★★★★ Directed by: #SpencerAnderson Written by: Spencer Anderson Starring: #MichaelWatts, #DavidMcCann, #ZacharyColeman, #OliverMcDermidPerring Short Film Review by: #ChrisOlson The romanticism of war is a familiar topic for audiences who have been gifted many stories of love existing within conflicts. Battlefields in distant lands, aside from creating harrowing violence and sorrow, also create that all-consuming romantic device - long distance relationships. In filmmaker Spencer Anderson's short film, Fallen, this long distance gets stretched through time as well as miles, allowing for an absorbing and achingly tender story of love. Based on the recollections of Gilbert Bradley, a soldier, the title Fallen has a double meaning. On the one hand referring to the tragic demise of all those who fell in WWII and on the other hand falling in love. The events surrounding Bradley’s romance have become semi-legendary and Anderson’s movie explores them with gorgeous cinematic effect. Sequences of fireworks, breaking waves on the shore, and blazing bonfires create a tumultuous atmosphere that is incredibly engaging whilst the love story that spans multiple decades plays out in non-linear fashion. The limited dialogue and explosive visuals create a movie experience that is more visceral and emotional than a traditional narrative might have been. The use of an overvoice reading the words of Bradley is brilliantly delivered by Zachary Coleman, whose informal yet emotive tone revels in the tenderness of it all. His words have the devastating effect of combining the assortment of visuals the audience is witnessing into a tapestry of loss, love, and life that is utterly heartbreaking. The performances from Coleman, Michael Watts, David McCann, and Oliver McDermid-Perring are all weighty, lending gravitas to the story in each scene and allowing this tale to be brought to life with convincing and affecting results. As with some of the best #shortfilms, in particular those who attempt to tell war dramas, this movie felt like a tease of something more substantial to come. A feature length is without question necessary and viewers may feel that Fallen is more of a movie trailer than a narrative piece of cinema. That being said, it is undeniable that Anderson turns in something that is remarkable and profound. If the story of Gilbert Bradley was going to be told, it needed to be from a filmmaker who understood (and could depict) the delicate balance of light and dark, love and loss, fighting and fear, and with Anderson this story is in safe hands. Watch the official teaser movie trailer below.

★★★★★ Directed by: #EugenedePlessis Written by: #BiancaFortin, #EugenedePlessis Starring: #CortneyPalm, #ChelseaJordan Film Review by: #DarrenTilby We wouldn’t put pregnant women through the appalling process dairy farms use, so why does society tolerate it with cows? This is the fundamental idea Herringbone has been built around. And honestly, after watching it, I don’t have a good answer. Herringbone is deeply moving, but more importantly, it reveals the inconvenient truth behind our ever-growing demand for #animal products; even being as bold as to place the blame with the consumer, which it absolutely should. Consumer ignorance and general lack of interest in the source of our #animal products are utterly devastating to #animalwelfare and need to be addressed frankly and openly. We open as an expectant young mother, Mina (Chelsea Jordan), is being transported in a bus full of other young women. They have been purchased for $460 each, and soon arrive at a compound facility where Mina and the other young women are attacked with cattle prods and herded into small cages. There, Mina befriends the woman in the cage next to her, Rhonda (Cortney Palm), who has lost her mind after being imprisoned and farmed for most of her life. Awaiting her fate, Mina witnesses and is subjected to inhumane treatment at the hands of her captors, who milk the young women with machines and casually “put down” any who have “run dry” with bolt guns. There are shocking scenes right from the off, which only get progressively more disturbing as the film goes on. In places, it’s genuinely hard to watch, and these scenes are underpinned by some terrific acting and heart-breaking character writing. The script is outstanding, and It’s clear both Jordan and Palm have put a lot into this movie: the sense of dread and fear displayed by Jordan’s Mina is palpable, and the unhinged, defeated ramblings of Palm’s Rhonda are brilliantly delivered and almost prophetic in nature. The striking and #disturbing imagery is brought skilfully to the fore with #EgorPovolotskiy's haunting #cinematography; while its close-up camera angles and muted colours impart a feeling of claustrophobia and despair. The eerie quality of #SergeiStern's soundtrack is also only too happy to oblige in reminding the viewer that this will not be a story with a happy ending. And it’s quite right that it shouldn’t. As the film is rather blunt in making clear, this sort of thing is happening right now and will continue to do so until we—the consumer—do something about it. It’s a message the filmmaker clearly feels strongly about, and the way Plessis draws parallels between what is happening in his fictional world and what actually occurs in these #herringbone facilities is masterful. But to his credit, it never feels patronising or like it’s being rammed down our throats; it’s a sincere plea for #understanding and #compassion. Herringbone is a deeply troubling movie; a #horror film based on mass-consumption and industrialised #farming. But I think what makes this movie all the more terrifying is that deep down, we’re all at least a little aware this sort of stuff goes on, and yet, we turn a blind eye to it for the sake of our own convenience. Herringbone is an intelligent and poignant piece of work, and whilst it may not convince you to go full #vegan, it’ll damn well make you re-evaluate just how much you thought you knew about #animalwelfare and the #foodindustry.

★★★★ Directed by: #VanessaPellegrin Written by: #EleanorMons Starring: #AmandaReed, #ChrisBearne, #JackieHowe, #ChristopherHunter Film Review by: #DarrenTilby What could well have been a sombre, ‘based on a true story’ film about a woman at the end of her life, thankfully, never comes anywhere close to actually being that. Instead―and rather like its titular character herself―it is a delightfully upbeat celebration of life, love and new beginnings. Sieda (Amanda Reed) is a widow in her late seventies, with a sharp wit and wicked sense of humour; an independent and free spirit who is proud of her Belarusian (Not Russian!) heritage. But after being found collapsed at home and subsequently diagnosed with heart disease, she’s made to move in with her daughter Hannah (Jackie howe) and grandson Benjamin (Christopher Hunter). A fate worse than death for someone as fiercely independent as Sieda and a situation not made better by her daughter’s incessant smothering. Although it’s clear, this overbearing behaviour is born out of the desire to protect her mother. Benjamin doesn’t like it and neither does Sieda; who takes every opportunity to escape her ‘house arrest’ and visit the village cemetery. And it’s on one of these jaunts to the cemetery where she meets fellow widower Patrick (Chris Bearne). Patrick treats her as an equal and isn’t afraid to throw the odd retort her way: “You know, I think this is the first time I’ve seen you with your mouth shut.” It’s sharp and incisive lines of dialogue like this which permeate throughout the film and it’s to the actors’ credit they never fall flat or feel forced. With the story being what it is, the chemistry between the cast is the key to the film’s success. And I’m happy to report the small but tight-knit troupe have absolutely nailed it. Individual performances are accomplished in their own right, but seeing the characters interact with one another is pure joy. There’s a first-rate script here from Eleanor Mons, full of witticisms and low-key British humour (‘bush rummaging’, anyone?) which must have been a delight for the actors to work from. And whilst I wasn’t blown away by the cinematography or soundtrack, there certainly wasn’t anything wrong with either of them. Both were admirably put together and fit well within the essence of the film. It’s just neither one really stands out as anything other than a well-made accompaniment. It’s nice to see a film―which is essentially about remembrance and death―purvey such an optimistic outlook on the twilight years of one’s life. Sieda’s attitude towards old age is really quite inspirational. No matter how often Hannah insists her mother is no longer able-bodied, she’s proven wrong. I found it particularly interesting just how much more able Sieda was compared to her family: Hannah struggled to cope with her mother being in the house and being ill, and Benjamin was still living at home as he couldn’t find work. In contrast, Sieda had an aura which attested to a well-lived and fulfilled life. Sieda was a rock, and this film is a fitting tribute to her memory. Watch the official movie trailer below.

★★★ Directed by: #ToyahFrantzen Starring: #JadeColucci, #NatalieMartins, #Burfield and #KatiePattinson Short Film Review by: #BrianPenn Most film fans would happily be consumed by escapism; a brief diversion from the mundanity of life. But occasionally, film becomes the perfect medium to remind us of harsh realities in a troubled world. The Case of Katelyn Burns aims to give us just such an insight. The title character (Jade Colucci) is estranged from mother Julie (Katie Pattinson) and sister Lauren (Natalie Martins). Step father Tim (Ian Burfield) has systematically abused the family and forced combative Katelyn from the family home. This left the malleable Julie and Lauren to endure further punishment. Katelyn has not led a trouble free existence since; but returns to defend her mother and sister from Tim. The Case of Katelyn Burns opens with a cosy image of domesticity; a mantelpiece festooned with pictures and family trinkets. However the scene quickly transforms as Tim recoils, clutching his neck while Julie lies wounded and Lauren is rooted to the spot. Did Katelyn attack Tim or was it purely self-defence; one final act of survival? The piece benefits from sharp editing, as the action switches between police interviews and violence in the home. This is the well-worn evil step parent scenario, intimidating those around him to maintain control; apparently devoid of affection with no blood link to his wife’s children. There is no question that step parents can be abusive, but it felt dangerously close to stereotyping; and might have made a stronger story if all the characters were blood related. Nevertheless, the portrayal of conflict is gripping with the most frightening scenes featuring Tim and Julie. Hand held cameras are effectively used to heighten the tension, adding fly on the wall appeal. Whilst the cast deliver strong performances, it doesn’t entirely work as the narrative lacks cohesion. The motivation of certain characters isn’t entirely clear and leaves a sizable gap in the plot. Whilst the subject matter is clearly signposted, it delivers a pay-off that is both surprising and confusing. Sometimes the filmmaker has to anticipate questions in the viewers’ mind; otherwise logic disappears and the story loses impact. In this context there’s not enough detail to draw a reasonable conclusion; nor is there time to flesh out characters that are clearly three dimensional. Director Toyah Frantzen has done the hard part by capturing our attention; but the 10 minute format is insufficient to carry such a complex story.

★★★★ Directed by: #RitSaraswat Starring: #ParasPatel, #KallyKhourshid, #KateWatson, #ChristinaDeRosa Short Film Review by: #ChrisOlson A neo noir short film from director Rit Saraswat, Traitor depicts a futuristic Los Angeles whereby Muslims have become a severely oppressed community. A detective called Sam (Paras Patel) finds himself in the unenviable position of choosing between furthering his career and protecting Isra (Kally Khourshid), a dear friend who may be part of the Muslim resistance fighting back. Between the cacophony of propaganda spewing out of the radio and the increasingly harsh measures used on Muslims including identity badges, Traitor adopts a fairly bold stance when presenting its story to the audience. What looks like a classic #noir thriller at commencement quickly evolves into a war time narrative with a sci-fi edge as we learn more about this society of the future. The short maintains many of the classic cinematic elements, such as being in black and white, in order to highlight the terrifying parallels of this future world with the abhorrent persecution seen in the world's past. Saraswat balances the movie's dark and light aspects well. It's not a slog to get through and the film is peppered with romance and comedy. Christina DeRose delivers a particularly funny turn as a former client of Sam's. The combination of these genres and tones makes the piece all the more effective in revealing the farcical yet deadly serious nature of the themes. Depicting an American society so similar to Nazi Germany should, indeed, feel like a spoof movie. Regrettably, Traitor has a fair amount of believability. Sam's dilemma perhaps hints at the film's title. Is he being a traitor to his country for not becoming an informant for the authorities? Or is it not doing more to stand up for Isra's community? His confusion culminates in a decidedly tragic final third to the movie and cements the #filmmaker's intention to place the viewer in the same awkward position as him. Some of the dialogue is a little on the nose, in particular during the scenes between Sam and Lucy (Kate Watson), the government type trying to enlist Sam as an informer. The slightly theatrical nature of this exchange, however, does complement the overall tone of the short film which aims to ridicule, undermine, and ultimately highlight the dangerous levels of racism and xenophobia in our own society. Visually impressive and laden with poignancy and political themes, Traitor takes a running punch at the volatile nature of American society. Using the foundational elements of it's cinema to highlight the tragedy and irony of it all, the #shortfilm provides a glaring warning sign for viewers whose passivity gets called into question. Watch the official movie trailer below.

★★★ Directors: Shridar and Paras Staring: #DeepanshuPhalswal, #TansihqDagar, #PrinceDahiya, #AnhayNaagar Short Film Review: #AndrewMoore Sankalp (the name of the short film’s protagonist) is the story of a young boy (excellently played by Deepanshu Phalswal) told in parenthesis as his older self (Anhay Naagar) confidently trains in a boxing gymnasium whilst casting thoughts back to a turning point in his life when he decided to confront his persecutors. At this earlier point, in a local recreation area two very glib bullies (Tansihq Dagar and Prince Dahiya) take pleasure in making the smaller, younger Sankalp go through the humiliating ritual of tying one of the bully’s shoelaces (after deliberately untying them first). Clearly affected by this (and many a beating) the young boy sits at home watching (and re-watching) boxing matches – preferably a classic match between Roberto Duran and Sugar Ray Leonard. As he religiously glares at the screen, we hear a voiceover in which his father berates him for neglecting his schooling (instead wanting to learn to box) asking ‘who will provide for you when I’m gone.’ Later there’s a scene where his brother sits with him on a wall also expressing their fathers (and his) concerns in relation to this, stating that boxing ‘isn’t for the weak.’ This seems to be the spur Sankalp needed – he’s not weak. Thus, our protagonist continues his alternate schooling through televisual boxing tutorials (his eyes lit against the screens glare in close-up) - later practicing everything he’s seen out on the shabby recreation ground. We can assume, I think, that this is done for a considerable period (given his father’s ongoing concerns) but it’s obviously something very urgent and personal for him. Initially (on TV) as a form of escapism from a negative situation he’s confronted with but as is later revealed, a path to liberation from his oppressors which is realised when we see him re-enter the recreation ground that has clearly been the site of many a humiliation, but this time he calmly strides towards his bullies. Laughing and unconcerned, the same bully as before unties his shoelaces but is this time now confronted by his young interlocutor in a boxing pose. The camera shows the other bully’s smug smile, but this expression turns to one of shock as we hear (but don’t see) a punch confidently landed, then a shot of the other bully flat out on the floor. Transported forward we see the older version of our protagonist confidently training in the boxing gym, a professional now and we discover through the words of his trainer that he’s just won an important semi-final. We additionally learn that he now has the chance to box for his country. As his trainer states that this opportunity ‘is like climbing a mountain’ he stops to think, visualising the younger, bullied version of himself (in complete silence) training in the corner of the boxing ring, and so remembering the story of what he’s already overcome he drops in head and continues to train – he’s ready. The credits then roll at the end of the short to the sound of Sankalp training. Sankalp forms a very complete narrative within eight minutes combining competent camera work with editing and is confidently and convincingly acted. To that extent it keeps it simple (which serves its purpose) and completes its goal competently. I felt the slow, hypnotic music with its gradual crescendo towards Sankalp’s knock-out was particularly effective too. One can choose perhaps to read more into the fact that Sankalp had to fight against his father’s wishes (and not just overcome bullies) to get to where he is or that his father’s message is a little confused between education over boxing whilst not being weak. But then maybe Sankalp (with no choice) sacrificed education not to be weak, gaining empowerment in another way. Even the name Sankalp means ‘to take a pledge’ but again that depends on how much you choose to read into the film. Personally, I found it an affecting and enjoyable film short.

★★★ Directed by: #RobbieLemieux Written by: #RobbieLemieux Starring: #JeannaSchweppe, #MaggieStack Film Review by: #DarrenTilby The problem with a film that begins life as a ‘proof-of-concept’ before then being touted as a ‘short film’, is that the two are completely different concepts with completely different goals: short films generally comply with the same rules as a feature-length but are, quite obviously, shorter. Whereas a proof-of-concept is more a glorified trailer for a longer movie. And as such, things like character development and plot, kind of don’t exist. Of course, there are films (of any length) which completely discard the rule book. But these need to compensate in other ways, or they risk frustrating its audience and obfuscating its story or message. Take short film, #ExcursiontotheMountains, for example. Another short film with a 4-minute runtime, where we join the story part way through, not knowing the character or the exact circumstances of the situation we find her in. The difference here is that during the film’s duration, we’re gifted subtle visual and metaphorical clues which really help to flesh out the story and character. Making for a much richer viewing experience overall. But this isn’t what we find when we look at The Woods. Consider its plot: a woman staying in a cabin in the woods experiences sheer #horror when her daughter is lured away into the woods by an unknown man. It’s a classic #horror set-up for sure, but it lacks context. We know nothing else. Where are they? Why are they there? We never find out, and there’s no cleverly hidden trace of an allusion to be found either. For a proof-of-concept piece, this isn’t a problem; for a short film, however, it is. Similarly, when we look at its characters, we aren’t able to dissect their personality or talk about character arc. How could we? We don’t join them at the beginning of their story, and I don’t believe we see them at its end either. Instead, we come in and depart somewhere in between, and that kind of makes it hard for us to sympathise. Nevertheless, performances from Jeanna Schweppe (Alison) and Maggie Stack (Charlie) are of a high standard and the peril they encounter (a nightmare scenario for any parent) does draw you in—to a certain degree. The Woods does find a saving grace in its visual and sound design, however. #SancheevRavichandran’s #cinematography is bristling with that eerie cabin-in-the-woods #atmosphere of seclusion and dread. Although I feel it would have benefited from having a camera of higher quality, just to sharpen the visuals. Sound design is, perhaps, the film’s greatest asset; it strikes the perfect balance as it switches from using ambient sounds, to #SeanLeonard’s brilliantly understated, anxiety-inducing #score. I know it may seem like I haven’t enjoyed this film—but that really isn’t the case. But my feeling is that The Woods works better as a proof-of-concept than it does as a stand-alone short film. The reason being is, at only 4-minutes in length, there really isn’t enough done to establish a rapport with the characters or an understanding of its setting. What it did do, however, is leave me intrigued and wanting more: I want to learn about its setting, and I want to get to know these characters and what becomes of them. It did everything a good proof-of-concept film should, and I will be seeking out the feature-length movie when it’s released.

★★★★ Directed by #BingLiu Film Review by #GeorgeWolf The legendary inscription carved into Woody Guthrie's guitar read, "This machine kills fascists." In the Oscar-nominated documentary Minding the Gap, a Sharpie-scrawled proclamation on a skateboard declares, "This device cures heartache." And despite the free-flowing and exuberant skateboarding footage, it is the way first-time director Bing Liu chronicles those heartaches that enables the film to soar high above skatepunk stereotypes. It's anchored by footage Liu began filming over a decade ago, while still a restless teen in Rockford, Illinois. Liu and his friends Zack, Kiere and Nina forged early bonds through the joy they found in skateboarding and the escape it provided from their troubled home lives. Spurred by the foresight of wisdom beyond his years, Liu began focusing his lens less on "big air" tricks at the local skate park and more on what he and his friends were experiencing on the way to adulthood. It results in a consistently touching ride. Liu, who's been working behind the scenes on various film and TV projects the last several years, displays remarkable instincts assembling his first feature. He weaves old and new footage deftly, drawing us into the lives of he and his friends with an amazing knack for knowing just when a shot needs to be held one beat longer, or when a quick cut to a Rockford billboard might subtly underscore the issues at hand. And as the kids grow into young adults, their interviews sometimes reveal amazingly clear bits of self-assessment. Zack and Nina face a tough road as new parents, and when a troubling issue threatens their relationship, Liu frames it with skillful delicacy. Kiere has an enthusiastic spirit and a bright smile you won't forget, even when you can't ignore the pain hiding behind it. It is a pain that Liu shares, something he believes connects them all and inspired the direction of his film. It's instantly easy to care about these young people, about what they are going through and where they might end up. And it is through them that Liu is able to organically present a microcosm of America itself, beset as it is with issues of race, class, violence and opportunity. Minding the Gap entertains as a testament to the love of skateboarding, but it transcends as an emotional statement on the fragile bonds of parenting and an earnest ode to the power of love.

★★★ Directed by: #LeeNeville Written by: Lee Neville Starring: Lee Neville, #KrystalConnell, #KarlaJenkins, and #GlendaWeedman Short Film Review by: #RachelPullen TRIPLE THREAT ALERT!!!! Wait no....what we have stumbled across here is the rare and hunted quadruple threat, welcome to the stage, Lee Neville and his short film Time Stops Moving. How have you got so much free time Lee? How can you act, direct, produce and write a film and still manage to eat and sleep? How? Answers on the back of a postcard please because I could do with the tips! But it seems his busy schedule has served as somewhat of an inspiration for his writing, for you see Time Stops Moving tackles the story of a young man who is juggling not 2, but 3 ladies...lucky. This short movie investigates the events of one night, whereby all our leading man’s ladies decided they want to say something that they have not been able to up to this point; a truth they have not been able to reveal. Maybe they are all in some kind of pyramid scheme and have been taking his money to cover the costs...got to watch out for those pyramid schemes, women love ‘em. Adam who is played by Lee Neville, is either a man who is very lost within his own desires or is a complete sociopath, demonstrating levels of passion to all the ladies, be they emotional or physical, making each one feel as if they have a special place in his heart. Confusingly though two are, at one point, in his house, bringing up the question as to whether he is in a polyamorous situation, or she just hides in cupboards until he wants her attention. Neville amplifies this dark state of mind by giving his short film a bleak and grainy look throughout, as if we are hiding in the shadows, observing his calamity of a romantic situation from a distance, as if he is as lost in the darkness as his women feel. The choice of a piano score which runs throughout the movie feels a little tacky to me, the kind of music played on 90’s soap operas when the dad tell his son he loves him for the first time in 30 years and they finally hug. That kind of music, ergh, and it gives that effect...just ergh. If you can ignore the piano score circa 1998, we are looking at a very interesting storyline, one that has much space to develop into a full length piece, as well as that you cannot ignore the effort and dedication that has come from Neville, someone who is clearly dedicated to his craft and becoming the best he can be.

★★★★ Directed by: #NickWestfall Written by: #NickWestall Starring: #JohnCBoyd #JustinMSmith #KathySearle #HarrisonStone #SwiftRice #EthanMcGee #ErikaChase Indie Film Review by: #ChrisBuick Indie film 8 Slices warns you right from the start; this ain't no feel-good story about some pizza joint. The tale of a bunch of young people living in a trailer park, who feel trapped in their small town lives while the pizza restaurant they work at is going under, doesn’t exactly sound like a barrel of laughs. Yet this “dialogue heavy Nick Westfall movie” offers an insightful and optimistic look at the importance of human relationships and how sometimes people can sacrifice that for fame and success. Viral vlogger John (Jesse C. Boyd) has gained a massive internet following claiming to be an advocate for the truth, although in reality makes a profit by bullying and shaming others in his video posts. His latest project brings him to Patronies, a humble pizza place where the young staff members name themselves after their favourite philosophers (Knee-Cha, Schopenhauer, Ann Rand to name but a few), and are encouraged to read books by these famous thinkers to help shape their own thoughts and ideas. John goes undercover as an employee in an effort to expose the restaurant as the pathetic joke he suspects it is. But what he discovers is that relationships with real, decent people are a far cry from the one that he has with his anonymous online audience, which leads him to start to question the type of person he wants to be. Westfall showcases his own unique style with some fine directing, mixing hand-held camera footage, fourth wall breaks and some snappy sequences throughout which helps to keep the film feeling fresh, along with some decent soundtrack choices which accentuate some of the films more poignant moments. While the film is funny at times, what it offers more of instead is a cleverly written script that is full of heart, leading you to really connect and care for every one of these people as you begin to understand their struggles in realising their dreams. The entire cast of 8 Slices itself is extremely solid, showcasing a plethora of unique personalities and perspectives which produce something even greater when they come together as a whole. Jesse C. Boyd manages to strike a balance of not becoming too much of an asshole that just barely pulls you over the line so you can stick with him. The standout however is restaurant owner Boss, the central core of the establishment who gives these people not just a job, but a chance to find out who they want to be. Playing part father-figure, part teacher, Justin M. Smith, delivers such an endearing performance that not only makes you understand why these people stick by him, but also makes you wish he was your boss. The moral of the movie is this; is it better to have a great resume or an inspiring eulogy? In exploring this, Westfall has succeeded in creating a smart, quirky, uplifting indie movie that despite its warning at the start, does leave you feeling hopeful and perhaps even with a smile on your face.

★★★★ Directed by: Elias Plagianos Written by: #EliasPlagianos Starring: #JoshBurrow, #MarielaGarriga, #SebastianDoggart Short Film Review by: #ChrisOlson A sumptuously filmed sci-fi from filmmaker Elias Plagianos, short film Sombra City takes an assassin’s tale and gives it a gloriously romantic twist. Set in the future, Josh Burrow plays a hired killer who finds himself caught between the woman (Mariela Garriga) he once loved and her husband (Sebastian Doggart). Like a cross between Blade Runner and The Tourist, Plagianos is not afraid to mix his cinematic genres. Sombra City is peppered with beautiful #cinematography that will transfix audiences, whilst the intriguing premise of there being licenced contract killers in the year 2037 is enough to make most viewers pay attention. Throw into the mix a fantastic central dynamic between two well-sketched characters, and a cocktail of delightful ingredients you have. Utilising some fast editing to provide the necessary exposition at the beginning of the piece, Sombra City has plenty of cinematic flair throughout to charm and engage. Certain sequences have a robust quality, not too dissimilar to classic gangster flicks, such as a restaurant scene that was reminiscent of The Godfather. And much like those films, this short movie has a well curated atmosphere of tragedy and heavy emotion. Plagianos conducts a symphony of visual cues that are both familiar and fresh. The performances are good and there is a nice chemistry between Burrow and Garriga. Some of the dialogue felt a little clunky, such as when the up to date version of the law gets discussed, which disrupted the flow of the piece. That being said, Plagianos knows when to let the camera do the talking. His use of a slow, sweeping shots of the cityscape are gorgeous and work well to provide the central characters with emotional heft to their scenes. A wonderful example of this is a slow walk down a corridor which looks out on to the city which is sublimely shot, seen in the movie poster above. Whilst Sombra City engages with numerous classic cinematic tropes and styles, there is something very modern to the themes of the story. The relationships on display are significantly complicated due to the catalyst of the contract killer law. Humanity is questioned and the fine lines between love, life and death are thrown into chaos. This makes the movie incredibly powerful whilst still being visually arresting. Bountiful in its aesthetic qualities and loaded with a terrific plot, Sombra City is a gorgeous movie to immerse yourself into. Watch the official movie trailer below.

★★★★ Directed by #KarynKusama Written by #PhilHay #MattManfredi Starring #NicoleKidman #TobyKebbell #SebastianStan Film Review by #GeorgeWolf Nicole Kidman got no Oscar love this year, which gives you some clue as to how many great performances we saw from women in 2018. Her nuanced supporting turn in Boy Erased was certainly worthy, but Destroyer, released in select cities early enough for consideration, served up a menu that seemed more tailor-made for selection. She's a major star playing way against type, she goes full anti-glamour and yep, she's damn good. Kidman is Erin Bell, a police detective who looks, and acts, like death warmed over. When Erin and her hangover crash the crime scene of a newly discovered dead body, the local cops can mask their condescension with only the thinnest veil of respect. But Erin knows more than they do about how this guy got dead, and director Karyn Kusama plays a gritty hand juggling the shifting timelines that will lead to Erin's connection with the stiff, and to the roots of her frayed psyche. Fans of HBO's True Detective will feel right at home. Screenwriters Phil Hay and Matt Manfredi, who both teamed with Kusama for The Invitation and Aeon Flux, alternate between past and present to slowly reveal the details of an old case that led to Erin's breakdown. She and partner Chris (Sebastian Stan) were deep undercover with a gang of bank thieves led by the slimy Silas (Toby Kebbell), and as Erin and Chris mixed business with pleasure, the lines separating their realities began to blur. Kusama keeps up a knowingly effective pace, dropping just enough breadcrumbs to keep you interested until the twist reveal she's sitting on. Of course, she's also got Kidman's range to lean on, occasionally forgetting it doesn't need that much help getting noticed. Kidman, with help from extensive makeup artistry, takes Erin from fresh faced ambition to grizzled hopelessness. Scattershot attempts to reconcile with her reckless daughter (Jade Pettyjohn) add emotional layers, and it's only when Kusama pushes the melodramatic envelope that Destroyer seems overly desperate for us to appreciate its anti-heroine. She doesn't need that push. The film delivers a satisfying payoff to its slow burn, and Oscar nomination or not, Kidman crafts a transformative character arc that's worth your attention.