★★★ Directed by #JustinKelly Written by #JustinKelly #SavannahKnoop Starring #KristenStewart #LauraDern Film Review by #HopeMadden Do you remember the JT LeRoy hubbub? Maybe you confuse it with the similar hullaballoo surrounding James Frey, author of A Million Little Pieces, the memoir that turned out to be highly fictional? Please don’t. LeRoy’s bizarre fake nonfiction and ensuing scandal is so much more interesting. Jeremiah Terminator LeRoy is a hoax perpetrated on an almost grotesquely willing public. Laura Albert, a frustrated writer, master manipulator and likely sufferer of mental health issues, invented LeRoy. More than the nom de plume used to pen Sarah and The Heart Is Deceitful Above All Things, LeRoy became Albert’s literary persona. Albert herself didn’t exist in this world. She became LeRoy, the writer of lurid “autobiographical” pieces that, together with a mysterious nature, won the hearts of readers, media and celebrities alike. In fact, Jeremiah Terminator LeRoy became so popular that he had no choice but to show his nonexistent face. Enter Albert’s sister-in-law, Savannah Knoop. The weird true-life tale of LeRoy’s fake-life tale has been documented twice in works of nonfiction (the documentaries The Cult of JT LeRoy and Author: The JT LeRoy Story, both worth viewing). Director Justin Kelly is the first to make fiction of the fiction with his aptly cast film, J.T. LeRoy. Though the film doesn’t offer a great deal of insight beyond what you can glean from the two documentaries, it takes Knoop’s point of view for a refreshing change of pace. But its real strength is the film’s cast. Kristen Stewart makes the ideal choice to play Savanna/JT. Effortlessly androgynous, moody, sensual and conflicted, Stewart gives the character a vulnerable center, balancing Knoop’s motivation between a sense of duty to Albert and a personal longing for artistic expression. Naturally, Laura Dern shines, stealing scenes and oscillating between free spirit and opportunist. She does a fine job of illustrating Abbot’s view of creating this other personality who can take on her own pain, can amplify that pain and turn it into both an escape and art. At the same time, Dern’s the schemer, the survivor manipulating those around her. It’s interesting the way the veteran character actor weaves between artist and manipulator in a context that questions the difference between fiction and fraud. The two leads become a great point/counter point and the film is strongest in their shared scenes. When JT wanders off alone, burdened by puppy love or struggling to keep up a persona of another’s creation, a certain spark goes out. That’s not to say that the balance of the cast falters. Diane Kruger is particularly slippery as Eva, a thinly veiled version of Asia Argento. But as intriguing as her interplay is with JT, you miss the constant push and pull of wills when Stewart and Dern work off each other.

★★★ Directed by #RobertBudreau Written by #RobertBudreau Starring #EthanHawke #NoomiRapace #MarkStrong Film Review by #HopeMadden It’s amazing to think that a film has never been made of the heist that created the term “Stockholm Syndrome.” Well, writer/director Robert Budreau has rectified this situation with his Ethan Hawke-led semi comedy, Stockholm. Hawke, who starred in Budreau’s 2015 Chet Baker biopic Born to Be Blue, plays Lars Nystrom. A bewigged bandit, Nystrom concocts a 1973 bank heist with different goals than your traditional smash and grab. By taking a couple of hostages, Lars hopes to win the freedom of his best friend, imprisoned bank robber Gunnar Sorensson (Mark Strong). The always-welcome Strong creates a tender and level-headed counterpoint to Hawke’s endearing, idealistic dumbass. The lead wheel to the film’s cinematic tricycle comes from the quietly powerful work of Noomi Rapace (the original Girl with the Dragon Tattoo). Playing Bianca Lind, one of Nystrom’s hostages, Rapace’s plaintive performance suggests a character who relies on observation and personal judgment. Never showy, Rapace becomes the gravitational force that tethers flighty characters and wild antics to a realistic foundation. Budreau seems to be asking himself how it’s possible for captives to choose to side with their captors. Credit the filmmaker for avoiding the pitfall of casting the authorities as one-dimensional bullies or buffoons. Christopher Heyerdahl is particularly effective as Chief Mattsson, a good man who's n a bit over his head. Stockholm’s greatest strength, besides the understated playfulness of its cast, is the light touch Budreau brings to presenting the two sides of the standoff. And yet, in the end, he ensures that we the audience do, indeed, feel more compelled by the outlaws. It’s a subtle act of manipulation perpetrated by Budreau, but not so terrible as to sink the film. The filmmaker’s real miss is in his superficial look at the environment within the vault that brought the captives and captors together. Thanks to a fine cast that's able to toe Budreau's unusual line between comedy and drama, though, you'll find yourself strangely fond of everyone involved.

★★★★★ Directed by: Seth Whitehurst Animated by: #SethWhitehurst Starring: #JacobWilcox, #EricKreiger Animated Film Review by: #RachelPullen Let’s be honest, who has not thought about playing the old murder game from time to time? Be it an annoying boss, an ex, or that person in front of you at Greggs who brought the lass Belgium Bun that you really wanted? Yeah, I’ve wanted to murder them and take that precious sugary bun back a million times...I think I really like Belgium Buns. Point being we have all thought about it, but most of us have resisted the urge to get our stab on, and returned to suppressing our range deep inside, letting it eat away at our soul. But what about those who don’t, those who choose to rise to the challenge and kill? Existence on Earth is a collection of #animated short movies that focus around murder, each exploring the different drives and outcomes that come with losing your cool and getting your rage face on. Alas, no one tackled the challenging Greggs/Belgium Bun scenario, maybe mainstream America is just not ready for such a tale, plus they don’t know what Greggs is...Atlantic differences. Existence on Earth is released by a company called Shadow Puppet Horror, which keeps the running #animation theme throughout, a unique style that brought a lot to this piece of work. It is exactly what you expect, drawing the aesthetic from the old fashion style of paper cut puppets, illuminated by lights to create shadows on a decorated backdrop. Animator Seth Whitehurst brings his A-game to the short, using contrasting bright colours for the characters, juxtaposition against detailed, yet bleakly stylised backdrops, creating a interesting sense of isolation for the characters. No one really feels connected to their surroundings, an emotion that many may feel as they move into the part of their mind that allows them to commit a killing. The idea of using shadow puppets to tackle dark subjects such as murder is an interesting one, for we as an audience have very little physical attributes to connect with in regards to the characters on screen. You are completely stripped of any kind of distraction, it’s just you the viewer and the story on screen, no looking at the beautiful locations being used, the costumes or judging which of the cast you think is hot...this is stripped back, bare and raw. As for the stories themselves, they tackle a wide range of subjects, each in their own way, interconnecting with each other, but overall teaching us that no bad deed goes unpunished, and we are always being judged, either by someone else or by ourselves, just which one is the worst critic? Clearly not me ...I’m a film critic; I don’t care what evil you do in your life, just don’t make a bad movie. Existence on Earth is unnerving, unforgiving, but never not compelling, each storyline keeps you gripped, on the edge of your seat, its visuals, while simple are still effective and sometimes distressing, but maybe not if your colour blind, for any #horror fan of the compilation horrors such as A to Z of Death or VHS this is a must watch.

★★★★★ Directed by: #AnthonyRusso, #JoeRusso Produced by: #KevinFeige Starring: #RobertDowneyJr., #ChrisEvans, #ChrisHemsworth, #ScarlettJohansson, #JoshBrolin Film Review by: #BradyClark It was a big ask to pull this off. 11 years. 22 films. More beloved characters to reconcile than it seemed possible. Is Avengers: Endgame the Russo masterstroke every #Marvel fan has spent the last 12 months praying for it to be? You bet. In every way. Infinity War saw our heroes reduced to a considerably small number as big bad scrotum-chinned Thanos wiped out half of all life in the universe. The line-up for Endgame was unapologetically whittled down to the originals and a select few others (thank Odin’s beard we get to see Paul Rudd’s Ant-Man back on the team). The Avengers are beaten and broken, stuck between acceptance and hope, but in coming together once more, they choose to focus on the latter of these. Their mission? To bring back those they lost by any means – whatever it takes! Avengers: Endgame is fiercely funny, emotional, but beyond all…clever. The more you consider what the Russo brothers have ‘assembled’, the clearer it becomes that the film is intricate, meticulously designed and downright genius. Much of what it means to be a superhero film in 2019 is predictability – but between IW and Endgame the rulebook seems to have been thrown out of the window and the result is beyond testament to the risks taken. The first half hour seems to rush through necessity and eliminate the risk of repetitiveness – it settles the audience into a new normal and prepares them for the continued fast pace of the remainder. Past this, we are treated to Iron Man, Cap, Thor, Hulk and co at their most watchable – even after all this time. Standout performances seem almost unfair owing to the lack of a weak link and the competitive screen-time, even though it’s a whopping (and seemingly still too short) 3 hours. But it must be said the reasoning behind the MCU’s reliance on Robert Downey Jr. and Chris Evans as their flagship heroes, Iron Man and Captain America, has never been more apparent. They are the heart, they are the humour. They are the embodiment of the Avengers. Brolin’s returning Thanos is as tyrannical and frightening as ever. Brie Larson’s new addition, Captain Marvel, inserts herself into the team nicely but not overbearingly so. The seemingly strange remnants of the Guardians of the Galaxy, Nebula (Karen Gillan) and Rocket (Bradley Cooper), are no accident. Endgame was always going to be defined by the strength of it’s long-standing characters and the ability of the directors to provide satisfactory conclusions to all of the unexpected and brilliant relationships that have been developed over the last decade. Fans have been very vocal about what is and isn’t acceptable. But it is no slight to say that the Russo brothers leave fan theories in the dirt, bypassing them with their own Marvel magic and jaw-dropping moments. They are respectful to what has come before, whilst not-so-subtly hinting where the future of the franchise lies. You will laugh, you will cry, you will cheer. You will want to do it all again. Watch the Avengers: Endgame movie trailer below.

★★ Directed by: #MichaelPNoens Written by: Michael P. Noens Starring: #AnnieRix, #CatyGordon, #SteveCoulter Indie Film Review by: #JackCameron Beautiful Brooke is one of those romantic films that don't worry too much about the actual falling in love part. Free from the many tropes of the genre these types of films focus more on the people who fall in love. More specifically; why they do it; how they do it; and whether or not they deserve it. Opening with Brooke (Annie Rix) being dumped we then follow her as she goes bar hopping and eventually realising she needs to revisit all her ex-boyfriends to understand why love doesn't work for her. In its set up Beautiful Brooke has a lot in common with High Fidelity. Both films open with a dumping and over the course of the films have their characters explore their past, neither showing them in a good light, so by the end they succeed by gaining the audience forgiveness and respect rather than the love of their lives. Straight away Beautiful Brooke has a challenge in winning over the audience to its lead from the ground up when so many other films in this genre try and make the audience like the character from the first shot. Annie Rix gives a really solid performance: in her hands Brooke is a temperamental, funny and sympathetic character. The script and the direction, however, gets confused about the desired tone and it loses the depth that a story like this needs. Written and Directed by Michael P. Noens, who has a cast that really works well for him, the film falters between realism for the sad bits and leftfield humour for the not-so-sad bits. Some of Brooke's ex-boyfriends are a little weird, this is fine, but after Brooke appears so serious about her task her actual encounters are directed with a cartoonishness that belong to a very different film. In fact, nearly all the male characters are seen as some kind of caricature or existing at the extreme end of an emotional spectrum. Not only does this weaken Brooke's mission it also butchers the overarching narrative because this feels more like a series of bits rather than a journey. The script itself doesn't seem to have the confidence to relate the subtleties that are supposed to be coming from the direction. Every character speaks with an exaggerated bravado using only idioms and quips and the entire atmosphere starts to feel off-kilter. There is no depth to these characters save for non-verbal moments from the actors but it's not enough to make us engage with them instead we just watch while the movie plays. There is a good intention behind this film and it follows a structure that allows for new ideas to be explored, it's a shame that the most it achieves are bringing these ideas up and letting them hang in the air. In its concluding moments it does take a direction that is not often seen and, despite the comparisons to High Fidelity, it does try to be its own film. Unfortunately, it gets confused about how to tell its story and it also doesn't tell it very well; Brooke's visits start to strangely feel like the exposition scenes in blockbusters moving from scene to scene gathering a little information here and there and building up to a finale. By the conclusion we're happy that Brooke is happy, but none the wiser to who she is or what makes her happy. Annie Rix, Caty Gordon, and the supporting cast carry the film forward but when their job is done the film has not left us with much else.

★★★★ Directed by: Nathan Deming Written by: #LawrieDoran #NathanDeming Starring: #ScottHennelly #TylerEsselman #WilliamWalton Indie Film Review by: #ChrisBuick There is a lot to be said for the power of religion; it can bring great comfort to people suffering through grief and pain, it can also give others a sense of purpose or something to live for, and these people can become great leaders and role models. But indie movie Speaking in Tongues looks at how these groups can use their position to shape others who are vulnerable and how certain religious beliefs might conflict with modern society. Jake (Scott Hennelly) is a young man at college, still undecided on what his studies will be while also mourning the recent loss of his mother. His father, although he means well, is unable to connect with Jake on any emotional level that he needs. Thus, Jake has become lonely, suffering from depression and anxiety. One day however, he finds solace in a new Christian mega-church called Bright Horizons where he is baptised, and which seems to help him find new purpose in life. Shortly after joining, Jake is approached by a young pastor named Eli (Tyler Esselman) from the church who offers Jake a summer internship in Chicago working for Bright Horizons, helping it to expand in new areas and recruit new members. Excited to be a part of something, Jake agrees, and heads to Chicago, leaving college and his father behind. But after a while he soon realises that this internship will test his allegiance to the church but also bring about a battle with his own morals and beliefs. The film itself takes a minute or two to get going, but ultimately finds a strong, steady pace shortly after which maintains throughout. Two things are clear in this movie, firstly that the script is very well written; there is no heavy-handed or jarring dialogue and a lot of the time the film allows the expressions from the actors to say more than words could, which is refreshing to watch. Secondly, it’s clear that Deming is a very capable #filmmaker, being respectful of the theme of the film, which to him is personal, and balancing the perspectives of these kinds of groups from both inside and out. The acting standard in this #indiefilm is very high across the board. From Scott Hennelly we can easily see the deep sadness Jake is shouldering as he still deals with his mothers’ death, as well how alienated he must feel as a stranger in a strange city. Esselman is the captivating pastor that he needs to be to keep his flock onside, leading them in their motivational sermons and keeping them on the right track with the right words at the right time. All of this is rounded off by the rest of the congregation, who don’t over-dramatise their parts to the point of zealousness. Based on experiences from the director himself, Speaking in Tongues manages to not be overly critical of religion as a whole, but rather the way that these mega-churches can take advantage of and manipulate young, vulnerable minds. Jake is clearly looking for answers anywhere he can find them after his mothers passing, and the church is more than willing to use that to their advantage. While it tries not to force its own opinions on the audience, leaving people to make up their own minds on this subject matter, Speaking in Tongues is an honest and well-told account of what life can be like being a part of one of these movements.

★★ Directed by: #MichaelCoulombe Starring: #KaraSchaaf, #TylerGallant Short Film Review by: #FrederickRyde Bad boy meets badder girl. Stalk excites the cult of 1960s #horror with the nocturnal activities of fantasy beasts. Vintage horror is a style award winning director Michael Coulombe is familiar, pairing with writer Brantley J. Brown to establish Horror House Media. The short film begins as an experience; the stalking of a stalker through his own eyes, as he stalks a victim through a suburb at night. The opening POV shot brilliantly encompasses this narrative riddle as the stalker lights a cigarette and tears down a missing poster. It hooks us into a midnight hunt through the eyes of a psychopath. Without the need of dialogue, and with little action, the shot powerfully communicates the eponymous character’s carnal intent. This opening shot is boldly reminiscent of the opening shot of Gasper Noé’s Enter The Void (2010), and is nonetheless effective. Set with high hopes, the hunt begins. The cinematographic style disintegrates into mostly bland, ordinary shots depicting the two characters walking across a pavement; which accounts for much of the film. Consequently, our experience deviates, and we no longer participate in stalking the victim or stalker. Instead we lose our sense of vulnerability and become omniscient spectators. Narrative replaces experience. The stalker, wielding an oversized knife stolen from a slasher set, and looking somewhat like Hannibal Lecter, limps after his prey. Tension builds. It captivates our imagination and fear and distracts us from the transition from experience to narrative. The sound is effective at developing tension and reminiscent of the slasher genre. But as the stalker limps on, and on, and on, the tension begins to fray, and eventually it snaps. The sound becomes overused which dilutes its purpose and the narrative stretches too far with too little action. While we remain hooked on what will eventually happen to Vanessa, the prey, the long journey soon outweighs the destination. Vanessa, played flawlessly by Kara Schaaf, is both convincing and relatable. Schaaf’s natural performance displays that uneasy feeling when walking home late at night – the feeling of being watched or followed. This ‘badder girl’ brilliantly contrasts the character the victim with the predator. She reminds us of the human experience in such situations, with the grotesque stalker perhaps a metaphor for reasonable anxiety in such a situation. Schaaf executes a cheesy ending with a cheesy performance and therefore compliments the narrative as fluidly as humanly possible. Stalk is not your contemporary horror film. It is a blast from the past, and about as fast. Its twist is refreshing and subjective, perhaps even goofy, though it takes some work to get there. It is a fun film of artistic experiments and demonstrates cinematographic potential.

★★★★★ Directed by: #WilhelmKuhn Written by: #WilhelmKuhn Starring: #SimonRoyer, #MarieStéphaneCattaneo Film Review by: #DarrenTilby Wilhelm Kuhn's short film, The Nephew (Le Neveu), is a French-noir drama, full of cynicism and moral ambiguity; classic noir ingredients. A film which takes the coming-of-age genre and turns it on its head. Set in 1945, it sees a young man’s adolescent innocence and naivety pitted against the uncaring and coldly harsh nature of the adult world; in a country struggling to rebuild itself in the wake of a devastating war. 1945, and World War 2 is finally over. France has played host to some of the most hard-fought battles of the war, and seen countless armies fight across its fields and towns for the better part of 6-years: the ruination wrought, not only to its landscape and cities but also its population is, for most, unimaginable. It’s in post-war France, during this time of reconstruction, that we’re introduced to Louis (Simon Royer); a 15-year-old whose uncle (Laurent Le Doyen) has decided it’s time for him to ‘become a man’. And whilst buying your nephew his first beer may seem like a normal thing to do, leaving him at a brothel – having paid for the services of a prostitute – is not. Céline is that prostitute. And she’s played to perfection by Marie-Stéphane Cattaneo, whose performance is as beguiling as it is enigmatic. Conversely, Royer’s performance as Louis is as straight-laced as they come and oozes in naive morality, but is no less spectacular. The Nephew is an incredibly well-acted movie all round: outstanding central performances are bolstered by an equally impressive supporting cast; all of whom deliver their lines impeccably and impart upon their characters distinctive traits that really set them apart. These performances are underpinned by Wilhelm Kuhn’s excellent direction and scriptwriting, which is full of rich and well-written dialogue. Andrea Boccadoro’s score provides a deeply affecting accompaniment to the already intense melancholia of the film’s mood, whilst Ahmed El Lozy’s superbly understated cinematography radiates with brilliance. Truly, this is an exquisite looking and expertly scored piece of film-making. A Quintessentially French film, it brims with the confidence and sensuality we've come to expect of French cinema. The rather forthright attitude to its subject matter – in this case, sex – can make us Brits more than a little uncomfortable at times. But it’s also this level of sincerity and the unflinching style of film-making that draws us in and has us coming back for more. It's great to see French films doing so well of late. Big screen hits like Revenge, Raw, My Life as a Courgette and The Red Turtle, is proof that French cinema is still more than capable of holding its own at the box office, against not only domestic releases but also large Hollywood productions. And it would seem, with films like this one, that the French are also capable of dominating the short and indie scene too. Film-making of the highest calibre, don't miss it.

★★★★ Directed by: William Stone Written by: #AdamPickford, #WilliamStone Starring: #JoeAshman, #ConorHartnett Short Film Review by: #RyanMarsh Normandy, 1944. A firefight breaks out between two soldiers on the grounds of an abandoned manor. Ironically, The Manor’s strengths and weaknesses rests on its similarities to war epics like Saving Private Ryan. The German (Joe Ashman) and American (Conor Hartnett) soldiers in the film are astoundingly cast by Gabriele Farinella. The two actors exist between looking too young to die and psychologically aged from the horrors they have witnessed. Ashman and Hartnett perform with facial expressions and body language instead of dialogue. The German is portrayed with pathos because he is protecting a satchel containing the belongings of a dead fellow soldier. The American resembles Don McCullin’s photograph of a shell-shocked soldier. Overall, there is exhaustion on their faces. Idan Itzhayek’s strong score works in time to the characters’ movements. Fast-paced strings grace a chase sequence which ceases when the German dives for cover and there are short, subtle notes when he is sneaking around. The score is also occasionally absent such as right before the battle in which it adds to an almost jump scare-like moment and later on when the German observes his target from within the manor. During the climax, a choir and horns emphasise the horror which lead to sad strings at the end. Itzhayek successfully helps to deliver the story and emotion. William Stone’s, Adam Pickford’s and James McKeever’s positive editing shows a character’s intention and aim through their point of view like the American watching the manor or the German spotting the satchel. Other examples include the gentle fade-in of the opening, wide shots establishing locations and lengthy close-ups of important objects. In contrast, action scenes are quickly cut together without appearing nauseous. At the end, there is a slow fade-out that stylistically brings the film full circle. Stone’s and Pickford’s script is a lesson in not needing dialogue (this connotes the moment of silence for remembrance) whilst keeping the shootout interesting. It wisely begins with exposition before following the German’s satchel. The narrative is bookended by the makeshift cemetery to suggest a cycle of violence. Pickford’s cinematography captures bleakness with strong lighting. There are motifs like the soldier’s iconic silhouette, a shovel striking dirt as a grave is dug in a poppy field or the sight of blood on a flower that signifies war ruining peace. Will Todd’s chosen location looks convincing as Normandy and both abandoned structures show war’s disregard for history. More of the manor’s interior would have been nice, but considering the size restrictions, the location works well. Unlike the “HELL YEAH ‘MERICA!” patriotism of Pearl Harbor, this film carries substance such as humanising a German soldier. There is also the idea that the satchel embodies a burden to be carried by the soldier responsible for the death of a colleague or enemy. The Manor is amazing because, other than its emotional resonance, it could quite easily be mistaken for a big budget production. The war is depicted tastefully with attention to detail in aspects such as uniforms, its young actors provide a sense of realism and it potentially stands out because of its German protagonist. However, it arguably simplifies the war what with no English, French, etc. and there are inaccuracies such as fingers on triggers when guns are not fired. Fortunately, any other arguments made would only be nit-picks because the successes outweigh the failures. Therefore, there is hope that the cast and crew go on to bigger projects because their influence would benefit the film industry.

★★★★ Directed by: #BorjaMoreno Written by: Borja Moreno Starring #EianOBrien, #NicoleCoulon, #DustinPewitt, #CarolElaineCyr, #DanielJSilva, #RachelPollack Short Film Review by #JackBottomley Sometimes dreams don’t measure up to reality. I’m sure there are many out there, in fact some of you reading this very review, that have aspired to a certain profession or worked towards a goal, only to find that it was not what you had hoped it would be. There is something very dispiriting about it, perhaps this is why film and TV when covering this, opts to have a happy resolution come out of stories of such ilk. Very rare it is that you have a story that touches on these falsehoods and let downs of “making it”, that realistically plays out but Everybody Knows is one such story and writer/director #BorjaMoreno captures very thoroughly that feeling of achieving stardom only to find that it’s not all it is cracked up to be. The plot centres on Howie (#EianOBrien), a former music star who left his coastal Northern California home years ago to achieve a degree of fame as a music star. However, Howie now finds himself mourning a missed opportunity of his past, as he struggles to get his own voice heard in an industry that demands him to just go “back to the covers”. So, he heads home, perhaps hoping to rekindle a former spark that haunts him to this day and perhaps in the process find a way forward in life. While slow in parts, Moreno’s story is a very relatable one and the director does not take it easy on the audience in showing us a very un-Hollywood view of stardom and an artist in crisis. Like this years #CanYouEverForgiveMe to some extent (if you have not seen that film I urge you to do so, it is one of the years best) in depicting the pressures and hardships of an industry, this film does not go into things quite as deeply as it could but still shows us a very honest portrait of a former star fading into the backdrop of the industry, playing to near empty bars of courting couples and snoozing drunks. The title takes its name from the title track composed by Moreno and performed by O’ Brien, which is a rather powerful little number that actually fills in the gaps beautifully of Moreno’s slow moving tale of lost love and disillusionment. #MarcinBanasiak’s cinematography is fantastic in matching the rhythm of the story, as the glamourised music bar contrasts brilliantly with the Californian seaside diner (some very strong production design by #MercedesHachuel) but more warmth is clearly to be found in the latter than the former. The waves slowly lap around the pier that proves central to the story and like those waves, this story slowly draws in, only to minutes later stretch back out, as this homecoming tale does not result in easy answers but instead tough decisions of making do with your choices, even if they were not quite right. Eian O’Brien is very good as Howie, as he hides a childlike hope behind a worn down and struggling exterior. There are also some strong supporting turns from #NicoleCoulon as Lily and a gleeful #CarolElaineCyr as diner owner Molly who sees Howie as a major breakout star of the town, also - while her part is tiny - #RachelPollack nails just the right tone as Irene, a character who shakes this story/character back into reality in many ways much like Robin Wright in #BladeRunner2049 or Lindsay Duncan in #Birdman. With some playful toying with music film conventions, this is less a Star is Born and more a Star is Forlorn and it is a story that is undeniably melancholy but also quite remarkably truthful.

★★★★ Directed by #DanielKremer Written by Daniel Kremer, #AaronHollander and #AlexanderHero Starring Alexander Hero, #RaulDelarosa, #WilliamCullyAllen, #CatherineLerza Indie Film Review by #HannahSayer Adapted from #CharlesBrockdenBrown’s 1799 novel Edgar Huntly, or Memoirs of a Sleepwalker, which is considered to be one of the first American novels, Overwhelm the Sky is an ambitious epic spanning a run time of almost three hours. The film premiered at the #SanFranciscoIndependentFilmFestival and it is a real testament to what filmmakers can achieve with only a micro budget. Overwhelm the Sky is director Daniel Kremer’s seventh feature length film and it follows Eddie Huntly, played by Alexander Hero, after the death of his best friend Neil, which the police described as a mugging gone awry. Eddie is a radio personality who steps in to host a late-night radio show when he moves to San Francisco to marry Neil’s sister Thea. As the film unfolds, Eddie takes regular trips to visit the space in Golden Gate Park where Neil was found murdered. One night he meets mysterious sleepwalking drifter at the spot, which leads the film on a more surreal path. One of the many intriguing aspects of the film is the choice to film entirely in black and white. Aaron Hollander’s striking cinematography is particularly effective during scenes shot in the vast and epic landscape, for example during one of the final scenes in the Arizona desert. It is difficult to summarise this film of vast scope, which starts off feeling natural and realistic and then builds to becoming a more mysterious and gritty thriller. In a sequence reminiscent of the tone of David Lynch’s Twin Peaks, Eddie bumps into a drifter whose past is shrouded in mystery. The black and white cinematography in this scene creates an eerie atmosphere, as Eddie’s pale figure is shrouded in darkness. An orchestral score is also used in this scene, creating a striking series of images which pays homage to classic black and white cinema. Throughout the film’s extensive run time, surprising things continue to occur which are not easily explained, resulting in an end product which is full of twists and turns. Overwhelm the Sky is a character study with depth and a narrative which feels epic in scope. It’s underlying exploration of grief and loss through Eddie’s revisiting the space where Neil was found murdered adds another thought provoking layer to the film’s narrative. Overall, the film earns its lengthy run time and is worthy of praise for its ambitious retelling of a classic American text. Watch the official movie trailer for Overwhelm the Sky below.

★★★★ Directed by: Shane Ryan Written by: #ShaneRyan Starring: #MarsMohamed, #CarissaCarlberg, #LucyDorado, #RaulGutierrez, #DelaiahHastie Short Film Review by: #AlexandraJames Short film Guerrilla successfully pays homage to the late 80’s, bringing the audience back to a simpler world filled with video games, roller blades and VHS tapes. Oh! With the addition of apocalyptic wastelands, zombies and a deadly virus outbreak thrown in the mix as well (just to make it that much simpler). Controversial director Shane Ryan produces an unusual combination of simplicity, connected to raw and candid filmmaking, combined with hyperbolic images of horror and blood, making for an almost comical short piece. The story is set on July 4th 1989, the date a rocket is launched from a US military base. The rocket explodes soon after take-off which causes a deadly virus outbreak causing the town to turn on each other, killing and feasting on those in the cruellest of ways. The audience focus on one young boy, characterised as the town’s saviour due to his immunity and powerful willingness to fight back against this deadly virus. It became very difficult to fault the #cinematography, it was beautifully shot and the use of a hand held camera really captured the splendour of the locations, and added a natural receptiveness to the actors. The audience are able to view everything from in a fresh outlook, completely unhindered by artificialness or overdone editing techniques. This film really did make you think, feel and breathe in all of what nature has to offer, and I for one applaud Shane Ryan for taking advantage of using the landscape as a stage in itself. It was enjoyable to watch how effortlessly the shots were filmed, you’ve got this beautiful scenery and this golden sunlight falling so perfectly over the land making everything just come to life and appear so vivid, with locations such as that why spoil it! With absolutely no dialogue, Guerrilla did rely heavily on the music. This made it difficult to follow the story at times, however, it wasn’t complicated enough to completely lose your way. To improve, the film may have benefitted from a small explanation as to how this virus outbreak occurred. A majority of the non-diegetic sound was 80’s synth and could have been perceived as out of place in certain areas. For example, the audience are watching blood and guts fly all over the shop but are strangely enticed and are almost encouraged to bob along to the edgy sounds of 80’s pop. Bit of a mismatch? Perhaps. But this may have been Ryan’s objective. It would have been interesting to see a bit more 80’s props being used. There is only a brief moment where the audience are certain that the film is set during that period, with the brief flashes of VHS tapes and retro video games. However, it would have been interesting to see a bit of nostalgia shine through in order to really get a sense of the 80’s vibe. This was an enjoyable watch and I do recommend, although may seem odd in places and granted the #zombies, blood and gore is not to everyone’s taste but this short piece can be admired purely for its aesthetics, very pleasing to the eye. A bit of a curious storyline to say the least, however, if you’re into the strange and eccentric then this is well worth a watch.