As with any #warfilm there are a lot of cinematic comparisons that audiences are going to be able to make and this story is most definitely a familiar one. That being said, the tone and atmosphere of the piece feels unique, coupling war motifs with a survival structure and the fact that it's a short that manages to take its time and not spew its plot was impressive. As a directorial debut, Ben Desmond shows himself to be familiar with and capable of handling cinematic fundamentals. His short film Pitfall is a carefully assembled and wonderfully acted piece of filmmaking that totally captures the violent intimacy of warfare and the humanity that's ever present. Watch the official movie trailer below.

★★★ Directed by: #RichardBruhn Starring: #SitaraHewitt, #MichaelKnight Indie Film Review by: #BenjaminSchofield Right, wrack your brain around this one: the year is 2023, Michael Jackson is alive and well in Switzerland; he wears a solid gold mask and a wig to cover his severe facial burns, he’s retired from the music scene but has big plans to make films and wants to adopt two children from every continent on the planet. He’s giving his first interview in fifteen years with a woman named Eve; he’s not been avoiding interviews for the past fifteen years, but simply nobody but Eve has bothered to ask. Sound wacky enough for ya? Now imagine this concept played straighter than plaid shirts and cargos. Michael Jackson’s Magical Moon Tour takes this beautifully bizarre concept and portrays it like the polite conversation you have with your dentist before he sticks his hands in your mouth; which just serves to make it even more bizarre – the film that is, not the dentist, although I do also find this rather absurd. If you’re confused, then good: you’re a human being. Essentially what this film is doing is taking real interviews and speeches from Michael Jackson’s life mixed in with some made up bits and bobs to create the mega-Michael-Jackson-interview, reflecting on his life and projecting the future he never had. It’s a nice idea, particularly if you like Michael Jackson. Of course, the film doesn’t really match the general cultural perception of the King of Pop at present, but it does address the allegations with the same arguments that Jackson himself used when he was alive, and it’s a discussion that is perhaps beyond the scope of an hour long film, and certainly beyond that of a 500 word review from an unpaid writer. But complicated convictable controversies aside, it’s a cute idea for a film. The issue with this concept is that the interview often doesn’t have a very natural flow, jumping from questions about drug abuse to the Jackson 5, from sleeping with children to the inspiration behind the Thriller video. This clunkiness isn’t helped much by Sitara Hewitt’s awkward performance as the interviewer, the jarring editing, which lingers on each shot for a good second longer than necessary, and the slapped together sound mixing (Knight’s voice performance as Jackson was obviously recorded separately to Hewitt’s and you can hear the sound cut between every question). Yet, it’s this awkwardness and flatness that makes the film so fascinating. As I said, it’s a pretty wild concept portrayed in such a banal fashion that one can’t help but laugh. It’s funny. It’s also pretty creepy. Above all, it’s intriguing and I can’t really say I’ve ever seen anything quite like it. The flatness does make the hour runtime drag on quite a bit, and don’t ever expect a punchline, and every critical instinct in my body is telling me it’s a bad film. But there’s something there, and God help me, I actually sort of liked it? Maybe?

★★★ Directed by: #ErichKemp Written by: #RalphCinque Starring: #JeffWeber, #JunesZahdi, #HailleyLauren, #MikeGassaway Film Review by: #JackBottomley In the fallout since the 2003 Iraq war, tensions remain and the ripple effect of the political and ethical immorality at the centre of it keeps aggressively expanding. Since the hostilities and conflict, even more death, attacks and damage continues to make headlines and the world has grown increasingly uneasy, with every advancement seemingly being dragged back by suffering. It is little wonder that so many films have picked up on the debates and the issues of this controversial modern war to tell true and fictional stories alike onscreen. However, it is not always common that the films tread a fine line in the stance they take but #ErichKemp’s #MyStretchofTexasGround admirably aims to do just that. The film tells the story of a terrorist plot to make a statement by assassinating a Texan senator (#MikeGassaway) who has been vocal about the fighting overseas. Tasked with carrying out this deadly mission is accomplished Islamic warrior Abdul Latif Hassan (#JunesZahdi) but in the shape of resilient Sheriff Joe Haladin (#JeffWeber), Hassan’s assignment faces unexpected interference. Taken at face value, this premise could well unfurl into a jingoistic glorificatory hate-fest (ala #LondonHasFallen) but #RalphCinque’s generous script refuses to let that happen. What we have here is an admirable story of a good American man defending his turf and a vengeful man who feels the pain of war and loss. Both characters are in some ways quite similar (Sheriff Joe immediately has a slightly unpopular view on the conflict that is refreshing to see on the screen) and Cinque’s screenplay is driven to actually debate the root of the problem, as opposed to presenting lazy stereotypes or xenophobia. There is a point being made and a very important one at that, in how terrorism is allowed to flourish through violence, injustice and ignorance, and how good people are often ignored in favour of an ideology. Sadly, overall there are a few mixed bag performances and characters (Joe’s partner Carrie - #HailleyLauren - has a strangely erratic personality in the final leg of the film that feels misplaced and strangely spontaneous) but #JeffWeber is likeable as Joe and some of the supporting characters are too, while #JunesZahdi gives the best performance with a few soulful moments. That said, despite a strong script and message and a good performance by Zahdi, the film has some production problems that begin initially niggle, before piling up a lot more heavily and noticeably. The settings are well chosen but occasionally the film seems to feel a bit clipped in its editing and - especially in the latter half - the lighting becomes distracting and inconsistent, with the continuity flow being distorted. Then there is the sound, which seems to sometimes noticeably audibly jar and certain sound effects (the impact sounds of the final fight and foot steps) don’t quite add up or fit and it can take you out of the action, while the score takes some time to pick up. Nevertheless, there are some strong suites, including nice fight choreography in an early Texan border fight and the bursts of thriller tendencies that are here are oft effective, even if the plot itself gets a tad overstretched with the odd sub-plot (the Sheriff’s tensions with his son) or character. I respect the filmmakers for their mission here and despite My Stretch of Texas Ground’s problems, I think a few people will appreciate the effort to tell a very worthwhile story at a equally worthwhile time.

★★★★ Directed by: #AgnesPeelMcGregor Written by: Agnes Peel-McGregor Starring: #SageBirosJarmosco, #LouBolster, #JadaFoster, #SteveKennevan, #JeffreyHedquist Short Film Review by: #ChrisOlson A combination of cinematic styles and genres that coalesce into a heartbreaking story of survival, filmmaker Agnes Peel-McGregor's fantasy short film Last Tree Standing is a throwback to the glory days of movies like The NeverEnding Story and Willow. With an incredible visual landscape and impressive scale, audiences are transported into a dystopian fairy tale for the modern ages. Sage Biros Jarmosco plays Lexie, a young girl attempting to survive the harsh landscape of a future world. With only two cruel scavengers as company, this is a lonely and harsh setting to endure. Until, that is, she meets Treeman (Lou Bolster) a half man half tree hybrid who may be the key to all our hope. Fantastical and childlike in story, the style and atmosphere of Last Tree Standing is far darker than viewers may assume. The mise en scéne is brutal, with the characters occupying miserable and depressing locations and with very little light. It is only a marvellous #animated sequence in the middle, explaining Treeman's origins, which offers any semblance of brightness and colour. Peel-McGregor opts for a drab and grim canvas to tell her story yet the thematic depth is enough to elevate the tale from being a child-friendly The Road and instead something more akin to A Monster Calls. The performances were uneven compared to the high production values of the #filmmaking. Biros Jarmosco was a decent lead and Bolster does okay with his physical performance but the scavengers played by Jada Foster and Steve Kennevan were cartoonish and a little wooden. This was further impacted by a score that at times felt too much like a TV-movie. That being said, it was great to see a #fantasy film so ambitious with its storytelling as well as its filmmaking. Last Tree Standing touches upon several aspects of the human condition that are compelling, such as survival instincts, hope, and endurance, and placing the story in a fantasy setting allowed them to be explored without the usual #dystopian trimmings and hardships or brutality. Instead, this is a short film that rises to the occasion of delivering a hard-hitting plot whilst tapping into cinematic legacies from family film directors such as Steven Spielberg or Tim Burton. Immersive and full of visual spectacle, Peel-McGregor shows herself to be a noteworthy writer and director, capable of grappling with genre mutations and high standard storytelling. Watch the official movie trailer below.

#FilmFestivals > #PressReleases Grimmfest returns on 3rd October 2019 for four days of horror, cult and fantastic films at the Odeon Great Northern, Manchester, UK. As full festival passes go on sale, Grimmfest is delighted to announce their first movie premiere and special guest. DARLIN', the much anticipated follow up to Lucky McKee's modern horror classic, THE WOMAN, will be having its Northern Premiere at #Grimmfest. The festival team is honoured to welcome the film's writer, director and star, Pollyanna McIntosh (Jadis from THE WALKING DEAD) to present the screening, talk to festival attendees and complete a limited number of exclusive signings. DARLIN' sees Pollyanna returning to one of her most iconic onscreen roles and marks an auspicious debut for her as writer and director. Building on the themes of McKee's earlier film and the novels of Jack Ketchum that inspired it, but with a slyly satiric edge and strongly feminist message all its own; DARLIN' sees the implacable feral woman confronted once again with the hypocrisies and far more refined savageries and cruelties of the supposedly civilised world, as she strives to rescue her child from those who would claim to offer salvation. Festival Director Simeon Halligan said: We are currently tracking down the very best of the latest genre feature films to complete our line-up of premieres for the festival in early October; but we were so excited to secure DARLIN' and Pollyanna that we couldn’t wait to share the news. A limited number of full film festival passes are available now from the Grimmfest website and these will grant access to every film screening at the festival (Over 20 feature film premieres and a selection of the best new genre shorts), every cast and crew Q&A and a signed item from Pollyanna McIntosh. Single film tickets and signing tickets are also available. More info at www.grimmfest.com

★★★★ Director: #AsifKapadia Documentary Film Review by: #BrianPenn Football was once dubbed the working man's ballet; never has there been a more apt description; particularly when Diego Maradona had the ball at his feet. Barely 5ft 5in, barrel chested with a low centre of gravity, he possessed a balletic grace that made him the most gifted player of his generation. Director Asif Kapadia already has two acclaimed documentaries in his canon. However, unlike the features on Amy Winehouse and Ayrton Senna this deals with a live subject. Wisely, Kapadia has dispensed with talking head interviews for more discreet voice overs. This allows more time for rare archive footage. The film opens with a fascinating montage that neatly condenses his early years. Grainy black and white film of a kid from the slums of Villa Fiorito; his elevation to Boca Juniors' first team; international breakthrough and ill-fated transfer to Barcelona. The film presents two contrasting images of Diego; the deeply religious catholic boy who only wanted to buy a house for his parents. Then the very public idol consumed by adulation and expectation. Conversations with ex-wife Claudia Villafane are especially revealing. When it was just 'Diego' he was a loving, affectionate partner; but as 'Maradona' he became a commodity and always in somebody else's pocket. When Maradona moved to Napoli it seemed a match made in heaven; the dirt poor native of Buenos Aires was now with his brethren. The people of Naples saw him as their saviour which heaped intolerable pressure on young shoulders. His tenure represented a career peak; the World Cup win in Mexico '86 and that incident against England; two Italian league titles and a UEFA Cup win wasn't a bad return. To be touched by genius is both a blessing and a curse in equal measure. Those in possession of a gift often struggle to cope with the burden. Maradona was no exception as he was smothered by adulation. His return to Argentina after the World Cup win really said it all; just trying to get through airport arrivals he was crushed by fans anxious for a glimpse of their hero; the sense of claustrophobia was uncomfortable to watch. He sought protection and found a sympathetic ear in Carmine Giuliano, head of the Camorra crime syndicate. He was told with a curious mix of friendship and menace 'your problems are now my problems'. The association fuelled his dependence on cocaine and a downward spiral that dimmed a unique talent to the point of extinction. Diego Maradona is a stunning piece of filmmaking, although truncated to fit the 130 minute format. Consequently, it skips certain episodes in his career; for example his omission from the 1978 World Cup squad and infamous exit from USA 94. Nevertheless, we can learn something new about a man whose life has been scrutinised in minute detail. As an Englishman, I still haven't forgiven Diego for the hand of god. Not only because he cheated; but more for the mockery made of his genius with a playground trick. I now see him as a bundle of contradictions, but an altogether more human being, flawed like the rest of us. I am pleased he survived to tell the tale; so many of our heroes are not quite so durable?

★★★ Directed by: #FGaryGray Written by: #MattHolloway #ArtMarcum Starring: #TessaThompson #ChrisHemsworth #LiamNeeson #EmmaThompson #KumailNanjiani Film Review by #HopeMadden Someone somewhere at some recent point in history must have said, “What we need is another Men in Black movie.” Someone else surely disagreed, suggesting that they’d beaten that dead alien long enough. “We’ll change it up,” this imaginary and somehow sad conversation continued. “Hire a new director, new writers, new actors, take it international. It’ll be—” “Great?!” “—mediocre.” And there you have it. F. Gary Gray (Straight Outta Compton) directs an entirely new batch of humans in black as they don sunglasses, erase memories and suss out an alien conspiracy in their ranks, this time on European soil. Tessa Thompson shines, as is her way, starring as Molly, a tenacious nerd who's tracked down this mystery organization in hopes of a shot at joining. Head of the US division, Agent O (Emma Thompson—no relation that we know of, but how cool would that be?!) reluctantly gives her a shot. As expected, all scenes between the Thompsons spark. And, as T. Thom has proven twice already, she shares solid onscreen chemistry with Chris Hemsworth, here portraying her new partner, H. Gizmo-riffic adventures follow, although it’s pretty soft. There are a couple of fun sight gags, especially one with a hammer. Kumail Nanjiani pops off a few drolly comical lines as this go-round’s cute little alien sidekick, Pawnie. Then the three are off to Marrakesh, then a fortress island, back to London, a desert, and London again all in pursuit of answers about a tiny little device and the evil twins looking for it. But the storyline was never really the MIB selling point, it was the relationship between the partners. Thompson and Hemsworth seem like fine choices, having shown both chemistry and comedic spark in Thor: Ragnarok. But Thompson’s early, geeky charm is given little opportunity to show itself once she dons the black suit, and Hemsworth—fun enough as he, once again, basically mocks his own persona—has even less opportunity. Writers Matt Holloway and Art Marcum don’t articulate enough in the way of plot or character arc and Gray’s listless direction leaves us with a Summer popcorn muncher that coasts rather than thrills. ABOVE: the #movietrailer for Men In Black: International.

★★ Directed by: #TimStory Written by: #KenyaBarris #AlexBarnow Starring: #SamuelLJackson #JessieTUsher #ReginaHall Film Review by: #GeorgeWolf "JJ" Shaft walks gingerly into traffic, taking care to watch for cars. He doesn't constantly drop expletives and he's keen on Brazilian dance fighting. So, he's a little different from Dad, then? It's the first clue that writers Kenya Barris and Alex Barrow and director Tim Story might have a sound plan to bring Shaft into the 21st century. They need one, because successfully transplanting those solidly 1970s sensibilities to present day is a bit of a trick. The Brady Bunch Movie got around it by having the 90s Bradys still living gloriously 70s while everyone else called them weird. Genius move. 2005's Bad News Bears remake just tried to tone down the unacceptable elements. Swing and a miss. Taking much more of a straight up comedic approach than John Singleton's 2000 sequel, this Shaft's culture clashes between John (Samuel L. Jackson) and JJ (Jessie T. Usher) offer some amusingly organic attempts to freshen the air of misogyny and homophobia. It's not a bad strategy, but the dam can only be held back so long. Guys, quit being such pansies. Women like real men who only want sex, guns, and any chance to kill people! And then there's the matter of the unintentional comedy. JJ is a data analyst at the FBI who's also apparently a hacking genius: "This is the most advanced encryption I've ever seen...I'm in!" He drags Pops into a completely ridiculous drug case where the clues come easy and the henchman stand straight up in every line of fire while explaining their motivations for giving chase ("It's that Shaft kid! He saw everything!") Is Jackson a wonderful badass who's perfect for this? Duh. Does Regina Hall (as JJ's mother) brighten every scene she's in? She always does. Do the samples of Isaac Hayes's original music remind it's probably the greatest theme in movie history? You damn right! And Richard Roundtree again, casually dismissing that "Uncle Shaft" business from last time? Love it so hard. There are fun elements here, but the lazy execution never fully commits to the promising setup. Shaft's early self-awareness ends up devolving into self-parody and sadly, I cannot dig that.

★★★★ Directed by: Jim Jarmusch Written by: #JimJarmusch Starring: #BillMurray #AdamDriver #TildaSwinton #ChloeSevigny #CalebLandryJones #DannyGlover Film Review by: #HopeMadden Indie god and native Ohioan Jim Jarmusch made a #zombie movie. If you don’t know the filmmaker (Down by Law, Ghost Dog, Only Lovers Left Alive, Paterson and so many more jewels), you might only have noticed this cast and wondered what would have drawn Bill Murray, Adam Driver, Tilda Swinton, Chloe Sevigny, Steve Buscemi, Rosie Perez, RZA, Caleb Landry Jones, Danny Glover, Tom Waits, Iggy Pop and Selena Gomez to a zombie movie. It’s because Jim Jarmusch made it. Jarmusch is an auteur of peculiar vision, and his latest, The Dead Don’t Die, with its insanely magnificent cast and its remarkably marketable concept, is the first ever in his nearly 30 years behind the camera to receive a national release. Not everybody is going to love it, but it will attain cult status faster than any other Jarmusch film, and that’s saying something. He sets his zombie epidemic in Centerville, Pennsylvania (Romero territory). It’s a small town with just a trio of local police, a gas station/comic book store, one motel (run by Larry Fassenden, first-time Jarmusch actor, longtime horror staple), one diner, and one funeral home, the Ever After. Newscaster Posie Juarez (Rosie Perez – nice!) informs of the unusual animal behavior, discusses the “polar fracking” issue that’s sent the earth off its rotation, and notes that the recent deaths appear to be caused by a wild animal. Maybe multiple wild animals. The film never loses its deadpan humor or its sleepy, small town pace, which is one of its greatest charms. Another is the string of in-jokes that horror fans will revisit with countless re-viewings. But let’s be honest, the cast is the thing. Murray and Driver’s onscreen chemistry is a joy. In fact, Murray’s onscreen chemistry with everyone—Sevigny, Swinton, Glover, even Carol Kane, who’s dead the entire film—delivers the tender heart of the movie. Driver out-deadpans everyone in the film with comedic delivery I honestly did not know he could muster. Landry Jones also shines, as does The Tilda. (Why can’t she be in every movie?) And as The Dead Don't Die moseys toward its finale, which Driver's Officer Ronnie Paterson believes won't end well, you realize this is probably not the hardest Jim Jarmusch and crew have ever worked. Not that the revelation diminishes the fun one iota. Though it’s tempting to see this narrative as some kind of metaphor for our current global political #dystopia, in fairness, it’s more of a mildly cynical love letter to horror and populist entertainment. Mainly, it’s a low-key laugh riot, an in-joke that feels inclusive and the most quotable movie of the year.

★★★★ Directed by: #NishaGanatra Written by: #MindyKaling Starring: Mindy Kaling #EmmaThompson Film Review by: #GeorgeWolf Just weeks ago, Long Shot gave us an in-the-moment, proudly raunchy comedy with brains and big laughs. Audiences largely balked. Late Night also offers plenty of insightful funny business, but trades the hard R-rating for a more agreeable sell, one that will hopefully translate into selling more tickets. Mindy Kaling's debut screenplay may be ultimately eager to please, but it's also a sharp and solidly funny takedown of the challenge in navigating a social landscape in motion. Kaling also stars as Molly, a factory worker who's main outside interest is comedy. Though her only standup experience is cracking them up over the intercom at work, Molly lands an interview for a writing gig at her favorite late night talk show. Her timing is perfect. Comic legend Katherine Newbury (a pitch-perfect, absolutely Oscar-worthy Emma Thompson) has ordered some diversity be added to her all male, all pale writing staff, so Molly gets the gig. Katherine may have been the first woman to enter the late night wars, but her act has grown stale and complacent. Icon or no, Katherine faces an overthrow attempt from a network president (Amy Ryan) with eyes on an obnoxiously edgy comedian (Ike Barinholtz as Kaling's barely-veiled swipe at Daniel Tosh) as new host. Can Molly's fresh comedic takes save her hero's job? Credit Kaling and director Nisha Ganatra for answering that question without sacrificing the bigger points at work. From slut shaming and #metoo to diversity, office politics and the shifting sands of comedic relevance, Kaling's script is brimming with writing-what-you-know confidence, even when it's coasting on roads most traveled. But still, in those most predictable moments, Thompson's deliciously droll timing meshes irresistibly with Kaling's wide-eyed enthusiasm. They both get able support from a uniformly solid ensemble, and the biggest question mark about Late Night becomes that R rating. The convenient layups the film settles for in act 3 seem like an understandable trade-off for a greater chance at mainstream appeal. So why not trim a few of those F-bombs to get a PG-13? Late Night deserves plenty of eyeballs. For F@#! sake, let's hope it gets them.

★★★★ Directed by: #ArUgas Written by: #ArUgas Starring: #MathiasAndre, #DominicThompson, #TeeMorris Film Review by: #DarrenTilby Can you remember what it was like to be young? I can. Life seemed so simple then. Like we had a world of opportunity laid out before us. And in many ways, we did. But things aren’t that simple for the #youth of today, and anyone claiming that young people have never had it easier, need to think again. It’s fair to say that almost no one’s life turns out the way they had dreamed, but what if you’ve never had those dreams in the first place? That’s the theme underpinning Ar Ugas’ #shortfilm, Kobe. Told from the point-of-view of the titular character, this tale of #youth #disillusionment sees Kobe in his final year of university, about to enter a world, he feels, doesn’t offer him anything, or even want him. Turning to drug selling/stealing to make quick money (or “smart money”, as he calls it), Kobe’s already less than ideal life is about to become much more worrisome when a “lick” throws a few surprises his way. Kobe's character-driven narrative flourishes, and it does so because of the strength of its storytelling and the performances of its cast. The film prides itself on its realistic grounding, and the manner in which it handles its characters is no different. And, while there are moments in the character development where this realism is pushed aside in favour of making an out-of-character social statement, generally speaking, character arcs are handled really well. The film's naturalistic rooting is maintained by its superbly stripped-down #soundtrack and understated #cinematography, both of which work in tandem to create the film's tone. And while nothing really stands out on its own, it's hard to deny the efficacy of all these elements coming together. Really, the only thing here that could have used a tidy up is the editing, which is a little messy in places. Tonally, however, the film is very messy. And in places, it can kind of bring you out of the moment (this kind of plays into what I mentioned earlier about the character development). Funnily enough, though, I felt this discombobulation impacted the film far more favourably than it did negatively. There are moments here which are genuinely funny and genuinely heartbreaking, but then, in a matter of seconds, the mood can turn sour and the atmosphere becomes bleak. For me, this worked well, adding to the disconnect felt between our central characters and the rest of the world. This is an astute, well-judged and coherent piece of cinema, and should act as an eye-opener for those who look down dismissively upon younger generations. Kobe instils sympathy in the viewer and the fact that the lead – an intelligent and educated individual – chooses to follow the path he does, makes it all the more moving.

★★★★ Directed by: #DaniShay and #KeatonWooden Starring: #CleoKim, Dani Shay, #CameronArmstrong, #KatherineCondit and #JaredWinkler Short Film Review by: #RachelPullen Who likes sad guitar songs, smart phones and some good old fashioned polyamorous relationships? All of us? Good, well, all aboard the new short from directors Dani Shay and Keaton Wooden called Shooting Star. Now the opening to this film states that it should be viewed on a smart phone which I chose not to do because I refuse to play by society’s rules, and I refuse to understand how to use a smartphone because of the government monitoring my personal business which is essentially googling cakes I can’t eat and porn. But let me tell you it’s fine, it won’t affect your viewing pleasure, so if you’re like me and wish to rebel let me tell you now, you’re gonna be ok. This little instruction has a point though, this short is constructed through the use of phones, be it from home screens, text screens, video chats and live feeds, which must create an immersive factor when viewed on the correct device [I can’t use the phone, stop judging me, flip phones for life bro] like your phone’s been hijacked by this collection of people and their three way relationship. Our leading lady is a married woman, but she also is in love with a doll faced musician. With her husband struggling with jealousy, she tries to end her other romance in order to work on their connection. But of course things are never that easy, she still feels those goddamn feelings of love...ergh, and her ex musical lover creates beautiful acoustic numbers about their time together, tugging at her heart strings. I mean come on, that’s a pretty boss move to try and win someone back, as a musician I only write songs about how much I don’t trust the government...not winning any lady love points there. Shooting Star is fast paced, phone call after text after live feed, it’s bombarding your screen, you feel the leading lady being pulled in many directions, an obvious strain on anyone when being involved in multi-way relationships, video calls where texts from her other lover ping up on the screen create anxiety in me. I’ve been there, and that strained look on her face is a relatable one for any person who has juggled more than one lover. And that represents the quality of the acting that is on our screen, they are working with deep emotions, love, jealousy, longing, but each actor steps up to the challenge, and for a budget film that is a refreshing and positive factor. These are emotions that could of been played up far too much, that hammy style could have seeped through like a leaking shower gel bottle in your luggage, but no, it’s composed allowing for relationships to be built between the viewer and storyteller. This is an interesting approach to an interesting topic, the furrowed brows and shaking heads that come with telling people how you choose to live your life, and part of this is down to a lack of understanding, and so in a time of #LGBT awareness is it not time to discuss polyamourous lifestyles? Dani Shay and Keaton Wooden do and they have done so in a respectful and accurate manner, something that is important when looking at a subject that so many just cannot wrap their heads around. This short is certainly a tool I shall use to help people get a better understanding of my views. Much clapping, much love, much acoustic guitars.