★★★★ Directed by: #StaceyMaltin Starring: #MarzyHart, #LisaTharps, #MichaelVaramogiannis and #ValerieLaury Short Film Review by: #RachelPullen Marzy, Marzy Marzy Hart, what ya doing to me, coming around here with your abilities and skills, producing, writing and acting...making your movies for me to absorb through my eyes and then revel in your talents...it’s threatening to me, how you can achieve so much, pull off three accomplishments in a movie...it’s almost like you’re a ...TRIPLE THREAT, ooooh I said it. Damn, these triple threats, I can’t help but praise them, or find lavish and over the top ways on which to introduce them, so the question now is: what does Miss Hart have to offer us, and will her triple threat skills be enough to secure her a place in the coveted triple threat club? I mean we have jaffa cakes there...it’s pretty exclusive guys. Jones is a short film that chronicles a young woman’s battle with alcohol addiction. We start on our journey with her on the dark streets of her hometown, no not after kick out from the local bar, not after a night out on the town, just a girl and her ragtag gang of friends drinking from the bottle in a wasteland...looks like a fun night in all honesty. But soon her boyfriend, back alley drinking friend, (estate agent?) tries to not let her drive her push bike home drunk [drink driving, get it? What a comedian he is] and a fight ensures she decides enough is enough, no more waking up covered in taco meat and piss for this lady...again sounds like a fun night. She gobbles up them AA meetings like tic tacs, and rather than getting wasted, she takes to jogging, running the streets at night in order to distract herself from the ever present desire to go back to her old taco meat covered ways. She visualises her moment of relapse, laying on the floor, pouring the sweet juice all over her face, the scene is almost biblical, like a baptism, the look of joy and relief on her face is that of pure ecstasy. Like a moment of holy alignment with Christ, showing us the power that some addictions have over people...not unlike myself and jaffa cakes. Jones explores not just addition but the struggle that comes after recovery, the constant longing that those who have come out the other side will forever feel, that fear of falling off the wagon. As someone who has come through the other side of addiction I can tell you Jones packs a very real punch...druggies are well tempting to say the least. This is a professional, stylish and cool #shortfilm, with acting and writing to complement the visuals. Jones takes us to the other side of the typical addiction/recovery tale we are so used to seeing and delves into the mental struggles that come along for the ride, like a buy one get one free, but on misery.

★★★★ Directed by: #TomerAlmagor and #NadavHarel Indie Film Review by: #AlexSpencer The long-term project of directing duo Tomer Almagor and Nadav Harel, King of Beasts, provides a unique and illuminating peek into the “sport” of lion hunting in Africa. Much like the innocent buffalo and hippo hanging grimly from the trees, the prospect to display his machismo to the world provides sufficient bait for their subject, allowing for an in-depth documentary that gives the viewer full access to his week-long expedition to add another lion to his trophy collection. The documentary follows a trio of white men: Aaron Neilson – the pack leader and main benefactor of the trip; Dean Kendall – a professional hunter who lives in the area; and a third, unnamed, younger man whose sole purpose appears to be to reaffirm Neilson’s masculinity. The directors make the wise decision to stay behind the camera, allowing their subjects to lead the discussions. They make the argument that the sport of lion hunting is saving Tanzanian wildlife from the local population, as it is their American dollars that are being put towards conservation and anti-poaching efforts. While it may be true that their money is being put towards such things, their apparent care for African wildlife (Neilson even appears close to tears when discussing the subject in his local gym) was hard to believe. One telling scene towards the end of the documentary involved Kendall stressing the importance of being “respectful to the animals” while the locals picked up all their leftover rubbish and the younger man engaged in a failed attempt to get a picture carrying the dead lion on his shoulders. The camera work is impressive and unobtrusive, and while there is arguably a lack of narrative structure, it works well in the context of this documentary, allowing the viewer to piece together how the whole expedition works for themselves. While the view of the directors is relatively clear from the start (our first introduction to Neilson sees him listening to an anti-global warming Trump rant on the radio) it isn’t forced down our throats but rather delicately presented, with the reality of the situation becoming increasingly explicit as the expedition reaches its inevitable conclusion. Unlike the #documentary African Hunting Holiday a few years ago, where Louis Theroux explored the world of so-called “canned safaris”, where animals (including lions) are bred in reserves specifically to be hunted by wealthy Americans, the hunt in King of Beasts takes place in the wild. However, the whole expedition is just as manufactured – Neilson and co. are waited on and driven around, shooting stationary animals and taking pictures while the Tanzanian locals toil in the background to prepare the bait and entice the ultimate prize. Some of the most uncomfortable viewing wasn’t even the hunting itself, but the evening discussions on the “situation” in Africa. The three men almost describe themselves as white saviours, coming to rescue a “confused” Tanzania from its own self-destruction. Their unwavering self-belief was shocking to see – it’s concerning that the lengths taken by the directors to provide such an unbiased view will only serve as further encouragement to those who agree with such views. Nevertheless, King of Beasts goes about its business with precision and intelligence, resulting in a depressing, yet important, piece of #filmmaking.

★★★ Directed by: #McG Written by: #ZackStentz Starring: #JackGore, #MiyaCech, #BenjaminFloresJr., #AlessioScalzotto Netflix Film Review by: #ChrisOlson The summer camp movie gets an alien invasion with this #Netflix original movie, Rim of the World. Written by Zack Stentz and directed by McG, this coming of age story is full of action, adventure, and pop culture film references. Jack Gore plays Alex, a young lad afraid of his own shadow but super smart. He's being packed off to summer camp in the hope it will bring him out of his shell. Other camp cohorts include the forebodingly silent but formidable ZhenZhen (Miya Cech), the lone but furious Gabriel (Alessio Scalzotto), and the silver-tongued and silver-spooned Dariush (Benjamin Flores Jr.). Unlikely pals in the real world but when their camp comes under heavy attack (think Independence Day meets Battle Los Angeles) the foursome become fearsome friends and may just be humanity's only hope. Bereft of any originality, Rim of the World is unapologetic for the films it rips off or even the ones it throws glancing references at. Making a Netflix movie in 2019 is basically a free-for-all a #filmmaking excess whereby the less-is-more rule is eschewed for gratuitous content creation on a production line scale. The setup of this Netflix original follows a similar structure to their big TV hit, Stranger Things, with sweary kids getting involved in an "other world" adventure that only they seem to be able to solve. It's a recipe that seems to hark back to classic kids adventure movies (E.T., The Goonies) with thrown in dashes of era-specific name dropping, such as a rather funny John Wick reference. There were some nice moments in the script where the humour diverted from the predictable punchline the audience were expecting. The character arcs were also somewhat satisfying, such as the rich kid with a secret, or the kick-ass empowerment of women (ZhenZhen for president). However, the 15 certificate means this film is going to be aimed at viewers who will already be familiar with so many of the themes and clichés. This film has been done a lot and McG doesn't seem compelled to inject anything more than his Netflix contract stipulated. Summer camp movies are a genre laden with coming of age tropes, promiscuity, adventure, and finding oneself. It seems adding an alien invasion element is not enough to make the film even appear original. What you do get with Netflix's Rim of the World is a mildly diverting #disastermovie plot that isn't afraid to spend its budget at the expense of engaging quality.

★★★★ Directed by: #AdamStephenKelly Starring: #GuyHenry, #GordonStyles Short Film Review by: #BenjaminSchofield From the get-go, Adam Stephen Kelly’s Done In is visual poetry. Each carefully composed shot lingers in the frame, perfectly establishing the slow, meditative tone of the film. The shots in question include black and white photos and a dying flame; very clearly this is going to be a film about memory and loss, and the bitter loneliness that comes with it. And layered onto this visual poetry is poetry of another kind – verbal. This comes in the form of a letter from our protagonist (although it is not immediately clear to whom, for reasons that become obvious later in the film) as he reflects on memories of his country manor house and the life he shared there with his late wife. His words elicit a sense of nostalgia and demonstrate the pain of losing someone you love. This is brought to life by Guy Henry’s fantastic performance, his coarse yet gentle voice gives the words a deep and genuine sadness, and there is such beauty in the way his crackly tones murmur over soft piano music. And yet, there’s something off. The eerie empty manor house, complete with big tick-tocking clocks, dim lighting and old timey photos, is something straight out of the gothic imagination of Edgar Allen Poe. And when our protagonist mentions that he sometimes sees his dead wife, one half expects a full-blown ghost story to break out. This isn’t the case, but certainly it is not the beautiful tribute to love and loss as it once seemed, and, without wanting to spoil too much, Done In begins to take a much more sinister turn, culminating in a wonderfully dark ending. Of course, a more cynical movie critic might take issue with an arguably cliché twist, but I couldn’t help but be won over by the film’s charming use of such a simple structure and its employment of generic conventions, stock characters and settings, and timeless themes. But ultimately, it is not the narrative that makes Done In, it’s Kelly’s command over tone; throughout the 8 minute runtime, the film walks a delicate tightrope, carefully balancing between nostalgia and sadness and all the while hinting at something much more sinister. This is to say nothing of Henry’s performance, which is similarly nuanced and delicate and the end result is, well, do yourself a favour and see for yourself, it’s only 8 minutes away.

★★★ Director: #SheikhShahnawaz Starring: #JamesBryhan, #CoreyThompson, #BenThorne and #NisaroKarim Short Film Review by: #BrianPenn The final 2018 offering from Sheikh Shahnawaz is a seven minute playlet called Trick. Leon (James Bryhan) is a loan shark in reflective mode. He sits musing while the kid (Corey Thompson) mixes and cuts a huge plate of cocaine. He relates the story of a stray cat that he once fed in an act of kindness; inevitably it kept returning in expectation of further treats. The fact that no good deed goes unpunished is a life lesson all too quickly learned by Leon, particularly in his line of business. Such lesson enters play when henchman Yuri (Nisaro Karim) produces customer Jimmy (Ben Thorne). Jimmy owes Leon money but wants more time to pay him back. In a fit of generosity Leon agrees Jimmy can pay him back at the end of the month. In the meantime, Leon asks Jimmy if he can show him a trick. A child like Jimmy naively agrees and settles down to watch the fun. It’s the old disappearing handkerchief routine. Leon produces the said item and runs through his best Paul Daniels routine. The handkerchief is passed around his audience to check there are no hidden devices. You sense the punchline isn’t far away as the tension methodically builds. Sure enough it arrives in the final frames and Jimmy is reminded of another magician’s trick: misdirection, always keep your eye on the ball, or in this case the handkerchief. As usual, Shahnawaz keeps a tight rein on the plotline and delivers the film’s message with economy and clarity. Having said that the film’s brevity is frustrating, and I certainly feel Leon as a character can be developed further. This movie review is longer than the script and I almost wish it was part of a bigger feature, just to see Leon develop in a more expansive storyline. It’s about time this talented director stretched out on a bigger budget. Watch the entire short film for free on the brand new UK Film Channel.

★★★★ Directed by: #BrianGianci, #ChrisShenkle Written by: #BrianGianci, #ChrisShenkle Starring: #BrianGianci, #ChrisShenkle, #CourtneyDesman Film Review by: #DarrenTilby This messy and tonally confused feature-length movie from the minds of Brian Gianci and Chris Shenkle struggles to find its niche as it toes-the-line between #comedy, #absurdity and obsession. But while messy it may be, what's left as the end credits roll is an unquestionably enjoyable and entertaining romp through the darker aspects of love. Timid Ernie Mills' (Brian Gianci) marriage is on the rocks. His wife, Joan (Courtney Desman), has neither time nor respect for her husband. Much of this tension stems, seemingly, from her husband's inability to kick-out his layabout step-brother, Kurt (Chris Shenkle). A rather unsavoury character and filmmaker by trade – although we get the feeling he's probably never actually made anything before – who has been "crashing" on the couple's sofa and making a mess of the house for quite some time. It's after another failed attempt at expelling his step-brother and in a moment of desperation to save his marriage that he and Kurt hatch a ludicrous plan – involving a yet to be tested on humans drug – to make Joan fall in love with him again. Our two leads (Ernie and Kurt) seem, at least on first impression, to be polar opposites of one another: Ernie is committed to his wife and the idea of family and comes off as instantly likeable, whilst Kurt refuses to commit to anything that doesn't benefit him and…well, isn't. However, as the film goes on – and due to some very nuanced character writing – this divide between the two characters begins to muddy. Performances from the two leads are very good and lead us through the film relatively well. But there's a whole host of colourful characters here to enjoy. Courtney Desman provides a solid and welcome grounding as Ernie's wife Joan, a woman at her wit’s end; and James Wirt is similarly brilliant as Joe Dingleman, a down on his luck real estate agent. The film rarely falters from a technical standpoint either. The #cinematography and soundtrack are adequate for the genre of film this is if a little unremarkable; but the editing (the star of the show) is absolutely sublime. It's with the plot and script writing we find issues. Put simply, the dialogue between the characters has a tendency to feel forced or unrealistic, which causes some of the jokes to fall flat (although it's worth noting most do land well). The other issue is with the film's tone; it just can't seem to decide what it wants to be. It flitters from #comedy to #thriller to almost having a #sciencefiction inflexion. Which isn't a problem if it's done correctly. Unfortunately, these tonal shifts don't make a lot of sense and can disrupt the flow of the movie at times. Neither of these problems was enough to ruin the movie for me though, and all in all, We'll Test it on Humans surprised me. It surprised me because not only is it capable of having these #comedic moments, and these strange moments of absolute absurdity, but it's also capable of intelligently examining that very fine line between genuine love and obsessive desire for self-gratification. This is a really well-crafted film which is deserving of your time. Watch the official #movietrailer below.

★★★★ Directed by: #AndyDodd Starring: #JayBryhan, #TerriDwyer, #AnthonyWebster, #BobSanderson and #CarolCummings Indie Film Review by: #BrianPenn I’m always been doubtful of films with a colon in the title: does it need that much explanation; it is just the title after all? No, this is different because it tells us a story almost by itself. The opening 60 seconds are a statement of intent as a bloodied woman is slowly dragged along the floor; we should, even at this early stage consider our spines lightly chilled. Lance Cooper (Jay Bryhan) awakes with serious wounds in a disused car park. Four mutilated victims are also found with no ready explanation of events. Cooper is questioned by Detective Inspector Hollie Andrews (Terri Dwyer) as the facts slowly unravel in flashback. Four weeks after the event Cooper is sufficiently recovered for interview but his recollection is sketchy. He recounts the trauma of losing daughter Jessica but not how he sustained physical injury. Andrews confronts Cooper with details of the victims; he only admits to meeting Michelle Laine (Carol Cummings) but denies all knowledge of Thomas Harris (Bob Sanderson). Psychiatric reports suggest he suffers periodic bouts of amnesia. A convenient shield for Cooper’s actions; or is he really the victim of an unknown assailant? He points the finger at one Stephen Lloyd (Anthony Webster), whom he mysteriously dubs the revenant. A long haired messianic figure, Lloyd claims he can heal Cooper’s grief. Flashback is one of the oldest cinematic techniques but director Andy Dodd makes it work in The Apostate: Call of the Revenant with razor sharp editing; the conflict of interrogation versus rampant terror. We are presented with alternative versions of the truth and characters walking a fine line between sanity and madness. Cooper plays manipulator against victim with such skill that Andrews cannot easily spot the join. As sole survivor there are no witnesses to contradict or tie him to a trail of destruction. Graphic scenes of violence are kept to a minimum and are all the more gripping when they do emerge; even so, a wounded Cooper trying to crawl away from a bloodstained axe is visually more shocking. Simple touches give the film a terrific edge, particularly Michelle in close up with her screams muted in horror. Terri Dwyer loses the Hollyoaks tag with a confident portrayal of the hard bitten detective. However, Jay Bryhan delivers a genuinely menacing performance as Cooper, and wins my vote as the bloke who’s pint you’d least like to spill.

★★ Directed by: #TateTaylor Written by: #ScottyLandes Starring: #OctaviaSpencer #DianaSilvers #JulietteLewis Film Review by #HopeMadden Oh my God, you guys. Did you know Tate Taylor directed the new Octavia Spencer horror flick, Ma? You know, Tate Taylor. Girl on a Train. Get On Up. The effing Help – that Tate Taylor. No wonder Octavia Spencer is in it, and God bless her for it because she commits to a role that, in other hands, could have been utterly, laughably predictable. In fact, were it not for a breathtakingly better-than-this-material cast, Ma would have devolved quickly into every other “get back at the popular kids – oh, wait, maybe let’s vilify and re-victimize the unpopular instead” horror. Spencer’s Sue Ann, or Ma, as the kids call her, is just an easy mark for teens wanting alcohol. Yes, she’ll buy it as long as you drink it at her house where she knows you’re safe. Does she have nefarious motives? She does. For her part, the Oscar-winner (for Taylor’s The Help) convinces, drawing both sympathy and fear. She’s joined in small roles by another Oscar winner (an almost jarringly funny Allison Janney) and an Oscar nominee (Juliette Lewis) as well as Luke Evans and a set of talented young actors led by Booksmart’s Diana Silvers. How on earth did this by-the-numbers outsider/don’t trust the lonely older lady #horror flick draw this cast?! I do not know, because Ma has nothing really new to say, so it relies in its entirety on this cast to entertain. But there are two reasons that this story and this particular cast are actually Ma’s problems. One is something that still surprises me about horror. On the whole, horror appeals to outcasts. And yet, from Carrie White to the coven in The Craft to Sue Ann in Ma, horror films reestablish the status quo by putting outcasts in their place. Sure, they get that grand few moments of terrorizing the beautiful, popular kids, but things end badly in horror movies for the outcast. Here’s what troubles me even more about Tate Taylor, and to a degree, Octavia Spencer films. (Note that Spencer executive produced the racially problematic and utterly mediocre Green Book.) Ma is racially tone deaf. I have no idea why this wealthy Southern white man insists on telling stories exclusively about African Americans, but he truly should not. A story that vilifies the lonely middle aged woman, seeing her as a broken psychotic based on her generally pathetic nature, is misogynistic. When this villain is also the only African American woman in the film, that problem is heightened dramatically. Don’t get me wrong—I am a fanatical horror fan, and when an Oscar-winner (and multiple nominee) chooses to star, let alone star as the villain (the most important character) in a horror film, I am all in. But this was the wrong movie.

★★ Directed by: Michael Dougherty Written by: #MichaelDougherty #ZachShields Starring: #VeraFarmiga #KyleChandler #MillieBobbyBrown #KenWatanabe Film Review by: #HopeMadden and #GeorgeWolf Must we destroy everything that challenges us, or is humanity’s only salvation an intentional and aggressive thinning of our herd? Or is there another way? Nope, this is not the plot of the last two Avengers movies. Well, I mean, it is, but it’s also the basic underpinning of the monster movie that has always had societal anxieties on its mind. Born in 1954 of a society reeling from nuclear annihilation, Godzilla was a parable of a world in need of a new god to save it from war and science. Sixty five years later, Godzilla: King of the Monsters recognizes that it’s not just the military and scientists who are destroying us. It’s all of us. Columbus, Ohio’s own Michael Dougherty (Trick r’ Treat) takes the reins of the king of all kaiju franchises, grounding tensions in family drama and bombarding the audience with monsters, explosions, nuclear monsters, nuclear explosions, good-sized leaps of logic and so much nonsensical dialog. Kyle Chandler is the handsome, damaged, underwhelming white guy at the center of things. Lucky, because the rest of the cast—primarily women and people of color—can’t quite figure out how to move forward without him to articulate the plan for them. They talk about it a lot, though. Even when machines are in the midst of exploding, someone has the good sense to tell us, "Something's wrong!" When people aren’t droning on with exposition and explanation, we’re treated to plenty monster on monster action—exactly what Gareth Edwards’s 2014 Godzilla did so well. Unfortunately, for all the very cool Titans that director/co-writer Dougherty has to work with, he can’t create a thrilling fight sequence. There are lots of loud noises, plenty of toothy close ups and bright lights galore, but as for distinguishable monster bodies following a logical battle trajectory – nope. In fact, repeated mentions of activity on "Skull Island" only remind you of the tonal and visual bullseye of Kong: Skull Island, a comparison that does not work in this Godzilla's favor. Longtime kaiju aficionados should appreciate Dougherty's clear respect for genre history - as well as Bear McCreary's wonderfully retro score - but this new King is just treading water. Watch the Godzilla: King of the Monsters movie trailer below.

★★★★★ Directed by: Rahul Sharma Written by: #RahulSharma Starring: #AmyLally, #JoanaVinogradoff, #ElsaHouben, #SalimBenmoussa, #MaiaAndriamandimby Short Film Review by: #ChrisOlson A mother and daughter road trip turns into a heartbreaking state of the French nation in short film The Binoculars (french title Une Paire De Jumelles) from writer/director Rahul Sharma. Amy Lally plays Cadence, a rebellious teen looking to avoid contact with her mother (Joana Vinogradoff) at all costs, even jumping out of cars in order to make a getaway. However, a road trip across France ensures Cadence will need to find other ways to escape. She has her binoculars with her and when the opportunity arises, Cadence makes another break for it into the midst of two Syrian refugees JoJo and Kara (Salim Benmoussa and Maia Andriamandimby) who are also escaping. Reminiscent of the spectacular short Samira, and gorgeously cinematic, The Binoculars has a picturesque quality to the visuals which is deeply satisfying, from the frenetic urban streets to the tranquil countryside. The relocation of the story from the city to the country is an important factor. It allowed the central characters to shed their petty everydayness and witness a more tragic situation without the baggage of life's distractions. The dialogue is sharp and often bereft of emotion, perfectly representing the central dynamic, a troubled mother-daughter chemistry. Lally is a great lead, allowing her character's petulance to morph into something more endearing when she comes across JoJo and Kara, dancing with the latter. Her opening sequences on a balcony with her friend Lily (Elsa Houben) were brilliantly cheeky. It is Vinogradoff who impresses most, though, with a thoughtful turn as the beleaguered mother and police officer whose desperation when Cadence goes missing is genuinely frightening. Salim Benmoussa and Maia Andriamandimby are also splendid in their roles, especially when JoJo comes face to face with Cadence's mother. It's a powerful story about growing pains and the fragility of familial bonds. The tenderness shown to two refugees living alone in the French woods is a harsh reminder of what we all take for granted and how devastating being separated from our loved ones could be. The symbolism of the binoculars is not accidental. On the one hand, a device to escape our reality and peek into new worlds, and on the other a way of finding what we have lost so we can make our way back before it's too late. Sometimes a short film comes along that would totally stand up to a feature length whilst still existing as a formidable piece of short #filmmaking. The Binoculars is such a movie. It felt as if there was more story here to be told but if this was all audiences receive, then we should be completely grateful for such an honest, thought provoking and affecting movie. Watch the official movie trailer for The Binoculars below.

★★★★ Director: #DexterFletcher Starring: #TaronEgerton, #JamieBell, #BryceDallasHoward, #StevenMackintosh, #GemmaJones, #StephenGraham and #RichardMadden Film Review by: #BrianPenn If a #biopic is film's equivalent to a tribute act in pop music then Rocketman contains elements of both; as Taron Egerton plays Elton John on a dazzling ride through success and excess. Whilst a broadly chronological account of Elton's life up to 1983; the film is framed like a musical with songs representing different stages in his life. The story begins with Elton stomping into rehab and declaring something of a full house: addicted to drugs, alcohol and sex with occasional bouts of bulimia thrown in, oh he also has issues with shopping. Elton reconnects with his younger self in the austerity of 1950s Britain and slowly begins to make sense of his life. We are quickly introduced to unemotional father Stanley (Steven Mackintosh), flirtatious mother Sheila (Bryce Dallas Howard) and affectionate granny Ivy (Gemma Jones). The template is set early on in Rocketman as the family join ensemble on I want love; a technique that works throughout, particularly with the strong narrative offered in each song. Key events in his early life are neatly tied up to form a storyline; his rejection of Reg Dwight in favour of a new ID; early gigs with Bluesology and touring with Wilson Pickett all lead to the big game changer; a meeting with music publisher Dick James (Stephen Graham) and eventual coupling with lyricist Bernie Taupin (Jamie Bell). His relationship with kindly James later crumbles as predatory manager John Reid (Richard Madden) looms into view. Like all biopics, the fast forward button has to be pushed at some point; six years between his breakthrough at the Troubadour and first number one with Kiki Dee was crammed into barely two minutes. This sharp piece of editing did however; make way for deeper analysis of Elton's relationships. His unrequited passion for Bernie Taupin; ill-fated marriage to Renate Blauel and corrosive affair with manager John Reid all help to explain a complex personality. The musical staging may grate on some but this is masterful storytelling in the hands of skilled director Dexter Fletcher. The fantasy sequences are beautifully shot and present one of life’s enduring questions: having lived our lives what would we say to our younger selves? An excellent cast find real empathy with the story and Taron Egerton has perfectly captured a persona without need for exaggeration. You sense a scriptwriter would struggle to create a character like Elton John; but sometimes the truth can be more gripping than any fiction we dare to dream. Watch the Rocketman movie trailer below.

★★★ Directed by: #JamesBushe Written by: #RichardLeeODonnell Starring: #DarrenSeanEnright #RichardLeeODonnell #ZaraPhythian #ChristopherWhitlow #DominicHolmes Indie Film Review by: #ChrisBuick Desperate for business and having landed a big job fitting carpets for an entire country manor, Cupid Carpets manager Nigel sends his best (and only) team out on the job in the middle of nowhere. But when the team arrive to get the job done, they unfortunately stumble into the domain of the horrifying Mrs. Hanning and her cannibal sons and find themselves fighting to stay off the menu Cannibals and Carpet Fitters started life as a short back in 2014, screening at Cannes, New York and LA, as well as picking up the “Dead Certs” best horror short award at the Leeds International #FilmFestival. Now, the team at Pretty Dead Pictures have added an extra hour to that original twenty minutes. Fun fact – I used to fit carpets in my youth with my dad. Hats off for the great level of detail in the various tools and supplies that reminded me of those earlier days as well as a carpet fitter mantra my dad would have been proud of. But there was - strangely – a distinct lack of carpet. Anyway, I digress. The setting of the manor house makes for a perfect stage for the chaos to unfold. The effects and gore used is of a decent standard and used well at key moments, also not as overly gratuitous as some entries in the genre tend to be to try and make an impact. There are a couple of genuine jump scares thrown in as well, along with some shocking moments you might not see coming. This film has clearly been brought together by a team of people who know, love and respect the genre but is not without its flaws. The opening ten minutes, which plays out like a rushed version of The Blair Witch Project, has some disorientating shaky cam. Most of the jokes are solid and will give you a good chuckle, but a handful do unfortunately seem to miss the mark. The film leans on its cast and the dynamics between the characters and there are several different levels of acting ability on display here. None of the characters seem really fleshed out or original, but in the end, you do find yourself rooting for them. The main standouts are Colin (Darren Sean Enright) and Dean (writer and producer Richard Lee O’Donnell), the power-duo of the original short and they are definitely the stars here as well. The back and forth between them provides some of the comedy highlights of film and you get the sense of a genuine bond and affection and between these two as well. Cannibals and Carpet Fitters is definitely what you would call a Ronseal film – you know what you are getting into right from the off. Inevitable comparisons will be made to other classics in the #horror-#comedy genre such as Shaun of the Dead and while it is nowhere near that level, this is clearly a passion project from lovers of the genre and as a result is something of an entertainingly and decent film that has all the hallmarks of becoming a cult classic.