★★★ Directed by #MikeMitchell Written by #PhilLord and #ChristopherMiller Starring #ChrisPratt #ElizabethBanks #WillArnett Film Review by #HopeMadden Everything is not awesome. Don’t tell Emmet (Chris Pratt), though. Try as he might (mainly to please the ever-brooding Lucy/Wildstyle {Elizabeth Banks}), he can’t seem to take on the bleak attitudes of those populating Apocalypseburg. Wait, didn’t that used to be called Bricksburg? It did, but that was before Dad invited kid sister to share in the Lego fun. Since that day, Emmett and his buds live Fury Road-esque in a smoldering wasteland, forever on the lookout for cute but dangerous aliens from the Sistar System. When said aliens abscond with all the Master Builders (Lucy, Batman {Will Arnett}, Unkitty {Alison Brie}, MetalBeard {Nick Offerman}, and Benny {Charlie Day}), Emmet will have to find some grit to save his friends. Returning writers Phil Lord and Christopher Miller update their 2014 tale, this time directed by Mike Mitchell (Trolls), with some pre-adolescent angst that surprisingly mirrors the post-Trump revelation that everything really isn’t awesome. Out there in the Sistar System, Queen Watevra Wa’Nabi (Tiffany Haddish, a hoot) sings in Disney Villain tones that she is definitely not at all evil. Definitely. Not at all. Meanwhile, she manipulates Batman’s inner narcissist to convince him to marry her in a ceremony Emmet is convinced will bring about Ourmomageddon. Yes, much of the charm of the original has worn thin. To make up for it, the sequel relies too heavily on pop culture references (a good chunk of the film is about funny, chubby Chris Pratt versus chiseled, hot Chris Pratt and his spaceship full of velociraptors). An abundance of live action plus a clumsy Back to the Future gag fail to entertain as much as they do force the story forward. Still, Lord and Miller nimbly use the “don’t lose your inner child” theme so popular in family films to cast a side glance at the current bleakening of society. Emmet tries harder and harder to lose his sweetness and optimism in favor of the more masculine stylings of his new friend Rex Dangervest (also Pratt, channeling his Guardians co-star Kurt Russell). Of course, we all pull for the childlike Emmet to survive, just as the film seems to hope that our own positivity can survive our own Apocalypseville. Watch the movie trailer below.

★★★ Directed by: Nikki S. Colt & JosephDewey Written by: #NikkiSColt Starring: #GraceLink, #FayeBennett, #EmmaRalston, #JosephDewey, #JoWickham, Nikki S. Colt Short Film Review by: #ChrisOlson A twisted spin on the classic story Alice in Wonderland, Nikki S. Colt’s nightmarish version entitled Alice’s Misfortunes in Underland & Through The Looking Glass sees a vulnerable Alice (played with aplomb by Grace Link) confuse dream and reality where characters in her life take on frightening appearances. Told using an eloquent overvoice and striking visuals, this short film has a surrealist appeal and charm. Colt and co-Director Joseph Dewey strike a nice balance between intrigue and discomfort for the audience, allowing them moments of calm in Alice’s journey before plunging them back into the harrowing quagmire. As the bizarre, eccentric, and even shocking sequences coalesce for the viewer, a #comingofage narrative forms that still contains the fantasy trappings of a fairy tale. Link does brilliantly on screen with her movement. The uncertainty of her character is conveyed with tentative physicality and trepidation. As she is swarmed by the ensemble of ghoulish characters in the movie, Alice’s sense of self worth becomes the focal point and how life’s evil seems to be drawn to her vulnerability and isolation. The disturbed visual sequences of other characters moving perhaps representing her own lack of confidence and control of her own surroundings. There is a rather large issue with Alice’s Misfortunes in Underland & Through the Looking Glass, and that is the almost unbearable score. Jarring and annoying, so many of the scenes are drowned out by a cacophony of noise and quirky instrumentation. The tone of the music seemed to cheapen the atmosphere of the movie, tingeing it with the sound of amateur theatre. Had a less obtrusive score been used, the imagery and cinematography would have been more effective. Smaller issues with the movie include poor lighting, an over-reliance on certain camera gimmickry (the aforementioned characters jitting across the screen), and a lack of coherence in the plot. The abstract nature of the Colt and Dewey’s film engenders a degree of scope when it comes to classic cinematic structure and delivery. It’s okay, for example, for the characters to not be fully explained or for a myriad locations. In fact, it is the mystery of Alice’s Misfortunes in Underland & Through the Looking Glass that offer the movie’s biggest appeal. It is through this window of chaos and uncontrolled descent that we associate Alice’s journey into adulthood. Having survived on the streets and eating out of bins (a rather fortunate Orange had been left whole), her lot is set to worsen with the onset of other “people” whose motives and flaws pose her biggest threat. Intriguing and intelligent storytelling coupled with some stark imagery make this a worthwhile short. Shed the score and polish some of the edges and this could have been a remarkable piece.

★★★★ Directed by: Ashley Tabatabai Starring: #AshleyTabatabai, #ScottMichaelWagstaff Short Film Review by: #AnnaGaszkowska ‘’Do you believe in you?’’ Ashley Tabatabai brings us an intriguing short film The Interview, depicting the struggles of trying to fit into the new modern world of emotionless zombies, desensitised and dumbed down. A world where time equals money and money equals time, where our self worth is based on the number of followers, views and likes that we get on our social media post. Before we are even introduced to our characters we hear from a blank screen ‘’our video had way more views last month’’ and that certainly sets the tone of the short story of Robert. Heavily focused on dialogue and intensified using extreme close ups, the film attempts to explore how society is driven by insecurities which are artificially constructed in order to gain profit, as setting unattainable ideals for people allows for their exploitation. Injected with false ideals, perfection and utopia, the film asks the big question of how far are people willing to go to succeed in a world where everyone is your competition and not your friend. The film also offers an interesting insight into the crisis of masculinity in which young men struggle to obtain their status and prove their masculinity. Anxiety fuelled, with sweat dripping from every inch of his body, a briefcase in his hand and dressed in what can be described as a suit from your granddad’s wardrobe, we meet Robert, a middle aged, balding man, lacking in confidence, with bills to pay and a family to feed, Robert is desperate to find a job, any job and as we later find out he is willing to do anything it takes to prove his worth. In an American stylised dinner setting, one similar to Tarantino’s one in Reservoir Dogs or Pulp Fiction, Robert is about to endure the dreaded interviewing process for a new job. Two worlds collide and come face to face when Joseph Green, the interviewer, greets Robert, or perhaps merely acknowledges his existence. Joseph embodies everything that you desire to be. He is the goal, the end product of the new world where the only thing that matters is money! Joseph and Robert could not be more different, even if they tried. With Robert sheepishly calling himself Bobby, and serving his insecurities and vulnerabilities on the table for Joseph to devour, Joseph on the other hand oozes coolness with his sharp handsomeness, waves in his hair and the soul devouring look. Joseph is the walking advertisement of what the modern world promises and tries to sell. He is the modern man, assertive, metrosexual; he is a leader, an inventor and most of all, a man of success. The main theme of short film The Interview focuses on opposites which contrast heavily to reveal the division of the modern world and the 'old' desperately trying to catch up. This particular theme is explored through binary opposites of success and failure, superiority and inferiority, as well as confidence and shyness. If failure had a face and a name it would be Robert; it’s almost as if the film is trying to warn us that if we don’t give into the demands of the new world, then we will meet his fate. But hey, don’t worry, we can all succeed, right? Joseph sells us the American Dream of the new millennium! So what is it that we ought to do to be this man? Well, first and foremost we must be tenacious as Joseph suggest; we must enter the infamous rat race. The sharp #cinematography further helps to establish the pressure of the competitive world, crushing and falling. The strong power play is prominent not only through the visual iconography, but through language; Joseph is the puppet master and Robert is his puppet. Overall, the quirky short film is a very intelligent commentary of society. With superb acting from Ashley Tabatabai and Scott Michael Wagstaff, the #shortfilm is humorous and witty with a strong message, leaving the audience hungry for more!

★★★★ Directed by: #JudsonVaughan Written by: #ChrisBarnes and #JudsonVaughan Starring: #MaxCavenham #EmmaKelly and #MattiKolirin Film Review by: #AnnieVincent A grim and sickening psychological horror, #Burn is a well-crafted and engaging short from Dragon Egg Media. The opening montage plays on some familiar horror tropes as we watch footage, circa 1960, of small children merrily playing with their parents and grandparents at some kind of family party. Any horror that involves children is usually pretty powerful in its effect on an audience so I was keen to see where this would go. Pete, expectant Dad to little Charlie, is pottering about his home, looking into his camera. He looks normal: average, height, weight and looks, but is definitely odd: he chooses to continue listening to a news report on the kidnap and disappearance of two men despite his pregnant wife, Lou’s protests; he pokes fun at her size but in that was-he-joking-or-was-he-serious kind of way; and in switching away from the news report, he decides on a horror film instead. None of this is enough to set the flags fully waving, but we know there’s something up here and Cavenham plays this section well as we try to work this man out. He disappears off, leaving Lou with the horror film, to record a video diary for his unborn son Charlie. He tells Charlie he is sick – we imagine a poignant tragedy now but we get no details. He mentions some troubles he went through as a young man, the moment he met Lou and the ‘profound’ moment when he realised his true purpose in life. He encourages Charlie to let his ‘unique flame burn’ when he grows up, all the while, the monologue interrupted by a well-shot montage of a car travelling away from a town, into the country, towards an old house and then a fast paced shadow and light display as armed police burst in. In a flashforward, a voiceover tells us Pete has been convicted of rape, torture and murder, and now a distraught Lou and little Charlie are all alone, a few years on, leaving their home as their neighbours continue to jeer on the sidelines. Even in the new place their troubles follow them as Lou is recognised and women ask how she could have been blind to what her husband was doing. Whilst unpacking one of Pete’s video diary discs emerges and Lou cries as she watches her husband on screen. The following day, his birthday, Charlie finds another one in the back of a photo frame and as he presses play the full, sinister horror pf his parents’ crimes unfolds before his eyes. The sequencing in the film is thoughtful, with the misdirection early on believable enough to pull the audience along and into the grim realisation at the end. Emma Kelly is convincing as the unknowing wife while Cavenham’s psychotic video footage performances continue to haunt after the film has ended. It is not everyday you find a short which will pack a punch in such a way and whilst the subject matter feels extreme and almost a little melodramatic in places, @BurnShortFilm achieves what it sets out to do – half an hour on and I still feel a little sick!

★★★★ Directed by: #SiddharthChauhan Starring: #ChetanKanwar, #JohnNegi Short Film Review by: #BrunaFolettoLucas It is heartbreaking to think that in some places the right to love is still an issue. In short film Pashi we follow the coming-of-age story of Ashish (Chetan Kanwar) who is starting to realise he has feelings towards another man (John Negi). The directing in this film is one of its greatest accomplishments – Siddharth Chauhan takes his time to explore the atmosphere and make it almost tangible. The landscapes and the animals in the background mix so well we almost feel the breeze coming from the land. Ashish is portrayed as a sensitive and quiet school-going teenager. He walks and talks as if he is pain, he doesn’t stand straight almost as if he knows there’s something inside of him that is lessening him. He spends his time roaming through the village, where he lives with his mother and grandparents. His desire towards the young man, who is staying at his family’s inn, flourishes to an overpowering feeling. We become aware of his lust through the lingering stares that weakens him and through the erotic dream sequences. However, in the dream sequences, the young man is always alone or with an animal, but never with Ashish – a form of his subconscious to tell him that he is allowed to long for someone but he is prohibited of becoming a part of his dream. Therefore, we cannot help to feel that the film is building up to an inevitable tragic end. Chetan Kanwar’s acting in this film is phenomenal. He is able to convey sadness and lust at the same time. With his desire which is both forbidden and overpowering, we are unsure of whether he is weak because he cannot fight with his desires any longer or because he has completely given himself up to his cravings. The young man teaches Ashish about pashi – the art of trapping birds. Pashi works as a metaphor for Ashish’s desires – he has to decide to either trap his feelings or let them go and trap something else. Now with a weapon to make his desires come true, Ashish is unable to stop himself from creating a scenario to which we will be led. When short film Pashi reaches its climax, Ashish has captured the man he longs after and in realising he is not strong enough to keep him there, he falls to his feet. The scene is heartbreaking. Ashish’s passion is too strong for him to contain, but he also knows he won’t be able to make it real – his dreams have told him so. His movements show us he knows he has already lost but he is powerless when it comes to his hunger. Although the protagonist is depicted as a fragile and innocent youth who is becoming aware of his sexuality, he slowly becomes a monster, giving up to his instincts he turns into an animal – thus, he is finally allowed to stand next to the man he lusts over in his dreams.

★★ Directed by: #MohamondShoolizadeh Starring: #JenniferPreston, #MichelleThornton, #HollyLawton, #HannahTempletonCox Indie Film Review by: #AnitaMarkoff There is an applaudable amount of effort that goes into creating any independent feature length film on a low budget, especially when the man directing has to additionally manage the roles of screenplay writer, producer, colourist, set production and costume designer, sound designer, and editor. However, the serious topics this film deals with could have been better handled with a larger productions team and bigger budget. Indie film Susan attempts to explore the life of a grieving woman as she loses both her husband and her daughter, the only family members she had. The use of a handheld camera and long close up shots of Susan’s face as she experiences overwhelming emotion do allow the audience to experience the unease and discomfort that comes with watching someone suffer first-hand. It feels very personal: we intrude on Susan’s most intimate moments, staring lifelessly out the window or weeping alone in a hollow cathedral. However, the film does not create the right atmosphere for the audience to engage with the dramatic displays of emotion. Frank Capra, the American-Italian director, was known to have said: “I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.” In this film it could be difficult for the audience to be able to feel very connected to the emotions of the main character when viewing such an overwhelmingly intense performance of her grief. This is also undercut by flashback sequences which come across as contrived. The dialogue in them is repetitive, and the acting is exaggerated until moments that are meant to be tender instead feel slightly comedic. The extravagant opera style music in the background only adds to the sense of insincerity. The mise-en-scène in the house is carefully constructed and has an clean layout, and some of the shots of Susan silhouetted against the magenta night sky and sparkling London are breathtaking. Trees are used as frequent recurring imagery, possibly to symbolise emotional or spiritual growth, and add a nice touch to the film. However, both the genre and the pacing of this film make it difficult to immerse yourself in it. It is unclear what issue the director is trying to tackle: is it a mental health film about the way soldiers experience #PTSD, a tragedy about loss, meant to raise awareness about how homeless people end up in their situation, or a religious psychodrama? The film’s plot twists verge on unbelievable and there are too many cycles of climax and resolution. It feels like it could have easily ended in four different places, but it carries on, not always for the better. Attempting to deal with so many serious topics means the film is unable to do any of them justice, and perhaps it would have been a better debut if the director had worked within his means and stuck to one central theme.

★★★ Directed by: James K. Lambert Narration by: #JamesKLambert Indie Film Review by: #HarryKing Conspiracy Theorists Lie takes the audience back to the assassination of President John. F Kennedy and all the conspiracy theories surrounding the shooting and potential cover up. The opening 5 minutes is perfect for this film because it sets the atmosphere and the tone of the film with an eerie score which represents the narrative. It also shows how patriotic people were and are of their country however, maintaining the balance the audience will be met with some extremely vocal people who express their opinions loudly and freely to the public and government shouting “Stop the cover up!” and “Liars!” – which does become tense and the audience will get a feeling of anxiousness and apprehension which sets up the rest of the film in a sublime fashion. One of the best parts of Conspiracy Theorists Lie is the #filmmaker himself – James K. Lambert. The knowledge and resources he delivers to the film is noticed and makes the audience feel like they know exactly what is going on even if they knew next to nothing about the assassination and everything before and after it. The way the film looks is so pleasing to the audience because of the modern way it has been edited with the use of on-screen text being written and most importantly, the film looks professional. There’s a lot of films about conspiracy theories and it is easy for some to be put under the radar due to the lack of professionalism and efficiency. You need to stand out when making a film like this and Lambert has chosen an interesting subject that many people may not have a whole lot of knowledgeable information about. I can see Lambert making more documentaries like this because he has shown here that he has the ability to make intriguing and exciting indie films that make the audience look into more after watching it. The further into this film you see just how passionate Lambert is about this subject because of how he gets himself involved at rallies and conducts interviews with people who have their own opinions on the conspiracy. As this is a movie about past events Lambert is short on footage, he uses the interviews with members of the public to debate on their different stances of how the shooting of JFK actually happened. Other than that, he used old recordings and tapes about the subject and only played the necessary parts for the audience, he used scenes from films like JFK (1991) starring Kevin Costner, so it becomes cohesive in his narrative arc. This shows the capability of his skills in #filmmaking. The score of the film kept it on beat with the tone of the film, there were tense moments with crowds getting angry which meant the score grew in stature and became this presence that you couldn’t unhear whilst watching because it was so effective. While this indie title was a success and needs to be viewed, it did go on for a little longer than anticipated and felt that held the overall film back because it didn’t need to be that long and would have benefited more from cutting some scenes and shortening others. I felt like I was hearing some things in repeat throughout the film which could’ve been broken up better for a more eye-opening view on President Kennedy’s assassination.

★★★★ Directed by: #AislinnBelot Written by: #AislinnBelot Starring: #VanessaMayDolphin, #GraceEden, #JulieSpeers Film Review by: #DarrenTilby Aislinn Belot’s debut short film is a hard-hitting examination of working-class motherhood, of escapism versus reality, and of the good times versus the bad. But more importantly, it delves into the special bond shared between mothers and daughters; who can brighten even the darkest of days. Tressa (Julie Speers,) a working-class, single mother, takes a day off work to spend time with her young daughter, Molly (Grace Eden). This rare day off of mother-daughter bonding is just what Tressa needs. And through it, she's able to—albeit temporarily—escape her less than desirable situation. But Tressa's unfortunate circumstances are never far away; and prove difficult to escape. When it comes to certain films, chemistry can be just as important, if not more important than individual performances. Just Today is one of these films. That’s not to say the individual performances here are lacking in any way. On the contrary, they are all rather splendid. But it does mean that if the connection between the characters—in this case, the mother and daughter—isn't right, then the film won't work. It's fortunate then that the chemistry between Julie Speers and Grace Eden is not only strong but completely believable. The superb individual performances (particularly that of young Grace Eden, who clearly has a very bright future in acting) are merely the icing on the cake. The film is resplendent in cinematic beauty, and full of heart. There's a lot I could talk about. But I’d like, instead, to focus on one scene in particular. The very last scene, in fact. The most important scene and the one that tells you all you need to know about this film. It’s a scene which has really stuck with me. And I imagine, will stick with me for quite some time. It takes place at the end of the mother and daughter’s day together and sees them both sat alone in their bedrooms. We see a dull, pale blue light enveloping Tressa, then we cut to Molly, who is bathed in a bright and warm orange glow. The juxtaposition of these two images, one after the other, has clear symbolic meaning. Molly is Tressa's ray of light in her otherwise drab and unpleasant existence. An existence that reveals just how unpleasant it is shortly thereafter as Tressa undresses; revealing she is the victim of domestic violence. Moreover, the fact the composition of either scene seemed to stay largely unchanged as it switched from Tressa to Molly, seemed to me that, perhaps, the film was suggesting Molly might be bound for the same problematic existence as her mother. As though Tressa's problems may be inherited by her daughter. It's a heart-breaking thought and makes for a sobering end to an already melancholic set up. But there's also much happiness and beauty to be found in Just Today. Thanks to some excellent writing and brilliantly layered direction, there is so much to take away from this film. A fantastic cast, brilliant script and poignant storytelling. If this debut piece is anything to go by, Aislinn Belot could be looking at a very promising career in filmmaking.

★★★ Directed by: Lee Neville Written by: Lee Neville Starring: #LeeNeville, #JaneHogan, and #DanielleLittle Short Film Review by: #RachelPullen I have spent so much time recently staring at Mr Lee Neville’s face and pondering about his romantic affairs that I feel like I am married to him. Which would be insane because coupling his dysfunctional approach to relationships with my borderline insanity and non monogamous approach to life, would only result in World War III. So what’s Neville up to this week? Going to his job? Brushing his hair? Trying to learn how to do hand transplants? Bottling his essence to give to guys who have problems boning chicks? No, of course not, he is sitting in a room arguing with a lady over his messed up commitment issues... duh. In short film Three Times Moving: The Kiss Through Time, his lady friend seems to be putting up with more of Neville’s crap than the others did (see my previous movie reviews), he is very clear about how he can’t commit to her, being rude to her in one particular scene in the bed, just downright being a total fuck boy...oh Neville how are ya pulling this “lady juggling” off so well when you treat them so mean? It’s not long before this week’s main lady takes her leave after walking in on Neville cosying up to another woman [of course, I hoped it would have been a man or a goat to spice things up a bit, but no such luck] on the very same bed they had shared, but to be honest he is sharing it with a bunch of other ladies so she shouldn’t really be that alarmed. Neville pulls his usual lines out of the bag, his trouble with commitment, how he can’t express himself, how he is half man half centipede...well maybe not that one, but to say the least we have heard it all before, and surprise surprise, she swoons, they kiss....fin. Now let’s not be dismissive, and scream ‘’What? Is this not almost the same as the last one!!!??’’ let’s put on our thinking caps and try to understand the message that Neville is trying to get across with his saga of short films about love affairs...yeah I got nothing either. I don’t mean to downplay his efforts. They are apparent, and as I said about the last shorts the acting skills are excellent, his directing skills regarding camera angles is done to a good standard, and they are all easy and generally pleasant to the eye when viewing. But by now, after Three Times Moving when I am three films deep in to Mr Neville’s love opera, I sit back and say...I don’t get it. How much can he beat this dead horse of a storyline until we all go mad? How much more can he bleed from this? I get it, you can’t commit, all the women around you to seem to not be able to commit very well either, can no one commit to anything! People suck! And so I your beloved and god like film critic [I know, I’m down playing your true feelings] have not 1 but 2 more instalments of Neville work to go, and by god if at the end someone does not reveal themselves as a lizard person, or that they are all indeed in a sex cult I’m going to scream.

★ Directed by: #MonirJAljaradli Starring: #AhsanAlobaydi, #RashidJMaki, #AbdulrahmanMurshed Short Film Review by: #KevinPotter The Game is an underwhelming short film that's problems mostly lie before the film started shooting. The plot of The Game is a scenario in which we as humans were put into realistic video game sequences that put our life at risk. And with a limited amount of lives you need to learn quick if you want to survive. The problem with The Game is that there were not enough choices made in the script to keep the film engaging. After seven minutes time spent with it you are left wondering what the reason is for why this film was made or waiting for a twist to happen. An entertaining ending was needed to justify itself. But alas no. The film ends predictably and that's that. The end. There's not much in the script to begin with to inspire any worthy performances but even still the performances were bland with no colour. The only reason this film is worth 1 star at least is because the action sequences for a low budget film are executed fairly well. They are the best thing about this movie just because they work and don't look completely terrible but they were still boring to watch. The Game desperately needed much more direct choices about the premise and why what is taking place in the film is happening. What happened in the world to lead us here? It was impossible to determine if it was even supposed to be happening to people in real life or just happening in a video game by itself with no force taking place by government or some other entity or people. It tells of a project and that failure is punishable by death but that is just too vague. The plot demands more information for us as an audience to care. And that right there is the problem. You just don't.

★★★★ Director: #AdrianProspero Starring: #MaynardGray, #CarisEves, #MatthewNicholasPhillips Short Film Review by: #JackCameron #Superheromovies are simply everywhere, love it or hate it it’s true and, given the incredible breadth of source material available, they aren’t going away soon. Once Were Heroes, written and directed by Adrian Prospero, is another superhero film but one that, arguably, unfolds a little differently from the films we have seen before. A car pulls up in a small Australian outback town, in it are Piper (Caris Eves), her young son Charlie (Maynard Gray) and her boyfriend Devon (Matthew Nicholas Phillips), they appear to be on a trip but in reality, they are a rag-tag group of robbers. Charlie has telekinetic abilities and Devon exploits these powers for criminal activity. Obviously, we have seen teenage superheroes be exploited by adults in the X-Men series, but those films focus more on the spectacle of the exploited superpowers rather than developing the characters who are subject to that exploitation. Prospero’s film shares a lot in common with the work of #TaikaWaititi. Waititi is a master of happy-sad cinema; his adult characters often behave childishly, with hilarious results, but at the same time, the drama revolves around the fact that they are grown up and they are neither as innocent nor as confident as they think themselves to be. We see this with Devon especially; he opens the film by comically crashing his car, getting excited about the trip but then viciously slapping headphones off little Charlie’s head, finally he takes some time to practice his karate before starting the robbery. With his character flipping up and down so quickly we gain no solid ground with him; he is an idiot but also a credible threat. Similarly, his Mum, who is also clearly trapped by Devon, creates a make-believe world for Charlie to get him to comply. Prospero’s other success is his setting. Small Australian outback towns have a pretty diverse cinematic representation but one thing that’s certain is they create an odd atmosphere with an overwhelming sense that something weird and unexpected could happen at any moment. For two different examples try The Rover and Priscilla Queen of the Desert. In this town Charlie meets threat, in the form of a thug and kindness when a father and son ask him if he needs help. More than its plot Once Were Heroes uses its setting and its characters to draw the attention to Charlie. What's interesting is that with all the uncertainty in this film the fact that Charlie has superpowers seems to be the most rational idea and Charlie himself is amazingly empathetic. Because, at the risk of sounding twee, this is not a film about superpowers it's a film that empowers children and makes those who exploit them, cowards. It’s not a film that gets bogged down in origin myths and the need to find a purpose for its characters, it gains our support by showing us that compared to everyone else Charlie is the most powerful character on the screen. And most impressively Prospero achieves this while giving Charlie almost no lines of dialogue. Whatever your opinion on superhero movies they can, like any genre, allow for some seriously nuanced #filmmaking. Once Were Heroes, with its happy-sad characters and weird setting gives us a superhero, not valued on the effectiveness of their powers, but that they remain true in a world that isn’t. Put simply this is a #comingofage drama, a story relatable to almost everyone, with superhero elements that add to it rather than distract from it.

★★★★ Directed by: Adam William Ward Written by: #SethHymes, Adam William Ward Starring: #PatrickCavanaugh, #AdamWilliamWard, #AaronGroben, #JamesBabson, #LissaLauria, #LaurenFrancesca, #RonaldQuigley, #AndrewRamaglia, Indie Film Review by: #ChrisOlson Weekend at Bernie’s meets Pineapple Express in this indie comedy movie from writers Seth Hymes and Adam William Ward. Wally Got Wasted is a gut-busting stoner flick that manages to put together a phenomenally impressive film on a limited budget (70k). Patrick Cavanaugh plays Mitch, whom we meet at the beginning of Wally Got Wasted being dumped by his fairly heartless GF Jessica (Lauren Francesca). Seeking comfort in the arms of his buddies Charlie (Ward) and Jerry (Ada Groben), as well as a Brisket, Mitch’s plans for a night on the tiles to find some closure on his relationship are scuppered when a violent serial killer posing as a census worker called Wally (James Babson) interrupts his cooking. Accidentally and fatally stabbing the man, Mitch and his friends are swiftly caught up in a dangerous journey across L.A. where they hope to dispose of the body and avoid some corrupt cops who were hunting Wally for attempting to blackmail them. Chaotic and a little rough around the edges, there is a ton of enjoyment to be found in this indie film. Never once taking itself too seriously, the #filmmakers are happy to lean heavily on movies of this genre which have come before (if you have avoided all #SethRogen films this movie may still feel somewhat fresh), and instead of busying themselves with originality or believability, set about delivering a film that is fucking fun. They pay homage to numerous cinematic Greats throughout the piece but also deliver a number of terrifically filmed sequences. The production value is as high as the character of Jerry! Speaking of which, the characters are brilliantly sketched and delivered by the cast. In fact, this ensemble is perhaps going to be the best of the year! Cavanaugh turns in the wonderfully anxious type whose increasingly perilous situation makes him even more engrossing to watch. Ward is particularly brilliant as his endlessly supportive friend, the chemistry between the two was excellent and Ward reminded me a lot of a great comedy actor like #JasonSiegel. Groben does well to portray a Bill & Ted style surfer-dude-cum-dopehead. The act gets a little tired at times and the character’s legion of errors during the plot feel palm-facingly annoying by the end. At one point his use of air quotes to give away their plan to bury the body was almost enough for me to bark at the screen. That being said, Jerry does have some of the best comedy sequences in Wally Got Wasted, such as firing a gun off in a cave! The supporting cast are also splendid, in particular Lissa Lauria, who plays a girl Mitch meets on his travels with Wally, the budding romance between the two perfectly grounded the movie. We should also tip our hat to Babson, whose screen time as a corpse massively outweighs his time alive. He still provided a performance that was full of skill and aplomb. Making an indie #comedy in 2019 is ridiculously difficult without household names and/or a huge marketing budget. Hugs and bum slaps all round for these guys, who have put together such a genuinely enjoyable and well-crafted film on a small budget (mostly self financed), used a ton of great locations and extras, and made it look on par with Hollywood’s mainstream output. Watch your back Rogen and co, these fellas know what they’re doing and they’re not afraid cook a brisket if you know what I mean. Watch the official movie trailer below. Wally Got Wasted is currently available to watch on Amazon Prime.