★★★★ Directed by: Newmantron Written by: #Newmantron Starring: #AimeeCullen, #SteveBrownlie, #ChrisRyman, #IsabellaStevensonOlds, #SamChapman, #AlecChristie, #TonyMacMurray Short Film Review by: #ChrisOlson Comedy pastiche Alien Hunter Nerf War from filmmaker Newmantron (his birth name) delivers a cacophonous yet engaging sci-fi movie for audiences who like their monsters terminated with foam-based weaponry. Aimee Cullen plays Deathwish Smith, a rookie Alien Hunter whose wet-behind-the-ears career may just be about to get a jump start when she and her colleague discover Massive Ninja (Tony MacMurray), not a plural for a swarm of assassins but an actual character...called Massive Ninja. With the help of her fellow Alien Hunters, whose names include Platinum Drugs, Modem, Recoil and Wolfenstein, our heroine must rise to the challenge of defeating these violent (and quick stepping) alien scum. You're probably already calculating the tone of this #shortfilm and you are most likely on the right track. Newmantron gives no quarter to sensible storytelling and opts for a full guns blazing action epic that is as unrelenting as it is farcical. From the never ending synth score to the quickfire dialogue, audiences will be bombarded with cheap thrills and melodramatic kills. As with any cinematic offering, there is always enjoyment to be found if you are the target audience and if you approach the movie with some degree of realistic expectation. This is a fun, wacky, and silly send up of the action and #scifi genre. Spoofing classic movies and genres is something even the best filmmakers do (see #MelBrooks or #EdgarWright) and with Alien Hunter Nerf War, the filmmakers show throughout that they know what they are doing. That isn't to say this film is without its flaws. The acting is a mixed bag, although shout out to Alec Christie for his phenomenal portrayal of Snyder. A turn laced with villainy, kind of like a panto menace (get it?). It would also have been nice to drop and build the tension more. As the score runs throughout the piece, the viewer is never allowed to contemplate. And whilst that may have been a good thing considering the content of the movie, it did seem to rob certain scenes of their dramatic potency. Stylish and barmy, Newmantron slots together a thrilling blaster movie with a video-game pacing and wonderfully foolish characterisation that is, at the very least, the best science fiction movie where the baddies are destroyed with Nerf guns and the heroes have funny names that you will likely see this year. Watch the official movie trailer below.

★★★★ Directed by: #MiloradKrstic Written by: #MiloradKrstic Starring: #IvanKamaras #GabriellaHamori #ZalanMakranczi Film Review by: #GeorgeWolf When is a collector not just a collector? When he, or she, is a thief. Not just a smash-and-grab hack, either, but the leader of four notoriously slippery bandits specializing in priceless works of art. All are patients of psychotherapist Ruben Brandt (voiced by Ivan Kamaris), and each offers their talents in his time of need. Ruben is suffering from violent nightmares inspired by legendary works of art from masters such as Manet and Hopper. Ruben comes to believe possessing these works is his only hope for relief, and his thieving patients believe they can help with that. As the art world is shaken by the brazen thefts, the identity of the ringleader dubbed "The Collector" remains a mystery. In his feature debut, writer/director Milorad Krstic displays a wonderful eye and a frisky wit, filling his film with the familiar fun of a big screen heist, unexpectedly winning soundtrack choices and a rich, textured animation style worthy of the high art setting. The caper itself is a wry, understated hoot, with intellectual asides to subliminal psychology and plenty of homages to iconic artworks. But, as only seems fitting, the constantly engaging animation is the true centerpiece here. From the shadows that follow a thief along his clandestine wall climb, to the uneasy confines of a van struggling to navigate some dangerous curves, Krstic's animation fills nearly every scene with rewards for close inspection, and a promise of more frivolity to any willing accomplices. Like a pop-up book full of highbrow surprises, Ruben Brandt, Collector is never less than delightful.

★★★★ Directed by: #CristinaGallego #CiroGuerra Written by: #MariaCamilaArias #JacquesToulemondeVidal Starring: #JoseAcosta #CarminaMartinez #NataliaReyes Film Review by: #HopeMadden It’s difficult to imagine a fresh cartel story, a novel approach to the rise-and-fall arc of a self-made kingpin. And though scene after scene of Birds of Passage recalls that familiar structure, reminding you of what’s to come, you have never seen a film quite like this. To begin with, directors Cristina Gallego and Ciro Guerra set this narco-thriller and its tale of the corrupting lure of luxury deep inside Colombia’s indigenous Wayuu culture. And though anyone who’s seen Scarface can guess how tides may turn for Rapayet (Jose Acosta), the entrepreneur at the heart of this saga, the tragic difference in this film is the way the same insidious rot destined to eat Rapayet alive also seeps into and destroys the Wayuu culture itself. Spanning twenty years, Birds of Passage opens with Rapayet participating in a ritual, beautiful and peculiar. He proposes, but his gift is inappropriate – it’s a luxury, a thing. He’s already begun to lose touch with his roots, and yet he is determined to earn the dowry and his bride, Zaida (Natalia Reyes). Rapayet straddles two existences, never truly fitting into either. He’s the bridge for the two ecosystems to meet, but Acosta’s performance is intriguing. Hardly the ambitious firebrand who builds an empire, he’s quiet and perhaps even weak, bringing an end to his culture accidentally, like an infected animal who doesn’t know what he’s brought home with him. David Gallego’s cinematography renders an absurdly beautiful desolation, colors splashing and popping against bleached sandy neutrals. Naturalistic performances from the entire cast aid in the film’s authentic feeling, but the poetry of the directors’ use of long shots and the singing voiceover give Birds of Passage the tone of folklore. It’s a fitting balance —the story itself being both intimate and epic. Like Guerra’s Oscar-nominated Embrace the Serpent, this film again examines the moment when an indigenous people watch the death of their culture in favor of something more globally acknowledged and yet clearly inferior.

★★★ Directed by: #RupertWyatt Written by: #EricaBeeney #RupertWyatt Starring: #AshtonSanders #JohnGoodman #JonathanMajors #VeraFarmiga Film Review by: #HopeMadden Imagine, if you will, that someone bullied their way to a takeover of the government. Imagine that they exploited the poor for labor while gutting Earth’s natural resources for their own gain, leaving a husk of a planet behind. Imagine that they enacted blunt order with no thought to human rights, as they built walls, separated families and cordoned off neighborhoods to keep the poor a safe distance from the wealthy. Let’s say they also passed themselves off as some almost holy enterprise that rewarded compliance and adoration. Right, not such a stretch. Oh, it’s aliens? That would actually be a lot easier to accept. Filmmaker Rupert Wyatt returns to the theme of his greatest success, Rise of the Planet of the Apes, with his latest SciFi adventure, Captive State. Wyatt drops us into the heart of Chicago some ten or so years after an alien invasion. Earth has long since accepted the aliens as their new legislature, and terrestrial natives are now either blindly following command with the hope of reward, or they are not. Gabriel Drummond (Ashton Sanders, Moonlight) can’t quite make up his mind. His brother Rafe (Jonathan Majors) is the symbol of the revolution, but Gabriel just wants to get out of Dodge and try for a new life. Lawman William Mulligan (John Goodman, wonderful as always) won’t let him. What emerges is an intricate and often clever thriller about submission and resistance. Though Wyatt’s allegory is clear, it doesn’t drown the story itself. Even the most thinly drawn character has purpose and dimension, the ensemble talent assembled here delivering memorable but understated turns. Vera Farmiga offers a particularly poignant performance, though her screen time can’t reach past 2 minutes. Likewise, James Ransone, Alan Ruck and Lawrence Grimm balance desperation, courage and hope in brief episodes that help Wyatt create the bleak but almost optimistic tone. The look is a bit murky, the 1984-style occupations a tad convenient and the lack of one single point of view character limits audience investment in character, and therefore, in the outcome. But the aliens look pretty cool, John Goodman offers a twisty, melancholy performance that’s worth seeing, and there’s rarely a bad time to be reminded of the power of resistance.

★★★★ Directed by #GasparNoe Written by #GasparNoe Starring #SofiaBoutella #KiddySmile #GisellePalmer #TheaCarlaSchott Film Review by #GeorgeWolf Hey, club kids, it's a Gaspar Noe dance party! For a while, anyway, but if that's all you're expecting from Climax, you don't know your Noe. 2015's Love showed the boundary pusher's tender side via some graphic 3D porn. But now writer/director Noe is back in sensory-pummeling mode, pulling from his usual playbook for a balls-out psychedelic bacchanal soaked in body fluids, drugs and EDM. After a mysterious opening mix of bloody snow angels and claims of "true events," Noe showcases audition interviews for a French dance troupe before jumping ahead to the group's transfixing final rehearsal. Selva (Sofia Boutella) and the crew are ready for the show, so now it's time to let off some steam as only they can. DJ Daddy (Kiddy Smile), drop some beats! Noe's usual reliance on extended takes, stationary cameras and overhead shots makes the dance sequences utterly intoxicating, the performers' energy creating exciting visual beauty and a palpable exuberance for their art. These seductive odes to dance are interspersed with sometimes graphically sexual conversations between the dancers, sharpening character edges and laying down an interpersonal framework that will soon be turned on its head. "What is wrong with you all?" In what seems like an instant, suspicion, mob rule and primal desire overtakes the company. The dancers' movements become monstrosities bathed in pulsating rhythms, visual disorientation, wanton violence and illicit sex. What spurred this sea change, and who is to blame? Noe turns that mystery into a greater conversation about the opportunity of birth, the impossibility of life and the extraordinary experience of death, and as is his wont, batters your senses while doing it. He is also again wearing his heart on his screen, with a stacked movie collection directly calling out influences from Possession to Suspiria. But Climax is unforgettably a Noe vision, one of his most concise, streamlined and clearly inspired. It is 97 minutes of can't-look-away intensity, a bold experience that may leave you asking "what just happened?" while you look for a nice place to lie down. But oh, those dreams you'll be having.

★★ Directed by #JustinBaldoni Written by #MikkiDaughtry #TobiasIaconis Starring #HaleyLuRichardson #ColeSprouse Film Review by #GeorgeWolf Haley Lu Richardson is a very talented young actress. Director Justin Baldoni seems to have very good intentions. Neither can save Five Feet Apart from crawling through the heap of Young Adult angst as the unholy love child of Nicholas Sparks and Lars von Trier. Richardson is Stella, an optimistic cystic fibrosis patient who vlogs about her experiences with an encouraging smile. Hospitalized for a new drug trial, she meets fellow "CF'er" Will, a dreamboat with an attitude and a darker prognosis. Fears of  bacteria bring strict orders for Stella and Will to always remain at least six feet apart. But when love blooms... Stories of young forbidden love have been sprouting since the Capulets and Montagues, but the biggest surprise in Five Feet Apart is that it didn't start as a YA novel. Screenwriters Mikki Daughtry and Tobias Iaconis wear the hats, here, working through as many formulaic and manipulative opportunities as possible. Though many health care issues are conveniently skirted, some honest moments about the struggles of CF patients find a mark, thanks mainly to some warm chemistry between Richardson (Columbus, The Edge of Seventeen, Split) and Sprouse (Big Daddy, TV's Riverdale). But as the overly orchestrated suffering continues to mount, the entire CF storyline starts smelling of the easiest path to teenage tears. Baldoni, whose My Last Days web series benefits a variety of charities, may have his heart in the right place. And there is certainly talent in this cast, which Richardson leans on to deliver the line "Thank you for saying something real!" without a trace of irony. But the boxes for plaintive music, closing narration, and the gay best friend are all checked. Plus, the life lessons that are dictated to us because that's easier than building a story that resonates strongly enough to let us realize things on our own. So much YA drama is anchored by this cheap enlightenment, and there is plenty here to wallow in. So depending on your side of that fence, the bar may have been raised. Or lowered. But Haley Lu, though.

★★ Directed: by #ShaneRyan Starring: #KathrynEastwood, Shane Ryan, #TommieVegas Short Film Review by: #BrunaFolettoLucas Directed by Shane Ryan, who also stars in the film, American Virus is an excellent piece of special effects and camerawork, but unfortunately it does not work as a film. The short follows a group of young adults that are aiming to kill the entire American population by releasing a virus that has already been contained. The premise is daunting, especially because it showcases the selfishness and the hatred of the human being. However, the film does not translate this; instead it relies too much on camera work and soundtrack to convey the feeling we do not get with the storyline. The result we get is a piece that turns out to be a shallow and confusing compilation of scenes. We are left wondering who these people are and how they came about to feel this anger. A short dialogue between the group gives us the idea that the group was divided the moment the threat of releasing the virus became real, but we are still not shown how high the stakes really are. As previously mentioned, the film has its merits, especially on its technical side. Although at times a bit too frantic, the editing shows ambition and the work done with animation really complements the film. The part where the film shines the brightest is the makeup effects. It really translates the love and knowledge of the craft that the #filmmakers have. It is not so over the top and it is really scary and gory. American Virus embodies the meaning of cinema as a collective work. It is possible to tell that the people who have done this film are passionate and engaged with their own art. And although the film was lacking in character development and engaging plot, I still feel compelled to follow the filmmakers’ work.

★★★★★ Directed by: Aina Dumlao, Bru Muller Starring: Aina Dumlao, Leslie Thurston, Maria Pallas, Shaw Jones, Jeremy Andorfer-Lopez Short Film Review by: #JackBottomley The American dream is an ideal chased by many for generations. The land of the free and home of the brave has long since idealised this notion of working towards a successful future, where one day all your graft is rewarded with the life you desire. In many ways the American dream, is the dream of most of us, sadly – like life – things are rarely ever so fair. Under the current administration especially the American dream has rarely looked so bleak, be it for actual Americans born and raised in the country or immigrants who travel to (what should be) the beacon of the Western world for a better life, and it is the latter story that Diwa centres on. Starting with President Trump’s now infamous Mexican speech, you know that Diwa is going to have a heavy message but you are unprepared for the full weight of it to hit you. Telling the story of Diwa (Aina Dumlao), an undocumented immigrant from the Philippines, who has travelled to America to work towards a better life and help her family back home, this film also tells a far darker tale of the plight of a young woman who is exploited, assaulted and abused by physical attackers and by a broken system. Some might say that the story is a tad heavy-handed thematically but it is one personal to co-director/writer and lead Aina Dumlao, whose uncle lost his wife while working for decades and never got back home to say goodbye. This is a vital story of how fractured the American dream has become, as well as a sympathetic call out to those that will listen, about the suffering that goes on in a confused, hopeless and ineffective immigration system and an indifferent eye of the law. Not to mention a damning statement on the current socio-political prejudices and hatred spread by a few that are poisoning people’s souls. You could call this film angry but I’d prefer to call it sympathetic, as it applies this story of sexual/racial abuse and manipulation of the innocent and uses it as a universal application to the countless people out there living such uncertain, dangerous, hard working, lives. People who, like Diwa, arrived swept away by the face of a celebrated country before having their hope shattered by the sledgehammer of reality and were then let down further by the ineffective, often bile-filled, powers that be. This is an important subject, covered impressively well by a short, which is shot with all the professionalism and excellence of a big budget production, thanks to sublime cinematography by Corey Cooper and editing/directing by Aina Dumlao and Bru Muller. Ramesh Kumar Kannan’s brilliant music captures a slight whiff of Hans Zimmer at points, as it follows the story from its uncertain start to its upsetting, lingering and unforgettably final finish. Dumlao is superb in the lead role also and as Diwa she presents to us a figure that is realistic, innocent and common and her performance is emotional and dedicated to doing justice to a character that, in many ways, is so heartbreakingly real. Also good are the supporting players, including Leslie Thurston and Maria Pallas, as two compassionate but ultimately hand tied officials, whose attempts to help lead nowhere thanks to the convoluted and impenetrable modern system of immigration policy. There is also a very strong turn by Shaw Jones, who as an insulting and hostile officer aggressively characterises a country – like many others – that is too often governed by insecurity and abhorrence. Diwa is a devastating watch that is not easy to sit through, mainly because of how easily believable it is. Powerful and essential. Watch the official movie trailer for Diwa here - https://www.mynameisdiwa.com/trailer #ShortFilmReviews #ShortFilms #JackBottomley #5StarFilm #AinaDumlao #BruMuller #LeslieThurston #MariaPallas #ShawJones #JeremyAndorderLopez

★★★★★ Directed by: Kalainithan Kalaichelvan Written by: #KalainithanKalaichelvan Starring: #PeterHigginson, #JoAnnNordstrom Short Film Review by: #ChrisOlson From the director of the exceptional short films Stella Maris and Inland Freaks, comes a remarkable and poignant piece of filmmaking, Petit Four. Starring Peter Higginson and JoAnn Nordstrom as an elderly couple whose blissful winter months of their marriage are under threat from an invisible menace. Higginson plays Wilfred, a man tormented by his suspicion that his wife Agnes is having an affair with a ghost, in their own home! His attempts to come to terms with this betrayal range from emotional outbursts to pottering around the house with a camera attempting to catch the cuckolding swine with the flash. As his despair grows, Wilfred's grieving becomes increasingly troubling as we start to question the reality of everything we see. Sublimely acted by both Higginson and Nordstrom, the pair don't put a foot wrong. Every scene is brimming with a quiet, passionate dialogue and chemistry that will have audiences enraptured by the subtle grace of it all. One particularly brilliant sequence involved the dripping of icing over a piece of cake and the offish atmosphere which followed was palpably gripping. As with Kalainithan Kalaichelvan's other movies, the visual landscape of Petit Four is breathtaking. A tip of the hat to #cinematography artist Christopher Law. From the gorgeous landscape shot of Wilfred on a park bench to the ferociously intimate dining scenes with Agnes, there is a sumptuous quality to the short film that viewers can utterly immerse themselves in. The stunning visuals are accompanied by a glorious sound design, one that knows how to compliment the mise en scéne perfectly. The haunting strings playing behind Wilfred's distressed narration created a harrowing environment and allowed the movie to slowly increase the tension to a dramatic and thrilling final third. It was wonderful to see a movie depict elderly characters without the need to inject “life” into the piece with youngsters. Wilfred and Agnes are incredible characters and the piece didn't need anyone else (except maybe a ghost) to hold it up. This contributed a great deal of depth to the themes of the story (which I won't spoil) as well as a much-needed authenticity. Parts of Petit Four were reminiscent of Andrew Haigh's excellent 45 Years, and viewers looking for a convincing portrayal of a relationship in the latter years need look no further. Watch the official movie trailer for Petit Four below.

★★★ Directed by: #DamianDraven Starring: #MichaelBates, #AineDeSiun Short Film Review by: #AndrewGalvin Of course, spectres hanging over creative types is a central theme to Edgar Allen Poe’s The Raven, and there is certainly one that’s been hanging over the classic poem since 1990. No, it was nothing to do with the author’s lost love; it is in fact that great literary figure, Homer J Simpson, who wrestled with the winged wonder in the first Simpsons’ Treehouse of Horror and, despite a lavish production, it’s not a spirit that director and #filmmaker Damian Draven is able to excise here. Lavish is certainly the word and, from an aesthetic point of view, Draven’s version of this literary great is mightily impressive for a short film. The costumes feel rich and appropriate for the period, the room is stunningly decorated, and the cinematography employs just a hint of soft-focus to give the sense that money has been spent. The sound design, too, has clearly been put together by people who know their way around the art of Foley: each flap of The Raven’s wing and footstep produces a whole heap of atmosphere, backed by a piano score which, if maybe a little ripe, fits the bill quite nicely. That also applies to Michael Bates in the lead role, every bit the classical interpretation of Poe, which is both a compliment and a disappointment. His theatrical reading (imagine Jonathan Pryce as played by Simon Callow) is endemic of Draven’s short: it’s unbearably stagey in places. In a theatre, his oversized reading of the poem would be effective, but it fails to translate to the cinema screen effectively, never entirely getting the real emotions across believably. The direction, too, fails to do anything new, mainly by relying on workmanlike camerawork and an overly-familiar era setting. It’s uninspiring despite being handsomely mounted, and wouldn’t feel out of place in a GCSE classroom. In the end, this version of The Raven is like any episode of The Simpsons from the last fifteen years: you know it’s well put together, you’re glad it’s there, but you can’t help wishing for something a little more inventive. Read more #moviereviews

★★ Directed by: #RoshanKalampadan Starring: #Aravind, #RohithKrishna, #RoyceThomas, #KannanNayaar and #RamGovindNarayan. Film Review by: #BrianPenn So we’ve all done it as students; a night out on the lash that disappears into the ether with no memory of how you got home, save for the odd splash of tomato ketchup. However, short film The Rat Trap adopts a more sinister variation replacing ketchup with blood. Prakash and Ramesh are riding home from a night out when the latter has to stop for a comfort break at the nearest tree. He returns in a panic urging Prakesh to drive; next morning they awake with Ramesh drenched in blood. An altercation has put political activist Sharath in hospital and the pair soberly assess the implications. Sharath is the son of an MP and has considerable clout on the college campus. Ramesh claims he was assaulted and merely defended himself; Prakash is doubtful and wonders if his civil service aspirations are at play. Local enforcers Hari and Sudheesh soon show up looking for answers. The good cop/bad cop routine quickly kicks in as Hari ominously takes Ramesh onto the roof top for a chat; meanwhile Sudheesh has a conversation with Prakash. But for reasons that are never properly explained Sudheesh remains in the bathroom for most of their discussion. This is where the plot disappears into a rabbit hole and fails to reach a satisfactory conclusion. Around ten minutes of political posturing (mainly from Hari) dominate the film’s latter stages without purpose or clarity. The dialogue is clipped and rushed with subtitles that pass in the blink of an eye. The movie title The Rat Trap implies characters are lured into a compromising position; but I just couldn’t see the angle and only added to confusion on screen. Having said that, some things about the film were very good; the cast had great presence and carried their respective roles with confidence; the piece was mainly shot after nightfall which produced a gorgeous hue of orange and purple against artificial light. But it was let down by a poorly executed plot devoid of logic and muddled by an annoyingly righteous script. Making a short often requires greater discipline than a feature length film; points in the plot have to be made quickly and concisely in the time available. A decent story is lost in a wordy script and could have been told more easily than it was.

★★★★ Directed by: #MarcCartwright Starring: #NosheenPhoenix and #BakerChasePowell Short Film Review by: #RachelPullen Horror movies are a sure fire way to get some lady love action. You call up a chick, ask her over for a movie and popcorn...or Jaffa Cakes if you’re feeling more middle class, pop on a classic slasher flick and allow the fear to overwhelm her as you, the man keep her safe with your gorilla hands, making her feel safe until that light turns on in her head that you can protect her and so she gets all naked and shiz...that’s how it works right? In honesty it actually has been scientifically proven you’re more likely to get laid on a date if you watch a horror movie. It’s called the snuggle factor, ergh that’s a lame name, it kind of makes it sound a bit wimpy. I’m calling it the stab and pork factor...boom, you’re welcome. And so it would seem that the young couple to grace our screens in short horror film Vexed are engaging in a bit of the old stab and pork They sit down to enjoy a #slasher flick, much to the guy’s boredom, [clearly he does not care about getting some] but it’s not long after when he retires to the bedroom for sleepy time, that he starts to get paranoid, hearing sounds coming from the other side of the apartment...so it’s either cat-sized rats or an intruder...please be the rat, please be the rat, surely it’s a rat after the Jaffa Cakes. Rudely, some folk in creepy masks [like those ones worn in The Strangers] bust into the crib and wreak some havoc, and our leading man is caught in a panic as they steal his woman, or did they???....ohhhhhh no it was just a dream of course, he fell asleep during the crappy horror his lady forced him to watch. I never saw it coming I swear. Dream is over right, he can go back to looking up tits on his smartphone while his girlfriend watches the movie right?....Wrong. It’s not long until he is tormented by another intruder in the home, another beast from an unknown realm, but maybe the realm is not so unknown. He quickly discovers that he himself is inside the movie, he is the victim being chased for the audience’s pleasure, and who is the audience? His lady of course...bet she is gonna eat all the Jaffa Cakes now! This short movie is a fun addition to the horror genre, and like Wes Craven's Scream in the 90’s, it chooses to poke fun at the genre itself. We are introduced to our leading man describing his boredom with horror flicks because they are predictable, setting us up for the usual dream sequence that we have become so accustomed to. Director Marc Cartwright knows the score with how these films usually pan out but decides to let us, the viewer enjoy the joke with him. There are moments of true suspense as well, lighting and angles make us feel vulnerable in the apartment where they live, during the scene with the intruders you really feel the tension when they investigate the ‘’noise’’ coming from the lounge, an achievement with any short film. This short is magnificent in terms of visuals and in regards to the storyline. It’s professional and clean and deserves the awards it has received so far. The acting from Baker Chase Powell is believable and engaging, but Nosheen Phoenix can sometimes come across a little forced with her delivery, but hey she is focused on knocking him off to get the snacks, she seems to be really focused on snacks now I come to think about it...popcorn is not that good, why does she love it so? So for any fans of the #horror world, and especially those who have a soft spot for a bit of the black comedy Vexed is a must watch, but next time more cat-sized rats please.