★★ Directed by #JoeChappelle Written by #JoeChappelle Starring #TikaSumpter #JamieLeeCurtis Film Review by #BrandonThomas Morality tale. That phrase kept popping up in my mind while watching An Acceptable Loss. Unfortunately, the subject of morals mixed with politics was something the film was only concerned with on a surface level. Libby Lamm (Tika Sumpter) has just started a teaching position at a prestigious Chicago area university. Although she’s excited about this fresh start after leaving a position at the White House, many staff and students are less than enthused with her presence on campus. One of Libby’s pupils (Ben Tavassoli), in particular, is fixated on the new professor and begins tracking her every move around campus and her home. Through a series of flashbacks, we learn about the devastating decision that led Libby out of politics, and into being one of the country’s most hated pariahs. The most frustrating aspect of An Acceptable Loss is how it sets up a central conflict that could have made for a spellbinding thriller. It instead settles for a Cinemax-level B-movie. One of the earlier scenes between Libby and her student, Martin, is a tense clash between two people who couldn’t be further apart, and it makes you wish for the movie that might’ve been. Instead, character motivations change on a dime, and that early sense of dread is replaced with a sense of “been there, done that.” The majority of the cast doesn’t make the material any easier to swallow. Sumpter’s wooden delivery of political jargon is more reminiscent of a freshman PoliSci major than a beltway professional. Tavassol spends the first half of the film brooding at every other character (I honestly expected him to start giving extras the Stink Eye), and the second half doing his best (worst?) Shia Labeouf on cough medicine impression. Jamie Lee Curtis, in her small role as vice president and president, fares somewhat better. Her natural gravitas lends itself well to being the leader of the free world; unfortunately, the dialogue she’s delivering is almost 100 percent clunky exposition. It’s unclear what director Joe Chappelle’s (Halloween: The Curse of Michael Myers) original intentions were. Did he envision a taught political thriller in the vain of Three Days of the Condor or was a low-rent Pelican Brief always the plan? Chappelle’s mishandling of the film’s focus and pacing hobbles the An Acceptable Loss early on and it’s never able to recover. Maybe this movie was never going to be anything other than cheap Tom Clancy. The promise of that first act, however, hangs over the rest of the film, and in the back of this viewer’s brain, like a giant “What If?”

★★★ Directed by #NicolasPesce Written by #Nicolas Pesce #RyuMurakami Starring #ChristopherAbbott #MiaWasikowska Film Review by #HopeMadden There’s a lot that shouldn’t be said about Piercing, Nicolas Pesce’s follow up to his glorious 2016 horror, Eyes of My Mother. Because the film’s tension relies on power exchanges, surprises and averted climaxes, the less you know about how the story progresses, the better. Suffice it to say that new father Reed (Christopher Abbott), fighting a serious urge to stab his infant with an ice pick, concocts a plan. It involves that ice pick, a “business trip” out of town, and a prostitute (Mia Wasikowska). The amateur murderer works out the perfect crime, practicing conversations and actions (decorated by Pesce’s remarkable knack for unsettling sound effects), only for the cosmos—or the filmmaker—to wreck those plans. Abbott’s flat yet sympathetic would-be murderer helps Pesce achieve a peculiar, semi-comic tone, but it’s Wasikowska, playing wildly against type, who carries this film. The two share a mad and maddening chemistry, and even during moments of somewhat forced dialog, their commitment and spark keep you enthralled and guessing. The film is an exercise in thwarted expectations wrapped up in voyeurism and lurid imagery. The influences here are dizzying. Ryu Murakami’s source material obviously evokes his own Audition (director Takashi Miike’s classic in power shifting and poor romantic choices). The opening act wades through more modern indie sensibilities, but Pesce quickly overwhelms that flat grit with grindhouse thriller flair before simply succumbing to giallo (Goblin tuneage and all). This drunken meandering through styles fits the narrative that forever questions the reality or unreality of each situation. Like the cityscape miniatures Pesce uses as the adventure’s out-of-town backdrop, Reed’s whole experience could simply be cool -looking but pretend. Are those flashbacks or nightmares? Does Reed have a haunted past leaking its way into his present, or is he simply a psychotic hoping to overcome his problem by submitting to it just this once? Pesce toys with our commitment to Reed’s reality, questionable from the moment his infant halts a crying jag to tell his father, in a demonic voice, “You know what you have to do.” It's not a film that will satisfy a lot of viewers, it's more of a fascinating and forgettable sketch. Still, at under 90 minutes, it's a weirdly fun little indulgence won't hurt you. Well, not too much.

★★★★★ Directed by: #TyreesALamptey Written by: #DavidBarbeschi Starring: #JamesDownie, #JulianMichaelDeuster, #RobertEast, #MartinGordon and #SamRoffey Short Film Review by: #BrianPenn If we dare to imagine hell it might take us to a trench during World War I; worse still it might put us on the ramparts awaiting a signal to go over the top. But just who was the enemy in that bloody conflict? Was it a nation, its politicians or the men who fought to defend an ideal? Such dilemma is explored in this brilliant short film Pawns by Tyrees A. Lamptey. It begins with the tranquillity of two elderly gentlemen enjoying a game of chess. The action quickly switches to a dark trench and a young man struggling to keep his hands still; is it the cold or fear making him tremble? He takes one last look at a fob watch inlaid with a picture of his sweetheart. Then confusion and adrenaline combine as a battalion of Tommies stumble toward the enemy. One Tommy, Will (James Downie) confronts Karl (Julian Michael Deuster), who offers his nemesis a cigarette. Will is contemplating his next move when the German trench is hit by a salvo from British guns. A landslide buries both men inside the shelter. They begin to talk and the realisation dawns they are not so different. They have families back home and share the same fundamental aspiration: to live a happy life. All that divides them is their uniform and language. Purity and simplicity shine through as the two men settle down to a game of chess using bullets as pawns. The symbolism is powerful and engaging as our attention turns to the least valuable chess piece: one that can be easily sacrificed. We are cleverly reminded that ordinary lives were expendable in the First World War; victims of a lethal game that nobody truly won. In many respects, the story draws inspiration from the fabled Christmas Truce of 1914, when British and German troops met in no man's land to exchange gifts and engage in a kick about. To use such a template gives the story structure and shape. Each shot is beautifully framed, capturing the true horror of war; the script is bright and perceptive, avoiding undue sentiment but presenting an essential truth. The leading actors deliver sensitive, well measured performances and remain utterly convincing. Pawns quite rightly belongs in the canon of work compiled to mark the centenary of armistice day. A concise history lesson we should all learn and inwardly digest.

★ Directed by: #LeeNeville Starring: Lee Neville and #PhoebeGast Short Film Review by: #HarryKing Director Lee Neville chooses a song to tell the narrative in this underperformed short film, Not the Way it Feels, with a poorly generic plot. The lyrics tell the viewers about the loss of a significant partner and the upset that can come after this, something we have seen and heard a thousand times over in various films and pieces of music. So, to tell something again which has been done before, the film has to have an edge over the others. It needs that aspect that makes you want to watch this movie and feel invested. However, Not the Way it Feels is not that film – it disappoints instead. The film wasn’t helped by the performances either, I understood the emotions each character was going through but I felt no connection with them or sympathy for them. Neville directs, writes, produces and stars in this short movie which reflects the ambition and passion he has to create films and the attitude he possesses. You can tell that the creative mind is there because of the route he chose with the song acting as the script and having the talent to place his vision on screen is a victory for him personally. However, this film didn’t quite work out in the greater scheme of things for Neville, it must become a great learning curve for him in his #filmmaking career. The score is the song itself as like the script is the song for the actors. The only thing you hear in this movie, apart from some ambiance noise near the end and actions from The Caller (Phoebe Gast) is the song, ‘Operator (That’s Not The Way It Feels)’ written by Jim Croce and performed by Toby Lightman. Having the song as the script and almost becoming the narrator of the film means that the viewers have no choice but to listen closely to the lyrics. Therefore, the song should be of high quality otherwise it could crash and fall due to the attention span of the viewers and with a short film it’s easy to turn off and skip to the next one. Overall, I feel the song did not deliver, I am far from a musician so I could be talking nonsense, but I can sense a good song even if it’s not my choice of genre, but this didn’t meet the mark. I could tell The Caller was obviously upset and not behaving normally so that’s what I associated her with, but the song just left me confused. Neville has the aspiration to make it in the film industry and having the responsibilities of all the roles he has brought upon himself shows the dedication that he has, one of those roles that I haven’t mentioned is the editor. Although, there aren’t any amazing editing moments to point out that doesn’t mean it was done poorly. Neville proved that he can edit to a standard level which is more than a lot of other people wanting to do the same career. He has managed to convince the viewers of their conversation on the phone with the cuts and fading in and out between each character. Making a short film can be one of the hardest films to create because of all the limitations: the lack of funding, talent and experience etc. These struggles can hold back a truly inspirational uplifting narrative. I think Not the Way it Feels had been impacted heavily from this.

★★★★ Directed by: #HamishRobertson Written by: #JimRennie Starring: #ZoëBullock, #CraigAndrewMooney, #BenStorey Short Film Review by: #ChrisOlson Tense and wholly unnerving, short film Hideous (directed by Hamish Robertson and written by Jim Rennie) tells a macabre story with alarming social implications, along with strong performances and a well crafted mise en scéne. Zoë Bullock plays Marla, a bubbly florist whose day behind the till takes a turn for the bizarre when a well dressed Man (Craig Andrew Mooney) enters and begins to make some disturbing remarks about a person who has just been murdered. At first displaying exemplary customer service (except for eating her sandwich in front of the paying public), Marla becomes uneasy when this gentleman's reason for purchasing flowers for a funeral becomes increasingly frightening. Chock full of moments of apprehension and tension, #shortfilm Hideous benefits from a sturdy script and two great central performances to tell it's tale. Bullock moves well through her character's agitation into distress, whilst Mooney's cold and eloquent portrayal acts as a disconcerting presence throughout the movie. Their chemistry together is wonderful and make the events of the final third (which I won't spoil) all the more dramatic and engaging. The aesthetics of the piece were impressive too. Some interesting camera angles were used to make the most of the shop location. A couple of distance shots of Marla worked brilliantly to reflect her isolation and vulnerability, as did the menacing approach to filming the well dressed Man - utilising some low angled framing and sweeps. A little more action from the score could have helped to heighten the atmosphere even more. To explore the themes of the piece would be to potentially spoil a new viewer's enjoyment of Hideous. The #filmmakers touch on some fascinating aspects of the human condition when under duress and the writing from Rennie feels reminiscent of Charlie Brooker’s Black Mirror at times. Whilst the short film works tremendously in this format, it would be terrific to see what Rennie and Robertson could do with a feature length indie film in this genre. There were a few moments in the movie which were unconvincing, such as Marla's reluctance to call for help, even when a customer returns to the shop or she has some alone time with her phone. And the man's dialogue is dripping with warning signs far earlier than Marla's reaction to it would suggest. However, these are minor blemishes, like a few brown leaves on an otherwise beautiful bouquet. Hideous is a startling and impressive short thriller loaded with a palpable tension and excellent turns from Bullock and Mooney. Watch the official movie trailer below.

★★★★ Directed by: #HeChuyao Starring: #HouDeyang, #ZhuXianyuan, #LiChengliang, #Hao #Jianchun Short Film Review by: #AlexandraJames This short film comments on Chinese society and the harsh working environments with which many citizens face on a daily basis. The story follows an aspiring young teenager, hoping to one day make it big within the music industry but whose spirit slowly diminishes under the strict, relentless and mundane regime of the working industry, creating cheap stockings ready for Christmas. It is clear that the central theme throughout short film Before Christmas is the restrictive, money orientated society that barricades those that seek a life of freedom and enjoyment. He Chuyao cleverly constructs images which portray elements of divide between the evidently rich with high, shiny, tall buildings to the working class families, with strong images of rural, dimly lit homes and the representation of the labouring forces, grafting daily to make it to the top. There was a definite echo of certain shots, Chuyao creates a repetitive streak through the constant cuts between work and home life. It almost brings the audience into the screen itself where they become a part of mundane lifestyle with no chance of escape. The frequent shots from home life to work life only solidifies this view that poverty can often entrap citizens in a cycle. A cycle often initiated by the prospects of money and the chance of a new life. One particular lyric which seemed to create a sombre atmosphere was the protagonist singing “Nothing could ever stand between you and the free land.” There was a strong difference between the words and the actual visual aspects on screen. The audience witness the young boy on multiple occasions staring longingly out the window whilst listening to the song throughout this short piece. It becomes clear that the idealistic image of ‘freedom’ remains a distant dream for the young boy and perhaps comments on society as a whole, and makes us question are the working class truly free? As a #shortfilm Before Christmas provides a snippet into the daily lives of the working classes and creates for although solemn, fascinating film. I felt that He Chuyao ties the whole piece together very neatly, although the audience are unsure as to what path the protagonist chooses to take in the future, be it a career within the music industry or remain within his current position, the open ending is quite fitting. The unpredictability to the story can be seen as a reflection of the lives of hard workers who are unable to know the certainty of their own future and the true relief of freedom. The execution of this short piece was quite professional and I thought that the settings were a perfect match for the entirety of the storyline, a very interesting piece as a whole.

★★★ Directed by: Alec Ybarra Starring: #JackArmstrong, #AlecYbarra Short Film Review by: #ChrisOlson Having grappled with the topic of bullying in his previous short film Unmarked, filmmaker Alec Ybarra turns his attention to high school tragedy with his latest short, Prism of Light. Ybarra plays Seth, a student whom we meet at the beginning of the film getting into a car crash when a gem dangling from his rear view mirror distracts him. The consequences of this momentary distraction become clear three months later when Seth attempts to talk to his former friend Mark (Jack Armstrong) one Saturday in school. The pair's thorny tension may need to be put on hold, however, when an alarm goes off in the school and all hell breaks loose. Ybarra implements some fantastic devices to heighten the atmosphere of his movie. Prism of Light is littered with impressive camerawork, such as a glorious tracking shot of Mark walking down a hallway, or a static distance shot of the two main characters atop some stairs. This is complemented by a dramatic score which is, for the most part, effective in driving the audience's intrigue. The performances are fairly stilted and melodramatic. Ybarra utilises candid dialogue that leaves little to the viewer's imagination and has a habit of jumping too quickly into the crux of the matter. The interaction between him and Armstrong is enjoyable but the drama comes gushing out rather than being thoughtfully released. Prism of Light touches on aspects of tragedy and friendship, and the role of forgiveness in both. Ybarra, in his movie, provides plenty of thematic depth for the audience to ponder, especially in the final sections which are potently poignant. Mark's anguish makes for particularly engaging stuff, as his turmoil and anger mutate during the running time into panic and fear when that alarm goes off. This change is visually represented after he is knocked to the ground by a stampede of students and looks lost and terrified. The catalyst of an impending doom working brilliantly here. A few high school dramas have dealt with subject matter like this before and the machinations of high school friendships is certainly familiar ground for most. Ybarra does, however, provide some noteworthy cinematic flair to the proceedings and works hard to create an immersive dramatic tension. With stronger performances and dialogue it would be interesting to see how he does with another high school genre movie.

★★★★ Directed by: #AlexiScheiber Animated by: Alexi Scheiber Animated Film Review by: #AndrewMoore Beautifully combining five different methods of animation (cut paper, claymation, charcoal animation, stop motion and 3D) with film and personal footage, Alexi Scheiber’s simply told yet poignant animated short A Love Letter for the End of the World has a unique innocence to it which works wonderfully in its favour when addressing its central theme. One which is fundamentally very simple and yet universal, something a child could understand - the end of the world. Obviously, the clue is in the title and the short has a melancholy (augmented by a lamenting piano) theme that permeates it. It presupposes that the world is in the process of ending and thus the short is very much a love letter and thanks to what will become lost. To this extent I think its message becomes stronger as it doesn’t offer solutions but simply reveals what will be gone for one person, and so it operates on a very personal level indeed and the multiple #animation styles cleverly allow the message to gain shape in a very short space of time, allowing several things to be experienced at once without it ever becoming confusing. When the personal footage and voiceover is augmented by its multiple animation styles, and even framed within the animation, the short manages to then combine the personal with the universal and I think this is its point of fulcrum, when the message of A Love Letter for the End of the World achieves its intended goal. The innocence and simplicity is in fact what actually makes it and its message more intelligent, more direct. This (when combined with colourful and engaging animation) make it a great little film short. When you witness someone’s personal experience of the world, you naturally consider your own experiences too, and when they become finite that can become quite a sobering experience. One wonders if we were to all to create our own four-minute love letter to the end of the world, then perhaps we would all begin to see our role in the world’s future differently too, notice the quotidian, pay a little more attention.

★★★★ Directed by: #MichaelBeddoes Starring: #RobbieGaskell, #OlivierAwardWinner #JamesDreyfus, and #BenWillbond LGBT Film Review by: #BrunaFolettoLucas Sequins is such a breath of fresh air. I watched it in a rainy Saturday and it completely changed the mood of my weekend. Michael Beddoes took a subject that can easily be done over the top but he told this story with such a beauty and tranquillity that offered the subgenre a sigh of relief. The short film is set in late 1990s in Blackpool and it tells Paul’s (Robbie Gaskell) journey of self-discovery when he embarks on his quest of becoming a drag queen. The film, of course, deals with bullying and the overall fear of being different. Beddoes, however, does not focus on that, he uses it as background to emphasise the importance of a community and a supporting system. Paul is different than his peers and that makes him a target. When he runs away from his bullies he finds safe haven in a queer bar – literally, being saved by the queer community. The people in the bar receive Paul with open arms and turn this somewhat bad situation into an opportunity of self-discovery and acceptance. Gaskell has a difficult task when bringing Paul to life – he needs to convey such a wide range of emotions in less than 20 minutes and he does it perfectly. Paul changes from being sad and afraid to proudly owning his identity through subtle changes in his demeanour. Paul decides to come out at the school’s talent show - a place he was thrust into without having a say in it and manages to turn into an opportunity to blossom. Paul stands in front of everyone – his bullies, his family, his teachers, his mentors and his friend – in full drag and the courage it takes him to stand tall is enormous, to say the least. Beddoes and Gaskell work well together to emphasise the fearlessness of someone who is willing to be true to themselves regardless of how difficult it might be. And here is where the film shines – literally and figuratively. Sequins takes on the responsibility of telling a story that is often tied together with tragedy and violence and chooses to put it in the back, not ignoring completely, but focusing on other important aspects, such as friendship and acceptance. As I mentioned before, the performance and the screenplay are the high points of this film. Beddoes’ directing seems effortless and this sense of effortlessness pervades through every aspect of #filmmaking. The sound, the photography and the editing all tie together in a genuine way. By watching Sequins it becomes clear that some filmmakers really do believe in the power of film and Beddoes alongside his crew and cast should all be praised for this short film.

★★★ Directed by: #TomSmith Starring: #KateLouiseTurner, #OliviaBrady, #ElliotWarren, & #BhaskerPatel Film Review by: #AnitaMarkoff Change skilfully intertwines the stories of two of society’s most vulnerable women. Sex workers and homeless people are often marginalised out of fear and misunderstanding, but Tom Smith utilises close ups and silences to draw the viewers into their world. Sympathy is created for the #homeless woman from the very opening shot, as she fills the frame, brushing tears from her eyes and holding her plastic cup with a visibly trembling hand. This is a woman from a demographic that people walking down the street avert their eyes from and avoid, but Tom Smith forces us to acknowledge her humanity through long shots of her most private moments. Struggling to beg for change. Crying in a stranger’s bathtub, hair wet. Surrounded by white empty spaces, emphasizing her innocence and also loneliness. The same is true for the sex worker, Scarlett. The struggles these two women face are linked together through several juxtapositioned shots. In one significant scene we jump from the a close up of the front lit homeless woman Amy with tears in her eyes, to a similarly lit close up of Scarlett staring hopelessly into the distance as a man undresses in the background. Their eyes hold the same expression. Scarlett’s profession is not sexualised or glamorised like in Pretty Woman or Young & Beautiful. Her nakedness is often positioned next to mirrors and windows, symbols of the ways in which she is constantly being watched and consumed. This makes her appear vulnerable, and the intimacy of these shots builds the viewer’s sense of unease with how she is being forced to live. The use of a shaky handheld camera also heightens the personal nature of the film, and increases the tension as the audience is unable to feel distanced from the danger and fear these women face in their attempts to help each other. The only drawback of short film Change is the interactions between the female leads when they are alone. When faced with the threat of violence from men, whether a shopkeeper or a pimp, the acting is skilful, and the dialogue is realistic. However, when the women have conversations in private, their exchanges feel wooden and forced. Perhaps this can serve to highlight the ways even struggling women are often pitted against each other in society, and the underlying message of the film that two disempowered women cannot save each other. Only we, the hopefully more privileged audience, can do that.

★★★ Directed by: #RobMcLean Starring: #NathanielDavis, #IsabellaCrowther, #BrynIorwerthBellis, #JuliaPentz, #ConnorShirley and #RichardBurtinshaw. Indie Film Review by: #BrianPenn When a film opens with a poem about happiness you just know it won't be a barrel of laughs. A black screen with highlighted colours warns bleakly 'being happy I just don't see it'. The poem concludes ‘there's no yellow in the blue of my life's paint palette’. A boy walking through the woods to the seafront may therefore be symbolic; yellow sand overshadowed by a blue sky. If colours represent our emotions the film's title may simply allude to a state of mind. Can we easily find happiness after a period of sadness? The boy emerging from the woods onto the beach is Isaac (Nathaniel Davis), who is coming to terms with an emotional double whammy; the death of his mother and a family rift with siblings Anna (Isabella Crowther) and Vinny (Richard Burtinshaw). He has since fled the family home to a refuge by the sea. But will he find peace of mind in this newly discovered solitude? He is joined by friends Ewan, Oliver and Elly who try their best to build bridges, but inevitably cracks in their relationship begin to show. Yellow in the Blue divides into prologue, summer, winter and spring; although not always providing the structure and content one would expect. Director Rob McLean has a fondness for emotional metaphors, but seasons aren’t nearly so effective as colours; summer jumps abruptly to winter with the same level of introspection. The prologue seems brutally short and doesn't provide a strong enough introduction. Moreover, grainy home movie style clips don’t fit easily into the narrative, and seem to divert rather enhance the story. However, a broad representation of the seasons does trace Isaac's emotional recovery and eventual reconciliation with his family. The cast of Yellow in the Blue generally deliver a solid performance, but there is hesitancy in delivery which lessens the dramatic impact. The soundtrack is a curious mix of folk inspired tunes and soothing tone of the ocean and birdsong. It may have been unintended, but it adds peaceful contrast to the frequent conflict between characters. The script fires off in various directions which occasionally make the plot difficult to follow. For example, Isaac awaking from a dream sequence falls into a contextual hole; pay close attention and you eventually work out the tangents but it can be heavy going. There is however, enough substance to hold the interest in an often touching story of a boy coping with the grown up world.

★★★ Directed by: #ClintEastwood Starring Clint Eastwood, #BradleyCooper, #LaurenceFishburne, #MichaelPeña Film Review: by #BradyClark Based on the true story of Leo Sharp, a WWII veteran misled into trafficking drugs for the Cartel, The Mule reunites Clint Eastwood and Bradley Cooper following their American Sniper success in 2014. Eastwood plays Earl Stone (based on Sharp), a horticulturalist who has made enemies out of his wife and daughter, the latter by missing her wedding, seeking to make amends by paying for the wedding of his granddaughter (poorly overacted by the usually excellent Taissa Farmiga). By showing up to the pre-wedding brunch, he befriends a Mexican man who plays on Earl’s need for quick and easy cash. Before long, Earl is transporting large quantities of cocaine through Illinois and quickly grabs the attention of DEA agent Colin Bates (Cooper). The Mule is an entertaining film, a genuinely interesting story taken at the right pace, though not Eastwood’s best work – it doesn’t reach the heights of gritty and fragile Gran Torino, or replicate the quality of acting found in American Sniper. Instead, there is a confused relationship with race and exactly how The Mule wants to portray prejudice. This reflects in the muddled tone and a number of light-hearted moments attempted that don’t quite work. Earl is a mess of contradictions – kind but racist, old-fashioned but in dire need of a new (glaringly obvious) pick-up truck, naïve yet intelligent enough to know he is breaking the law, hardcore but inconspicuous – and it just doesn’t captivate the way Eastwood’s roles have done so in the past. There was too much going on with him and not enough at the same time. Cooper plays his usual charismatic, aviator-wearing self and some of the most touching moments in the film come from his scenes with Eastwood. Though there are only a few, the two have heavy chemistry on screen, their professional respect for each other reflected in the characters. It is surely a sign that the two should pair again in the future, though Eastwood has hinted he will stay behind the camera from now on. After all, this was his first acting job since 2012. Nonetheless, he is still one of the most talented professionals in Hollywood, and whether he sticks to directing or returns to the screen for one or two more films, it will be a welcome return all the same. Watch the movie trailer below.