★★★★ Directed by #PennyLane Written by #PennyLane Film Review by #HopeMadden Who’s up for a Satanic Temple recruitment video? If you’re thinking Christopher Lee and blood-drinking, virgin-sacrificing minions planning to summon demons forth and end humankind, well, you’re not alone. But you are off the mark. And while I’m not sure documentarian Penny Lane intended recruitment with her film Hail Satan?, it’s really hard not to find yourself rooting for this scrappy group of idealists. Lane and her subjects trace a brief history of Satanic grotesquerie in America. From Anton Lavey’s psychedelic Church of Satan (“a rat pack carnival”) to the “Satanic Panic” of the 80s and 90s through the abominable behavior inside the Catholic Church, the film notes how the devil has been used in American popular culture. But for TST, “Satanism” is simply a way to rework a pejorative term used historically to mark the outsider—a group to which members certainly relate. Lucien Greaves (a pseudonym) devoted himself to establishing The Satanic Temple as a simple societal outgrowth, a tumor, if you will, on the ass of a state of Christian theocracy he saw in our country. He doesn’t worship Satan. He doesn’t even believe in Satan. Greaves believes in the religious pluralism promised by the US Constitution, and what better way to convince a state house to remove its ten commandments statue than to insist on the erection of an 8 foot statue of Baphomet on the same lawn? Because, as far as the laws of the US are concerned, if you can’t have one, you can’t have the other. Lane documents the organization’s growth from theatrical political activist cell to global network of connected communities. Her wry delivery matches the sensibilities of the Satanists in question, but their outrage and their unexpected sense of community fuel the film. As Lane’s investigation uncovers, The Satanic Temple’s surprising surge in popularity owes itself not just to a citizenry troubled by a sudden swing toward theocracy. It’s also due to the organization’s ability to represents a unified voice for outcasts. Those very people most vilified by a conservative “Christian” point of view find acceptance here. And while there may be no better way for them to stick it to their oppressors, this is also their opportunity to make a difference. If the point of a documentary is to enlighten while it entertains, few docs have succeeded on both fronts as entirely as Hail Satan? In turns frustrating, funny and provocative, it is always a clear-eyed image of America as defined by our citizen’s imperative to challenge our government to better realize the ideals of our Constitution.

★★★★ Directed by #MadeleineOlnek Written by #MadeleineOlnek Starring #MollyShannon #SusanZiegler #AmySeimetz Film Review by #HopeMadden Here’s a fun trend in recent indie filmmaking: let’s revisit our historic “spinsters”, shall we? Craig William Macneill gave Lizzie Borden the treatment last year with Lizzie, offering a pretty speculative and yet decidedly clear-eyed plausibility. But Madeleine Olneck has actual history to back her up. Plumbing Harvard University Press’s stash of Emily Dickinson’s poems and letters, Olneck suggests a different, funnier, slyer image of the “recluse poet.” Wild Nights with Emily plays almost like an episode of Drunk History, although no one seems to be drunk. Olneck simulcasts two parallel retellings of the life of America’s most beloved female poet, and among its most beloved poets, regardless of sex. Wild Nights does not disregard sex, though. One storyline—the one you’ll recognize—is dictated by Mabel Todd (a delightful Amy Seimetz in a rare comedic performance). As she stands in her cotton candy pink dress and hat, she regales a rapt audience with stories of the Emily Dickinson she knew. Well, “knew” seems to be a strong word. Todd was, indeed, the first to publish Dickinson’s work aside from a stray newspaper editor here and there. And why was that? Because Dickinson was a recluse who shunned publication, as Todd defined it and history was so quick to embrace it? Or because Dickinson’s rule-defying work was ignored by the literary establishment of her time and because she shunned Todd? The offsetting narrative explores a different view of Dickinson, warmly and beautifully portrayed by Molly Shannon. Her relationship with lifelong friend, expert reader, fierce proponent and sister-in-law, Susan Gilbert (Susan Ziegler), fuels a poignant and funny story. Is a likelier reading of Dickinson’s work and letters that of a passionate, lifelong love affair with Gilbert? Olneck’s consistently entertaining narrative certainly believes so. This is a specifically political film, one that begs with outrage that we reexamine the stories we’ve been told about women in history—this one woman, in particular. It’s also a mash note to the breathtaking originality and talent of the poet, whose words flow through the film without burdening it by self-importance or pretentiousness. No, Olneck’s audacious wit and Ziegler and Shannon’s performances—alongside spot on comic turns from Seimetz, Brett Gelman, Jackie Monahan and Kevin Seal—guarantee the film never bends toward anything remotely stuffy. Instead, Wild Nights with Emily offers a refreshing and awfully entertaining new way of seeing an American treasure.

★★ Directed by #ZaraHayes Written by #ShaneAtkinson #ZaraHayes Starring #DianeKeaton #JackiWeaver #CeliaWeston #RheaPerlman #PamGrier Film Review by #ChristieRobb At a time when movies are pushing three hours, it feels weird to want one to run longer, but at just over an hour and a half, Poms feels way too short. It’s like a long SNL sketch. A female-centric comedy about a retired teacher aching for one last shot at her childhood dream of becoming a cheerleader seems like a good option for Mother’s Day weekend—especially for the Boomers and their kids. The cast looks solid: Diane Keaton, Jacki Weaver, Pam Grier, and Rhea Perlman. Poms coming “from the studio that brought you Bad Moms” appears promising. But it's all just perfunctory. Director Zara Hayes and writer Shane Atkinson, both TV veterans making feature debuts, introduce characters via montage and then give them little to do or say. People become strange antagonists, set on denying the senior cheerleading squad practice/performance time for no discernible reason. Folks burst into tears or have 180 degree shifts in perspective simply because the plot demands it. Still, Keaton’s performance of a woman striving to live in the moment while hiding terminal cancer is effective. The chemistry between Keaton’s snarky Martha and Jacki Weaver’s bubbly Sheryl is cute. And when they are performing, the women look like they are having a nice time. You just wish that there was more of a story there, more character development, more cheerleading even. The cast is way too good for this.

★★ Directed by #ChrisAddison Written by #StanleyShapiro #PaulHenning #DaleLauner #JacSchaeffer Starring #AnneHathaway #RebelWilson Film Review by #GeorgeWolf 1964's Bedtime Story begat 1988's Dirty Rotten Scoundrels and now, after begettin' a gender switch, the con is on again as The Hustle. This third time is not lucky, or charming, or funny. Mostly, it's just painful. Anne Hathaway is high-class grifter Josephine, who's wary of newcomer Penny (Rebel Wilson) trying to work the same bit of French Riviera turf. Josephine's attempts to drive Penny away go nowhere, so the two hatch a wager to decide just who will have to find new hunting grounds. Hathaway is a worthy Oscar winner, and though Wilson's pony could really use more tricks, she can be funny. What either one of them saw in this inane script is beyond me and beneath both of them. The film seems overly proud of itself for the girl power wokeness, while director Chris Addison bases the updated gags on such contorted silliness that when Penny exclaims "That makes zero sense!" it feels like we just learned the identity of Keyser Soze. If you've seen either of the first two go 'rounds, you already know how the con winds up, and it's never been less fun getting there. But if the heart of The Hustle is new to you, see steps one or two.

★★★★ Directed by: #RobertCairns Starring: #YiannisAlexiou, #JohannaTaylor, #LucaCalvani, #VenetiaGrivas, #ChrisKyriacou London Independent Film Festival Movie Review by: #FrederickRyde Poised: To weigh something by using a balance. Life is about balance; a balance of work and play, love and hatred, truth and deceit. It creates a bubble of comfort and protection around us. Poised exposes us to this unconscious emotional protection. Through the adaptation of a true and powerful story it demonstrates how, when these bubbles collide and fracture within the narrative of life, our balance can become corrupted by reality. Set in the bustling city of London, Aris, a gay occupational therapist discovers his life thrown off balance when his innocent love affair unravels into a far greater and consuming circumstance. Winner of Best LGBT Film at the London International Film Festival, Poised takes a fresh approach to homosexual relationships in film. Director, Robert Cairns, appears to avoid an emotive LGBT film, redefining the stereotype of the contemporary indie LGBT ‘genre’. The film celebrates the fluidity of love across gender, class and social status, but does not force this theme beyond the narrative. As such the film depicts the human condition and remains relatable and powerful to all. While indie stereotypes are used elsewhere within the film such as slow cinematic shots and significant contrasts of colour to differentiate mood, they remain complimentary to the experience. With varied pace and imagery, the film immerses us into the microcosmic narrative of a love triangle. However, through these contrasts Cairns demonstrates an ability to ground the delicate topic of love within a typical fast-paced urban environment. As such, the cinematography is well balanced with the narrative. Setting, style and narrative might bring this film close to home, but on occasion, non-diegetic music interferes. For instance, a somewhat bland but upbeat piano sounds as Richard (Luca Calvani) contemplates leaving his extremely sick wife, Anna (Johanna Taylor), at home alone. While this may appear a niggle in the grand context of the film, it dilutes the intensity of this scene and breaks our immersion. Consequently, we must again become immersed in the film which takes time and ultimately weakens the impact of following scenes. That said, the diegetic sound was indispensable to contextualise the narrative setting and mood. Yiannis Alexiou’s performance of Aris’ is convincing and appropriately layered. From Aris’ performances at his acting classes, his relationship with colleagues and patients, to his love affair with Richard, Alexiou’s executes a multidimensional character that realistically adapts to his environment. It was not surprising to learn that Alexiou’s is also credited for the screenplay which is equally layered and convincing. There is a rare fluidity between style, narrative and performance within Poised; realism created through clear interest and devotion by the partnership of Cairns’ and Alexiou. Poised is a sensitive and balanced story of love and heartbreak. While technical uncertainties may make an appearance, they are soon lost under the narrative weight. It explores places and paces, popping our bubbles and immersing us into the universality of love, and the human condition. It is a film about love, made with love, to be loved. Watch the official movie trailer for Poised below.

★★ Directed by: #MichaelTurnbull Written by: #BenAldis Starring: #HenryKamwenje, #JessieJones, #PippiChartres, #MeganMulheir, #DylannRudd, #AliciaPollard, #CharlieFeatherstonhaugh, #GabrielBowker, #TheoBurns, #LiamDooley Short Film Review by: #ChrisOlson Turning the streets of London into a game of cat and mouse, short film Empty Encounters, directed by Michael Turnbull and written by Ben Aldis is an atmospheric if clunky crime drama. Henry Kamwenje plays Spencer, an offish introvert who gets asked to locate a missing girl (Megan Mulheir) by her anxious friend (Pippi Chartres). As he traverses the city with a two hour deadline and comes across numerous and peculiar characters, Spencer starts to discover a world of loneliness and intrigue. Keeping a peppy pace and an immersive atmosphere, Turnbull harbours a knack for mood (see his impressive short The Sea Monsters Funeral). He extracates a decent performance from lead actor Henry Kamwenje, whose solitary search is mostly compelling. Regrettably, Empty Encounters is riddled with amateurish dialogue and enough crime cinema tropes to offend #GuyRitchie. It was filmed as part of the National Youth Film Academy, there was no budget and limited time (shooting took place over three and a half days) and for many of the cast and crew this was a starting point. Given the constraints, the attempt is not half bad and there are moments that worked - such as Spencer's repartee with a record shop worker (Jessie Jones) and his scenes with Pippi Chartres were tinged with emotion and poignancy. However, too many of the scenes felt like a school drama lesson whereby the students were forced to put something together quickly before they had to get to P.E. The #filmmakers utilise the city well, giving London its own sense of character within the story. There is a bold use of numerous locations given the budget, which would normally be a big mistake for newbies. However, with Empty Encounters, the plethora of places was instrumental in capturing the frenetic and chaotically charged tone of the plot. The score was dramatic and worked well to enhance the experience for the viewer. Rarely do these kinds of projects produce anything jaw dropping and Empty Encounters is no exception. The constrictions which are there to fine tune filmmakers of the future seem to stifle creativity at the most fundamental level - the writing. It will be interesting to see what Turnbull's next project is as well as the rest of the cast and crew, and here's hoping they all have a few more resources to play with. Watch the official movie trailer for Empty Encounters below.

★★★ Directed by: #LukeCouch Starring: #KatieHamiltonCooke, #AlexKenny, #MaryCouch and #NinaHontebeyrie Short Film Review by: #RachelPullen The Apocalypse is kind of lame. You can’t go to strip clubs or bowling, you can’t even buy sweet, sweet Belgium buns from our precious English institution Greggs. For the apocalypse means all the sexy ladies...dust, bowling lanes...dust... buns...dust, my sense of desire to eat anything but buns...dust. As well as the above there is also going to be the sense of loneliness, depending on what the wipeout was caused by it seems likely that loved ones are going to die, and we all at this point must learn to fight for ourselves and adapt to being by ourselves. Echoes is a #shortfilm following one young lady known as the Wanderer [played by Katie Hamilton-Cooke] who is navigating the new post apocalyptic world. She sees no one, talks to no one, she is completely isolated. She is absent from us also, as the viewer we never really see her identity, hidden by the wears that protect her from the new world, covered in her gas mask, she is a stranger to us, we lack human connection as much as she does, director Luke Couch allows the sense of isolation to ooze from this short. But, however alone we think we are there is always going to be another survivor, someone else around the corner and it’s not long before our young lady bumps into other folk who are trying to navigate themselves through this wasteland, it’s not long until we are made very aware that even our fellow citizen has now become a threat. With Echoes, Couch makes our invitation into this world personal and intimate, and despite the lack of connection we are allowed to make with any of the characters, we are still immersed into the world of the Wanderer. Using close up camerawork we feel like we are following her on her path, on her journey, and that connection draws us deeper into her world. Borderline a silent movie, Echoes draws from other films such as Here Alone, the female protagonist finding her way through the new world is something as an audience we have been exposed to before from storytellers and yet it still holds its own ground with unique touches, such as lack of dialogue. And so what can we take away from this week’s installment loyal reader, oh that’s right, don’t take the everyday for granted, and don’t ever think there is always a next time when you turn down an evening of bowling, strippers and Belgium buns to stay in and watch crappy Game of Thrones, because it could be your last.

★★ Directed by: #DomeKarukoski Starring: #NicholasHoult, #LilyCollins, #ColmMeaney, #DerekJacobi Film Review: by #BradyClark The potential of a film that explores the mind of J. R. R. Tolkien is very apparent. The celebrated writer is most noted for his tales of Middle Earth – The Lord of the Rings and The Hobbit – but Tolkien had the opportunity to educate a modern audience on the wisdom behind these spectacles: who and what may have influenced such epic tales. Unfortunately, the life behind the mind isn’t quite interesting enough for a captivating biopic, nor is the choice of lead appealing to carry a mediocre story. Historical accuracy is difficult to verify, since the Tolkien estate has issued a statement claiming no association with the film, despite having not watched it – so Tolkien had the misfortune of a controversial release. That’s not to say it couldn’t be great – most biopics dramatize in someway for the sake of creating an inspiring story and the subject’s family haven’t even denied the legitimacy. But this isn’t the real issue – Tolkien is lacking charisma and intelligence, the heart is all too forced and the central focuses are confused. Undoubtedly the most inspiring aspect of the story is Tolkien’s romance with Edith Pratt, and Lily Collins delivers an excellent performance, her strength as a diverse actress shining through. But this is limited by Hoult who tends to come across as bland, as though he is concentrating too hard on his lines – he is yet to provide a truly inspired performance and demonstrate his worthiness of being amongst the Hollywood elite. Tolkien’s experience of war and his time in the trenches is clearly an inspiration for the famous fictional battles that he invented, but the film doesn’t seem to deliver enough of his imaginative use with tragedy. A fever-induced dragon for 30 seconds is the extent of it, despite a trailer that implied more of an insight into a great man’s creativity. The parallels between Tolkien and his three school friends and the four Hobbits of LOTR, the ‘fellowship’, struggle to create the emotional impact Karukoski is intending, at least not until the final, post-war, act. Much is left unexplained, instead making way for the less-inspired story of Tolkien’s time as an Oxford student. A 6-film marathon of Jackson’s Middle Earth trilogy is far more appealing a sit-though than this misjudged biopic of the original author.

★★ Directed by: #JosephJohnson Starring: #AdjoaAndoh, #EdwardBluemel, #KevinDavey and #RhythmicCollision Short Film Review by: #BrianPenn House Finch is one of the more curious shorts to have been released in the last twelve months. It doesn’t have a storyline in the normal sense of the word; nor does it contain interaction that might begin to explain character motivation. Instead, it relies on a brief snapshot of a day in the life of a woman whose son has special needs. It’s difficult not to shrug your shoulders and say so what; what have I learnt, how have I been entertained? Penny (Adjoa Andoh) runs a class for adults with learning difficulties; and the landlord has told her she can no longer use their facilities. She trudges home to husband Kevin (Craig Davey); who seems more enthralled by a defective clock than Penny’s troubles. She finds a warmer response in son Jamie (Edward Bluemel), who has special needs although no proper explanation is given as to what his condition might be. Penny is frustrated by Kevin’s reticence and his lack of emotional support. One senses a back story but it never elaborates to anything meaningful. They hint at characters with issues but the viewer is none the wiser. There are random images which might represent a dream, subconscious thought or flashback; but then again maybe not. It’s deeply unfulfilling for the viewer and only made bearable by familiar faces from the small screen. Adjoa Andoh, star of Dr Who and Edward Bluemel of Killing Eve fame are both highly watchable. The essence of good storytelling is to make characters grow through a clear narrative. Maybe it was just too subtle and flew over my head, but I couldn’t find a story here.

★★★★ Directed by: #ToddHowe Starring: #WilliamMcCarthy, #EricSanderson, #RobertAllen Documentary Film Review by: #ChrisOlson Unvarnished, inspiring and heart achingly beautiful, Todd Howe’s lovingly delivered musical documentary RISE: The Story of Augustines is a tender tale of artistic struggle that pays tribute to the gnarly hardships that frontman William McCarthy endured. Told through his interviews and the familial recollections of McCarthy’s bandmates (Eric Sanderson, Robert Allen) and those who knew him and/or his brother James, the audience gets a VIP front row ticket to pure, life-affirming tragedy. Formal known as Pela, and then We Are Augustines, Augustines were/are a vibrant #indie rock band from Brooklyn, whose journey through the music industry was marred by false prophets, financial handicaps, and McCarthy’s personal devastation. His younger brother, James, was a drug addict who committed suicide in jail. The band’s cataclysm (artistically and emotionally) becomes the central point for Howe’s documentary, as James’ ghostlike presence shadows the life of Bill (as he is known) and those around him. Far from being the special feature on an Augustine’s record, RISE: The Story of Augustines has a serious amount of impact cinematically. Yes, the musical docu/#biopic trappings are all there (live performance footage, montages, talking heads) but the orchestration of the elements is so powerful that the sorrowful story of Bill and his brother is able to emerge with maximum impact. The result is a documentary that reverberates through the viewer’s soul, asking them to contemplate the meaning of love, life, and music. Howe, coming from a musical background himself (see the wonderful back catalogue of The Boxer Rebellion albums which he played guitar on), is able to find the nuances in what the others are saying about Bill, and how this would have impacted someone with a musician’s brain. The crushing impact of James’ death was felt not only by his sibling, but those who were close to Bill. Eric (the band’s multi instrumentalist) recalls a period where his future as a musician seemed to have been swept away from him, his loss of identity becoming a cruel side-effect of life’s nastiness. There is also an interesting idea about the delicate balance between artistic truth and the exploitation of someone else's misery, with Bill unsure whether he could record the anguish inside of him in case he was seen as exploiting his brother. The film utilises a plethora of performances where McCarthy’s huge presence, stage trashing and growling vocals contribute to this sense of raw suffering he experiences. The movie does become a showcase of the band’s great musical material, and with Howe even featuring within the film, it’s not possible to say that this is an impartial take on the journey (rarely are musical documentaries unbiased) but there is an undeniable authenticity to the piece that transcends the typically granular dissection of a band’s history and immerses its viewer in something far more meaningful and moving. Like a Les Paul to the lungs, Howe’s #documentary goes for the jugular when it comes to emotive #filmmaking. His technical precision and penchant for layered, devastating storytelling mark him as a cinematic standout for the future but this is McCarthy’s show through and through. The crushing effect of seeing so much of one person’s bludgeoned soul and his candid revelations makes this a most memorable and transfixing watch. Watch the movie trailer for RISE: The Story of Augustines below.

★★★ Directed by: #JohnRLeonetti Written by: #CareyVanDyke, #ShaneVanDyke, #TimLennon (novel) Starring: #StanleyTucci, #KiernanShipka, #MirandaOtto, #KateTrotter, #JohnCorbett, #KyleBreitkopf, #DempseyBryk, #BillyMacLellan Netflix Film Review by: #ChrisOlson Imagine a story where a family is attempting to survive the outbreak of a vicious creature that hunts anything that makes noise. Yep, that's the premise of A Quiet Place. But it's also the premise of new #Netflix movie The Silence, where instead of quick-limbed monsters scuttling across the ground, it's bat-like pests flying in from the sky. Stanley Tucci heads the family in The Silence but it's his character's daughter Ally (a terrific Kiernan Shipka) who takes centre stage. Having lost her hearing several years ago, she has already adapted to a world without noise, as did her family who can now use sign language. When the outbreak of these decibel dementors occurs, the family pack up and attempt to flee, only to be scuppered by traffic, steep verges, and Nana's medical conditions (Kate Trotter). Whilst this apocalyptic disaster movie shares a lot of DNA with #JohnKrasinski's flawless masterpiece, The Silence also borrows from other classic movies, such as #AlfredHitchcock's The Birds and #FrankMarshall's Arachnophobia (I still can't stand spiders, scarred for life). There is even a little of #MNightShyamalan's 2008 The Happening, of which The Silence is probably most comfortable being mentioned with, in terms of cinematic pedigree. It's clunky and contrived fare but not without its thrills. A sequence involving a woodchipper was splendid and the atmosphere was well curated by director John R. Leonetti. The family chemistry was particularly enthralling, with Lord of the Rings veteran Miranda Otto giving a memorable turn as the mother and newcomer Kyle Breitkopf falling in as the son. The movie's thematic thuggishness cannot be missed. This is a film telling the audience to buck up their ideas and change their ways otherwise mother nature is gonna lay a smackdown. And this is fine until you consider the odd plot twist in the final third (which I won't spoil) which I assume comes from Tim Lennon's novel of which the Netflix movie is based on. This pretty much derails the film and parks it squarely in the camp with all the other forgettable #dystopian output. Pray silence for Tucci (as glorious as ever) and his band of worthy family members and keep schtum for their great chemistry and performances, but make a clangor about the formulaic plot, the unoriginality, and that unspeakable story development involving Billy MacLellan.

Film Festivals > Press Releases UK sales outfit SC Films International has boarded international rights to the North American horror/thriller ALIVE from genre director Rob Grant (Harpoon). In ALIVE, a severely injured man and woman awake in an abandoned sanitarium only to discover that a sadistic caretaker holds the keys to their freedom and the horrific answers as to their real identity. Rising stars #ThomasCocquerel (Table 19, In Like Flynn) and #CamilleStopps (TV’s The Strain) play the embattled patients with industry stalwart Angus Macfadyen (Saw III + IV, Braveheart) assuming the mantle of the barbaric captor. ALIVE’s hyper realistic practical effects come from veteran prosthetic talent David Trainor and the film’s unsettling atmosphere is courtesy of production designer Bobby Vanowen. Both provided their services to the hit #Netflix series Black Summer. Chuck McCue and #JulesVincent penned the screenplay and also produce alongside Lars Lehmann (Knuckleball) and Michael Peterson (Harpoon). The UK and Ireland will be distributed by Blue Finch Films as part of a growing slate of festival driven genre titles including SXSW midnighter Body At Brighton Rock and Venice 2018 title Dachra. The North American deal will be announced imminently. Chuck McCue and Jules Vincent comment: “We’re thrilled to team up for SC Films and couldn’t be happier to launch ALIVE internationally at Cannes. We believe SC Films’ stellar reputation will help drive the films’ international reception.” Rob Grant, the director, states: “It’s awesome to be included on SC Films and Blue Finch Films’ upcoming slate. I look forward to hearing more audience reaction to this chilling film.” Simon Crowe, CEO of SC Films adds: “Rob Grant is a bold new voice in genre #filmmaking and we’re thrilled to be adding ALIVE to our slate for Cannes.” SC Films’ live-action slate includes the Australian sci-fi THE DUST WALKER which is screening at the Marché du Film. Animation titles include DRAGONKEEPER, NEIGHBORHOOD PET WATCH and WHERE’S SANTA? Read the UK Film Review movie review of Alive here.