★★★ Directed by: #NicholasMcCarthy Written by: #JeffBuhler Starring: #TaylorSchilling #JacksonRobertScott #ColmFeore #PeterMooney #BrittanyAllen Film Review by: #ChrisBuick Even if you are not a parent yourself, it's not hard to imagine that most parents would do absolutely anything for their kids. Even if their child has been possessed by an evil psychotic entity. There must be hundreds of parents that can relate to that situation, right? In The Prodigy, Sarah (Schilling) and her husband John (Mooney) are happily married and expecting their first child. Finally, the magical day comes when they can welcome their new baby boy into the world, and he's perfect (her words). Unfortunately, this glorious occasion happens to occur at the same moment that a sadistic serial killer is killed by police during a raid on his house, after his latest victim escapes his clutches and leads them to him. As these two events align, the miracle of child birth is then turned into something much more sinister. From that day on, young Miles (Scott) begins to show signs of remarkable intelligence from a very early age, but also alarming displays of disturbing behaviour, tormenting babysitters and dogs to name but a few examples. Thus, Sarah and her husband are driven to their wits’ end trying to do what is best for their son, all whilst living in constant fear of him. The film delivers some good, believable performances all round, especially Schilling who puts in a convincing turn as the desperate mother who will sacrifice just about anything for her son. But the real star is Jackson Robert Scott as Miles, who grabs the creepy child role with both hands and runs with it. Having gone from being terrorised by Pennywise in the latest IT film, here Scott turns on the terror himself and dials the creepiness all the way up to eleven. You’re never quite sure whether innocent or malevolent Miles is at the surface and when the evil is obvious, it's easy to forget that this is a child actor giving you those demented looks. Director Nicholas McCarthy, who has already established himself as a dab hand at horror with his previous films The Pact and At the Devil's Door, uses the camera and shadows relatively well to draw out the tension and scares without making us wait too long, however too often they can be seen coming a mile off. And while there are a few jumps here and there, the film unfortunately is not that terrifying. Apparently, a scene had to be re-edited because it was considered too much during test screenings, but maybe they would have been better leaving it in. The film also starts strong but peaks too early then has nowhere to go, as the audience gets all the answers long before the characters do, which leaves nothing to twist on or build up to. The film does entertain but will probably leave quite a few horror fans unsatisfied. With some good performances which do help keep it somewhat grounded despite its premise, The Prodigy is a decent film that does provide some suspenseful moments and chills, but ultimately won't send you scuttling behind the sofa.

★★★ Directed by #HansPetterMoland Written by #FrankBaldwin Starring #LiamNeeson #TomBateman Film Review by #HopeMadden Liam Neeson, everybody. If we’d ever wondered what fueled Neeson’s on-screen obsession with a character who can turn from perfectly ordinary, even good guy to blindly bloodthirsty avenging devil, now we know. His movies were more fun before, weren’t they? In Cold Pursuit, Neeson’s ninth riff on the theme since his 2008 career-changer Taken, he takes on mainly white guys (whew!). Kehoe, Colorado’s most beloved snow plow driver Nels Coxman (Neeson) learns of his son’s heroin overdose death. Not believing his son to have been a junkie, he does some digging, and some retaliatory murdering. One thing leads to another, the holy bonds between father and son are honored without being explored, Laura Dern (as Mrs. Coxman) vanishes from the film by the end of Act 1, and a rival drug gang complicates the revenge fantasy. This is director Hans Petter Moland’s reboot of his own 2014 Norwegian thriller, In Order of Disappearance. Both films employ a dark and absurd humor that keep the well-worn material from feeling stale. The weird tone and Moland’s flair for fantastic visuals—not to mention his joy of carnage—keep the film intriguing from start to finish. A game supporting cast doesn’t hurt. Tom Bateman (listen close and you can hear him say, “holy shit” in The Interview) chews enough scenery to balance Neeson’s quiet brood. Plenty of peculiar turns and quirky moments between odd characters elevate this one above your garden variety Neeson thriller. It offers a mildly entertaining time—assuming you can get past the actor’s own disturbing relationship with revenge.

★★★ Directed by #DonalMosher #MichaelPalmieri Written by #DonalMosher Film Review by #RachelWillis Eureka Springs, Arkansas has long been considered a magical place. In the mid-19th century, its springs were known for their “healing” waters. It's home to Christ of the Ozarks, a two million pound, 65-feet tall statue of Jesus Christ, as well as The Great Passion Play. The play is the largest-attended outdoor drama in the country and depicts the last days of Christ. There is also a large LGBTQ population at home in Eureka Springs. With The Gospel of Eureka, directors Michael Palmieri and Donal Mosher explore the city of Eureka Springs and the people who live there. We meet several people in Mosher and Palmieri's film, but the most endearing are Lee Keating and Walter Burrell, the owners of Eureka Live Underground, a bar that boasts “the largest beer garden in Eureka Springs”. Both Lee and Walter are devoutly Christian, though they differ in opinion on some of the specifics. We also spend time with some of the performers in The Great Passion Play. They're open to sharing their devotion with the audience. We see the great deal of preparation that goes into such a elaborate production. We're also privy to scenes from The Great Passion Play, but they're interspersed with moments from a drag show at Eureka Live Underground. Many of the performers incorporate religious songs into their acts. It may seem dichotomous from the outside, but this is what makes Eureka Springs the place it is. That's not to say Eureka Springs is a perfect place. The narrator makes sure to include some of the town's darker history – lynchings, beatings, and murder – but it was also the first city in Arkansas to issue marriage licenses to same-sex couples, and the film itself is anchored around the run up to a vote regarding Non-Discrimination Ordinance 2223. For a city with a deeply ingrained Christian culture, it's a toss-up as to how the vote will turn out. With so many aspects to explore, Palmieri and Mosher try to tie it together, but most of the time the film is unmoored. It's not always clear how pieces fit into the whole story. As a simple portrait of a city, it's a lovely film. However, if the directors were trying to make a larger point, that goal is wanting.

★★ Directed by #AdamShankman Written by #TinaGordon #PeterHuyck #AlexGregory Starring #TarajiPHenson Film Review by #GeorgeWolf There are a few moments in What Men Want - too few - when the forced caricature of Taraji P. Henson's character takes a break and some actual acting is allowed up for air. These are nice reminders of how good Henson can be when given the chance. Her latest, a reimagining of the Mel Gibson/Helen Hunt fantasy from nearly 20 years ago, badly needs the confidence in its actors that elevated the original film. What Women Want was shallow, sure, but it had sense enough to trust what its leads could do with the material. This time, a woman is blessed/cursed with the power to hear the inner thoughts of men. Sports agent Ali (Henson) gets that power after an unexpected visit with a strange psychic (Erykah Badu in a weirdly effective cameo), only the first of many convoluted and hastily-assembled situations the film trots out ad nauseum. Director Adam Shankman can find none of the authentic energy that infused his effervescent take on Hairspray, settling instead for a laziness that has little regard for continuity, logic or organic humor. Ali's father (Richard Roundtree, nice to see you) comments on scenes he wasn't part of, one-sided phone conversations appear just slightly more authentic than holding a thumb and pinky up to your face, and what could have been fertile comic ground musters only big-eyebrowed mugging and histrionics. Ali's thought-reading could be a vehicle for edgy takes on sexual politics, boys club boardrooms and any number of sexist double standards. But the inner thoughts Ali hears offer more boredom than bite, with the team of screenwriters racing past any possibilities for an effective character arc on their way to the next used condom gag. A scene-stealing Tracy Morgan and a surprising Brian Bosworth improve a supporting ensemble that sports plenty of weak spots surrounding Taraji P. She over-compensates with desperate attempts to pull everyone to the finish line, which doesn't come quite soon enough.

★★★★ Directed by: #MattBraunsdorf Written by: #JonathanMarballi Starring: #PaigeLindsayBetts, #JonathanMarballi, #JeremyMichaels Film Review by: #DarrenTilby We all know the machine uprising is coming. The day when artificial intelligence creates an army of robots to wipe out mankind—like in #TheTerminator! But it'll likely begin with a series of annoyances, as the #technology we trust to get us home or deliver us food, instead, brings us crashing back into contact with our exes. I mean, can you imagine anything more embarrassing? Uber Ex is that warning and serves as a sublime examination of #technology's influence and consequences on #moderndating. Of course, within minutes of the film starting, you'll realise it's nothing like the terror-inducing, pre-apocalyptic ex-girlfriend/boyfriend scenario I just described. But the underlying idea is there. We all embrace our technology and the convenience it brings us, but we don't often consider how much information companies can obtain about us through our use of apps, search engines, our shopping habits or our phone book. I'm not suggesting the #Uber app sends Lev (Jeremy Michaels) to pick up Dave (Jonathan Marballi) and his date, Kate (Paige Lindsay Betts), purposefully because it knows he's Kate's ex-boyfriend. But it's an intriguing concept, and intentional or not, that's what happens. The following car ride to Dave's house plays out like a prolonged tug of war for Kate's affection between Dave and Lev; as she flutters between the two men. Dave is financially stable and supportive, but also a little dull. Lev, on the other hand, is attractive and “fun” (he does drugs), but also has a crap personality. Kate is torn between them. Personally, I don't know why. But she clearly has unresolved feelings for Lev and just isn't sure about how much she actually likes Dave. Performances from all three actors are phenomenal and Marballi’s #script is an absolute delight. There's flirting, reminiscing, tenderness, general twattery, and humour; understated and witty. I loved everything about the performances in this film; and seeing Marballi, Betts and Michaels bounce off of one another is truly inspired. Aesthetically the film is fairly basic. But the #cinematography from #AndyBond is wholly adequate for what the film demands, and #JaredDymbort's #soundtrack serves as a marvellous accompaniment to the story. For a film which doesn't take itself too seriously, Uber Ex has the uncanny ability to really hit you in the feels; particularly around the third act. There's a genuine tenderness in the way it treats and develops its characters, and the final scene will tug at your heartstrings in a way you will not have expected. And whilst the film’s primary thinking is technology’s influence on #modernlife, it's also a celebration of humanity, which rarely misses a beat.

★★★★ Directed by: #ShaktiBhagchandani Written by: #ShaktiBhagchandani, #EmreGulcan Starring: #OliviaWashington, #YannaButtons Film Review by: #DarrenTilby In Lostfound, Shakti Bhagchandani explores what the #Islamic faith means to a young black mother living in modern-day America. And while I felt the film’s primary message wasn’t clearly articulated, the film more than makes up for this shortcoming in other ways. The film begins, in glorious #blackandwhite, with our lead (Olivia Washington) and her fellow sisters reading morning prayer. #Fajr, I believe? We get our first allusion to a possible crisis of #faith at the reading’s end, when our lead drops her smile and looks less than enthusiastic about her prayer recital. The remainder of the film takes us through the day-to-day routine of the young #Muslim woman, as she tells her daughter fairy stories—which may or may not be a metaphor for the #Islamic faith's view on women’s rights, or, a commentary on western imperialism. I may also be looking into it too much, who knows—teach her about their #Islamic #faith, and cooks and cleans for her family. The first thing that’s likely to strike you is just how familiar this all looks. The mundanity of her daily routine is likely to strike a chord with most stay-at-home parents and serves as a compelling way of breaking down #cultural and #religious barriers, whether that was the intention or not. The cast throughout the film is nothing short of excellent, but I particularly liked the beaten-down, indifferent mood displayed by Olivia Washington in the lead role, which just worked so well here. It’s a feeling which not only affects her home life but which I believe spills over into her #religion too. There are several small hints throughout the film which suggest Washington’s character isn’t entirely happy with this aspect of her life, including a strong hint towards a possible #lesbian relationship developing with a friend. I’m not going to discuss any of the other clues as, honestly, it’s one of the most enjoyable parts of the film. I’ve watched and scrutinised it at least four times now, and I’m still spotting new things here and there. And I have to say, watching this film has never seemed like a chore. It’s a pleasure through and through. Not only because of the terrific acting or its superb naturalistic script; but because of its utterly gorgeous visuals. Every frame of this movie is a thing of beauty, and nothing ever seems out-of-place or hard on the eyes, editing included. I may be slightly biased though, I’m a sucker for #blackandwhite #cinematography. But filming in #blackandwhite is not an easy thing to do. At least, not if you want to do it properly. But it was absolutely the right choice for Lostfound, and #cinematographer #JoeDuva should be praised for his exemplary work on this movie. Lostfound’s apparent lack of a singular fundamental message may seem disconcerting at first, but this is an incredibly beautiful and rich film that benefits from repeated viewings. And at only 12-minutes in length, you have absolutely no reason not to. So do yourself a favour, view it as many times as you can (I’ve seen it three more times since starting this review!), take your time with it, and consider everything that’s happening on screen. Because the chances are, it’s important. #Tender, #poignant and thought-provoking, I loved it.

★★ Directed by: #LeeNeville Written by: Lee Neville Starring: Lee Neville and #OlgaVanessa Short Film Review by: #RachelPullen Think back, stare into the past, use your mind telescope....all the way back to last week where I, your number one film critic and distributor of the laughs [you’re welcome] reviewed a little movie called Time Stops Moving, the first of what appears to be the saga of Neville’s ever growing messed up relationships with women and himself. Using our brain banks and telescopes I’m sure you can recall that last week Neville was playing the multi lady game. He had three on the go, what a gangster, anyway these ladies all had problems expressing themselves, they all had something that they could not say. I suspected a pyramid scheme, I don’t think it was that but hey at least I made an attempt, women are mythical creatures and are hard to read. With Time Always Moving, filmmaker Lee Neville continues to sit in his bedroom with 90’s piano scores playing in the background...he’s creating mood I guess but once again, like I said last week, ergh I just can’t get on board with it, but he is not alone in his room, and no it’s not a pianist in the corner it’s another lady...bet you didn’t see that one coming. Neville tells her the tale of what it was like before, where he felt that time stopped moving when he was with his three ladies, when they were unable to express their feelings, she listens intently, probing for more and more information, and we soon come to realise she too is involved with Neville...of course, ladies love Neville. But like the ladies before him, he struggles with expressing himself, tying in the previous film, we learn that he had been unable to say that he loved any of them, not that he didn’t feel it, just the act of saying it seemed to cause him trouble, because of this he had lost his pack of three. But this time Neville wants to do the right thing, he wants to say those three big words, and he wants to say it to her...can’t let another one get away. The one thing short film Time Always Moving brings to the table is the sense of emotional realism. We have all been in those scenarios where we are deep in discussions with a loved one and they just can’t say how they feel, you want to grab them, shake them from their complacency and scream ‘’ust say it god damn it!!!’’ and I certainly felt like doing that to Neville’s character, the tension is there, it’s real and we are involved. The shots between the lovers in bed are intimate, close to their faces, you can almost feel the connection, allowing us to build an understanding of where they are within their relationship, an important factor when feeling the frustrations displayed by the leading lady at Neville’s inability to express himself fully. I have no beef with this series, but I also have nothing that is drawing me in, when I watched the first instalment I stated that there was room for this story to grown, but I feel the direction taken is not the most stimulating, the cast of characters presented to us in the first short could have created interesting and compelling storylines. Was this an open relationship? Were these people in a sex cult? What’s Neville got that makes him so desirable to ladies? Money? A yacht? Really good wifi connection? But alas we just see a man in the same room as before being emotionally stunted. Maybe I’m missing something, but personally watching a man be unable to satisfy a variety of women on different platforms just seems like a Friday night at a Wetherspoons to me, but that’s not to say this instalment does not bring interesting dialogue to the table, confident and compelling acting from all the cast, but I just felt the story went down a route which robbed the viewer of a lot of answers...Just tell me why all the ladies love Neville god damn it, and if you give me that I shall say well done.

★★★★ Director: Nebulous State Starring: William Timberlake, Nebulous State Short Film Review by: Jack Cameron Punished Liver II chronicles the exploits of Special Agent “Octopus” (previously rumoured to be dead – the rumours were wrong) as he is tasked with infiltrating the Bolivian border for one final showdown with his old friend and partner, now gone rogue, Agent Amos. Octopus is an unstoppable killing machine who will not disappoint in achieving his goal, but when it comes to Amos will he be able to end his life? Punished Liver II is extremely enjoyable, but it is also a cut above the usual ‘80s callback-parody-exploitation-fanboy movies (term still pending) that are readily available on YouTube. The #filmmakers wear their Arnold Schwarzenegger/Metal Gear Solid influences proudly, but more importantly they understand what made these properties work: they take themselves seriously, just what they’re taking seriously happens to be very silly. To make this work the characters and the story have to deliver the cliché-ridden, pun-tastic dialogue and the OTT plot points with the utmost conviction. There are no fourth wall breaks or deliberate mistakes in this film, it exists in a silly world but that world is still, nonetheless, real. This is a difficult balance to get right, and yet we can believe that Octopus is fully capable of breaking your neck despite constantly smoking joints and constantly sharing them with anyone he meets, friend or foe. The film is cheap but its budget is key to helping achieve this balance. We laugh as Octopus scrapes a man’s face across a log, but the sound effect is genuinely uncomfortable to listen to; the dialogue is recorded so poorly that subtitles are needed to understand what’s being said but the juxtaposition of reading the lines and seeing how they’re delivered gives an extra level of humour that wouldn’t be possible without them. Don’t be totally fooled by the cheap effects though, there is some very real technical talent here; one helicopter sequence is genuinely impressive, and while the fake celluloid scratches help to distract from poor lighting it also adds to the film’s setting of being one-step-removed from reality. This is certainly not for everyone. While there are no fourth walls to break it does rely on the audience to have some understanding of what's being parodied and to have an affinity with the source material. However, this is a new type of cinema that is gaining some serious traction. Most recently with #Netflix’s Kung Fury, the sequel to which is, currently, #MichaelFassbender’s only up-coming project. Nostalgia is the latest hot trend, but rather than homages like Stranger Things, Punished Liver II casts itself more in the vein of the French New Wave, a movement that ripped up the cinematic rule book, did what was said could not be done and cinema has been reaping the rewards ever since. Obviously, as was mentioned above, this has been done before and its merits will relate to the audience’s taste, but Punished Liver II delivers some good dramatic moments and some seriously funny comedic ones. But most importantly, when it could have just been all out stupidity, it understands what makes #cinema enjoyable. Parody may have a limited lifespan but it is always enjoyable to watch something that reminds you that films are not limited by what came before them and that cinema is not and should not be bound by set rules.

★★ Directed by: #CraigMagevizoSmith Written by: #TaniSullivan Starring: #FrankWilliams #NatalieBarrett Short Film Review by: #ChrisBuick It is an unfortunate truth that being raised without a father figure can have severe consequences for young people, especially young men, who can suffer from not having a strong male presence to guide them. However despite its obviously good intentions, short film Fatherless fails to make an impact with this subject matter and instead delivers a rather mediocre short film. The short film opens with a man being released from one of Her Majesty’s prisons after twenty years of incarceration. This is then followed by a long, drawn-out sequence of him walking almost aimlessly through the streets, before arriving at his new temporary residence where he has an extremely brief and unnecessary exchange with another man there. This is interspersed with shots of a young man sitting in a flat playing video games and being repeatedly accosted by his mother for doing so. Finally, the newly-released man arrives at their house and presents himself to these people, who are revealed to his son and ex-partner. Here begins the inevitable confrontation as the son begins chastising his father for being absent all these years. The film takes too long to get started and the opening sequence bounces back and forth between the same two visuals way too often, which makes the film seem stagnant right from the off. What little dialogue there is feels quite contrived and isn’t helped by some rather unconvincing performances across the board. Despite an initial outburst when father and son meet, the rest of their exchange seems more like three people having a casual conversation rather than an emotional confrontation. The majority of the film's message is delivered in a rapped/spoken monologue that plays over some slightly monotonous music. This is where this short film tries to deliver a poignant message about the struggles young people face when raised without a father figure and while it does hit home at parts, it then undermines itself with montage scenes where nothing happens, before suddenly shoehorning in a stabbing scene that seems a tad over gratuitous and confuses the tone of the film. Ultimately, the ending doesn’t deliver the punch it should largely due to the content preceding it. All in all, Fatherless seems as if it might have been a pool of ideas thrown together and despite having such an important topic at the centre, Fatherless doesn’t manage to do it any real justice. The film's monologue does offer some insight and important messages about the hardships that young people from single parent families can face, but this short seems to be a hashing together of the kind of stereotypes you might already expect and instead just leaves a rather underwhelming taste in your mouth.

★★★★ Directed by: #AnnaBiller Written by: #AnnaBiller Starring: #SamanthaRobinson, #LauraWaddell Film Review by: #DarrenTilby A stylish, vibrant and lascivious overindulgence from the mind of Anna Biller, who brings her use of lavish colours and her defining brand of narcissistic #feminist wit, into conflict with the tropes of the late #60s and early #70s #sexploitation cinema. The Love Witch sees Elaine (Samantha Robinson), a modern-day witch, as she relocates to northern California following the death of her husband, Jerry (Stephen Wozniak). After arriving, Elaine sets about establishing herself in the local community: she befriends interior designer, Trish (Laura Waddell), begins selling her wares in the local magic shop and brews love potions to seduce the local men. Standard stuff, I’m sure. Samantha Robinson has proven she is the perfect choice to portray Elaine's unique talents and mannerisms. She oozes #eroticism and self-assurance; fixating men around her with nothing but her gaze. But, at her core is a cold, uncaring arrogance. It's Elaine's belief that to make men happy, you simply need to “give them what they want”, and that she's the one to give them it. The problem is, Elaine also believes that’s a good way to meet the right kind of man; her “prince charming” if you will. As such, Elaine’s pathological narcissism is both her greatest strength and her greatest weakness; it may bring her what she wants, but does so at a price. In many ways, Elaine is a caricatured representation of what men think they want in a woman: a subservient plaything used purely for sexual gratification. She isn’t actually, of course. But that’s the point. Biller uses the #clichés of male-dominated #1960s cinema to explore contemporary gender roles. Her exploration of #feminism and simultaneous dismantling of male #masculinity is not only unique, but it’s also a pure delight to watch. Lines like “men are very fragile. They can get crushed down if you assert yourself in any way.” and “Men are like children. They’re very easy to please as long as we give them what they want” may be barbed and biting indictments of old-school #masculinity, but Biller never resorts to vitriol. Instead, her takedowns are playful and good-natured. And the good-natured retro throwbacks don’t end there. Shot on 35 mm film and printed from an original cut negative, The Love Witch bathes in a #Technicolor radiance rarely seen in modern cinema. The film utilises its unique visual style to great effect, and the #cinematography by #MDavidMullen is undoubtedly a thing of beauty. But it isn’t possible to talk about any aspect of the film’s aesthetics without praising the extraordinary efforts of the director, Anna Biller. Practically everything in this film exists because she put it there: the #Technicolor look, the otherworldy soundtrack, costume and set design, the awkward pauses in the dialogue between characters which were so common in #60’s cinema, Biller did it all—and more. Seriously, go take a look at her credits for this film. This is what a labour of love looks like. There are problems with the film, obviously. The main issue, for me, was the length: at two-hours, it’s just too long. There were moments where the pacing slowed, and I started to become disengaged with the story. And although the film never fully lost me—I was wrapped up in the pure #nostalgic beauty of it all—there’s no doubt this will be a problem for others. Quite aside from that, the story, themes and design choices made for the movie inherently mean it’s less likely to appeal to a certain audience. With all this said and done, I really enjoyed the film. It’s a wonderful #throwback to an era of cinema and #filmmaking I have a deep love for. Its contemporary disposition melds well with the more old-fashioned aspects of the movie, and it remains fun and playful throughout; never becoming bitter or nasty. The Love Witch is a real triumph of #feministfilmmaking and it champions its cause with accessibility that is seldom seen. A perfect film for the #MeToo era.

★★ Directed by: #LukeOstermiller Starring: #ScottKLeslie, #CaliJune, #RJWagner Short Film Review by: #BrianPenn I always felt the #horror genre was lost on me; a vast array of shockers have left me largely unmoved. I either yawned all the way through or laughed at the most inappropriate moments. They were invariably well constructed pieces that earned my respect; but I never sought refuge behind the sofa. I confidently threw the gauntlet down to director Luke Ostermiller; would he be able to pick his way into my imagination? The set-up for Turn Around is deliciously simple; Nathan (Scott K. Leslie) has pulled the attractive blond Amber (Cali June). They are soon on their third date and heading for a camping trip. A nicely understated score is gently building the tension when Amber abruptly stops the car. Nature has literally called as she disappears into the woods. Too much time passes and Nathan goes off to look for her. He finds the car keys and investigates further, but is of course being watched. A hefty whack on the nose with a shovel puts him out. He awakes strapped to a wooden stool. Thick plastic sheets cover the floor and a carpenters’ rack adorns the wall complete with saws, chisels and knives; it is fair to assume Nathan is in a spot of bother. He is soon confronted by Brian (B.J. Wagner) complete with leather apron and menacing looks. But will Nathan escape the fiend’s clutches and find Amber? This is a classic extension of the teddy bear’s picnic; and the assumption we will be sure of a big surprise. Sadly, there was nothing vaguely surprising or shocking in the movie. True, I didn’t yawn or laugh so it certainly had my attention for the right reasons. Despite my efforts to give the film a reasonable chance, it simply didn’t rise to the challenge. The limited timescale forces the director’s hand much earlier in the story; so we naturally expect one final attack on the senses before the closing credits start to roll. However, it was let down by a disappointingly weak finale and could have been lifted from a hundred horror flicks to which it undoubtedly aspired. I am sadly, still waiting for the great game changer in horror: perhaps one day?

★★★★ Directed by: #BlakeElder Written by: #TaylorScott Starring: #JaredBankens, #CassieSelf, #DustinPrince, #StarMcCann, #BillyChaseGoforth, #KristofWaltermire, #MindyVanCurry, #BryceKemph Short Film Review by: #ChrisOlson When your Alcoholic Anonymous meeting gets cancelled because there is an apocalypse going on with the streets being littered with the undead, where do you go? A sports bar run by Lucifer himself of course. Written by Taylor Scott and directed by Blake Elder, comedy short film Last Call stars Jared Bankens as John, the aforementioned alky whose journey on the straight and narrow just got a lot more bendy. Staying on the wagon is hard enough but when the devil (Dustin Prince) is the one trying to nudge you off there can’t be much hope. Will John’s willpower hold out long enough for him to avoid being one of the seven sins being collected by the Evil One like damaged human baseball cards? With great #cinematography and a daring storyline, Last Call is also a cheeky short that wants its audience to have a good time. The characters are thinly sketched (other than John who, we discover, has an interesting backstory) and feel perfunctory for the most part. The lighthearted atmosphere and tone stays pretty consistent throughout, with small jokes and banter filling up most of the barroom space. The movie does offer some sublime shots, in particular during the opening and closing sections of the film, that are impressively delivered.The use of focus on a street post was great as was a short overhead sequence. The performances were solid. Bankens is a convincing lead and does well to navigate the stress of a character dealing with multiple attacks to his sobriety. Prince is also a charismatic devil (literally), and Star McCann’s aggressive turn was wonderful to watch. The musician’s delusion felt a touch overacted but did provide some of the best comedy moments, such as a throwaway line about Facebook. Together, the ensemble works well to create an enjoyable band of delinquents. By utilising a #dystopian landscape to explore the central character’s addiction, the filmmakers are able to take liberties that other comedies wouldn’t. Not only does this film have zombies and demons in, whilst we watch someone trying to stay sober, these fantastical elements are clear parallels to John’s flaw. The obstacles and behaviour from others he faces in the movie are metaphors for his own “demons”, and that staying dry each day is like trying to survive the apocalypse.