★★ Written and Directed by #PhilipCodd Starring #JackLee, #AilsaOliver, #PaulDiver, #LouiseWilloughby Indie Film Review by #HannahSayer Philip Codd’s B-Negative is a bizarre comedy all about blood, vampires and one man who volunteers to try to help these vampires gain true immortality. B-Negative opens in a fertility clinic as Barry, played by Jack Lee, and Kate, played by Louise Willoughby, are given the bad news that they are unable to have children. The couple have been together for three years and it is clear that Barry is embarrassed by the prospect of his infertility. The filming style reinforces Barry’s boring life and the ambiguity surrounding whether it is truly his wish to have children. He appears to be jealous of his friend who is free and not confined by a relationship. It is through this friend that Barry learns about and attends a meeting run by The Ancient Order of Nocturnal Immortal Phlebotomists of Albion. The film does a great job at contrasting Barry’s everyday life with the unusual and bizarre situation he finds himself in when he goes down to the meeting at the secret society. The lighting and mood of the setting becomes darker and eerie music begins to play. Barry meets this group of vampires within the order who are dying off as they need to recruit more donors of their rare, particular blood group: B – negative. Barry agrees to help find new donors for the group and what follows is a strange number of encounters as he tries to find these new members for the order, as things escalate along the way. Even though B-Negative builds itself as a comedy which doesn’t take itself too seriously, the film revolves too much around Barry and his comedy, with jokes that often don’t land and become old rather quickly. Unfortunately, the comedic timing feels misjudged and from the outset it becomes apparent that the humour takes away from the darker and more sinister elements of the production. Many of these scenes feel stunted, as if they have potential yet result in feeling quite dull and repetitive amidst the film’s lengthy running time. Overall, B–Negative takes the awkward and confused male lead and plants him in the middle of a ridiculous group of vampires all thirsting for blood. The premise itself is an intriguing and unique one which does carry some fun elements and comedic value. However, the film’s overall execution is awkward and feels overly drawn out. Watch the official movie trailer for B-Negative below.

★★★★ Directed by: #BarbaraSpevack Written by: Barbara Spevack Starring: Barbara Spevack Short Film Review by: #RachelPullen Trauma, trauma we all have trauma, and the most important thing is that we deal with it at the right time, in the right way, i.e. when it happens and with a licensed mental professional. Not by eating 40 chicken nuggets on a children’s swing set alone in Glasgow. This is something that Norma (played by Barbara Spevack) has not employed in her life, for her childhood issues that she developed with her overbearing mother, still haunt her into adulthood. Norma decides that she can work through these problems by playing with a bigger doll, who is a unseen child, someone she can try to have all the fun with that she was denied during her childhood years, and as unhealthy as this seems it get worse as her mental state deteriorates as she is tormented by her mother inside her head. Think Psycho but without all the stuffed birds and motel paperwork that was involved. Shot from the point of view of the child, we are thrown head first into Norma’s state of mind. We feel uneasy, unnerved, intimidated even, as she looms over us with a maniacal enthusiasm, trying to force a rather awkward situation into being more fun. You can’t force fun Norma, that’s why parades at Disneyland are the devil's work. The character herself still appears childlike, the costume choice for this short makes her appear as if she never really grew up, there is an adult present before us, but she still has an infant like quality to her appearance, and to couple this, her mannerisms are the same, it’s the subtle touches that allow us to conclude that her traumas from childhood may have trapped her in infancy. Barbara Spevack, who not only wrote, directed and produced this #shortfilm also, as I said earlier, does the acting thing as well. In fact, she is the only person on screen for the entire of this movie. Now, we could decide that maybe Barbara is a bit of a control freak who just has to do everything herself in order to achieve a standard she has set, or we can throw caution to the wind and say....quadruple threat! And so loyal readers of #UKFilmReview, we both know I love them triple threats, but to have a quad is a whole new game. Spevack really shines, proving that she has a great knowledge of #filmmaking both on and off the camera, this short is a perfect example of her skill set and clear drive and hard work ethic. Hats off to you Babs. Although the content of this short movie is disturbing, we cannot overlook the skill and effort that has gone into every aspect, be it from the clever use of camera angles, to the smart script that gives a little but then leaves a lot. Bigger Dolls leaves the viewer asking for more answers, an important achievement when making a short piece of film. Although I found some of the black and white shots a little tacky and some of the acting a touch hammy, it didn’t take away from the feel and projection Bigger Dolls is trying to create. For those who have an interest in the human mind and psychology this is a must watch, but only if you have tackled your childhood traumas first...see you on the swing set guys.

★★★★ Directed by: #JamesDann Written by: James Dann Starring: #MattAistrup, #PaulWilson, #TracyGabbitas, #SarahLegg, #DominicMcCavish, #KhurramYaseen, #NoelWilson, #MichaelWestwood Short Film Review by: #ChrisOlson “Do you eat in the can'teen or the canteen?” That is the question posed to central character Alan (Matt Aistrup) in James Dann's short film The C Word. And no, this is not a movie about gastro locations or eating disorders. Instead, the C stands for commitment, something which Alan struggles very much with. Over the course of the #shortfilm we learn that Alan is engaging in group therapy in order to overcome his fear and anxiety of tying himself into things, such as relationships or monthly charity donations. With the help of supportive sufferers, sea monkeys, and a toe-tapping montage, Alan looks to be on the right course to committing in no time. Told with a delicious sense of humour and sharp cutaway sequences that had me in stitches, The C Word is a painfully funny exploration of the uncomitting man. There are gags aplenty, strewn across a landscape of moving and heartwarming moments that balance brilliantly, allowing the comedy to be more effective because the themes are genuine. Aistrup in the leading role is wonderful, reminiscent of a young Simon Pegg. The actor throws himself into the scenes and (ironically) fully commits to the gag or moment, such as enthusiastically hugging a charity worker in euphoria or devastatingly hugging a man in boxer shorts in tragedy. This will make little sense until you see the film, which I wholeheartedly suggest you do. The production value is low yet effective. Lots of locations are used to great effect and there are some lovely moments of pathos and tension. The opening scene of crossing a road is particularly well delivered, with arguably the funniest line of the short film involving a boy named Camembert. Still cracks me up. There is also a lovely sequence where Alan travels the streets with a song playing by Joe Knowles and Grace Johnston in the background, terrifically capturing the transition occurring for Alan at that moment. Aside from a few thinner moments in the storyline that could have been further developed, The C Word is a moving and hilarious film. Dann proves himself capable of balancing big laughs with big tears, a commendable feat that has the audiences fully...ahem...committed to the story in no time. Now, come along Camembert.

★★★★★ Directed by: #LouisaFielden Starring: #AiyshaHart, #JosephTimms Short Film Review by: #AlexSpencer Just over a year on from the explosion of the #MeToo and Time’s Up movements in late 2017, Louisa Fielden’s new #shortfilm People You May Know provides a relentless and powerful embodiment of the social revolution that has gripped the world, encouraging women to speak out against harassment and misconduct. Scrolling aimlessly through the “People You May Know” section of Facebook, Emily (a raw, emotional performance from Aiysha Hart) pauses at the profile picture of her first boyfriend, James (Joseph Timms). She is clearly a troubled woman, with scars of self-harm visible on her arms. Seeing his smiling profile picture seems to trigger a deep, pent up anger inside her – she is no longer willing to live with the shame and self-loathing this man has caused her and is ready to speak out and fight back. Set almost entirely within the confines of a small coffee shop, the film focuses on the reunion of this former teenage couple, 11 years after they broke up. Fielden wisely wastes no time leaving the audience to try and figure out what happened between Emily and James, cutting away from the initial flashback sequence of Emily re-discovering James via Facebook and back to the present day with a close up of the dismay and surprise on James’ face in reaction to Emily’s accusation, quickly ramping up the intensity. There is a claustrophobic feel to the film – the camera stays fixed on the two actors throughout, with only the occasional sound of traffic outside and sombre ambient music in the background, building in a slow crescendo as Emily drives her point home. There is a constant feeling that you are intruding on a real and extremely private conversation that you shouldn’t be watching, yet can’t look away. The authentic feel to the film is hugely down to the impressive performances from Aiysha Hart and Joseph Timms who, with the help of a tight script, manage to develop layered and complex characters within the short running time. Both undergo transformations over the course of the conversation – Emily starts out visibly nervous and withdrawn, growing in confidence as her momentum builds; James on the other hand, goes from self-assured and mildly patronising to a stuttering wreck, as his deep rooted prejudice and ignorance is laid bare before him. The film leaves you conflicted – Timms’ fickle and arrogant portrayal makes James a strongly dislikable character, yet part of me was left pitying him – the warped view of masculinity that society has taught him has left him unable to accept what Emily is saying, and unequipped to cope emotionally with the challenges he is facing at work and at home. The short film ends on a cautiously optimistic note, although Emily doesn’t get the acceptance and apology she may have set out for, she appears to have exorcised some of her demons in order to help her move on with her life. It is this kind of cautious optimism that perfectly encapsulates the watershed moment that we are currently facing – People You May Know expertly portrays the experiences of people like Emily, and deftly sweeps aside the clichéd excuses and accusations commonly aimed at those who dare to speak out about such traumas. It is crucial that society embraces and listens to these kinds of lessons if true gender equality is to be achieved.

★★★★★ Directed by: #MikeLeigh Written by: #MikeLeigh Starring: #RoryKinnear, #MaxinePeake Film Review by: #DarrenTilby Mike Leigh’s latest offering bristles with an almost documentary-esque precision to #historical validity and seamlessly draws parallels between the working-class struggles of the past and the present. #Historicaldrama, #Peterloo, is a pensive and studious piece of filmmaking: meticulous to the numerous facets of this tragic story which details the lead-up to and events of 16th August 1819; where around 15 unarmed protestors were killed by government forces. The story of the #Peterloo massacre and the events leading up to it is a long and complicated one. What director Mike Leigh has attempted here is a fair but honest approach to telling as many sides of the story as possible. Yes, in 154 minutes in duration, this is a really long film – which consists mainly of people talking and giving speeches – which does at times seem to drag. However, by the end of the film, as the crowd begins forming and government forces ominously manoeuvre themselves into position, we can only watch in horror as the events unfold before us. There’s a huge cast here of truly extraordinary actors. Stand-out performances from Maxine Peake and Rory Kinnear are anchored by a near perfect ensemble cast; all representing a multitude of characters hailing from a range of social and #political backgrounds. Truthfully, there are too many genuinely exceptional performances to mention; but rest assured, this is a brilliantly acted character-driven film which barely puts a foot wrong. It’s also worth mentioning the frankly startling amount of effort that has been put into making sure character dialects and accents sound authentic. Characters from Manchester speak with a Mancunian accent; Lancastrians speak with a Lancashire accent and southerners sound suitably so. Even the English language used by characters is that of Early Modern, rather than the Late Modern English we’re used to. But the film doesn't stop there in its quest for authenticity and pitch-perfect regional accents are supported by outstanding costume and set design. And Dick Pope’s stunning #cinematography ensures we get to fully appreciate the beautiful on-location sets in all their glory. Sweeping vistas of the fully gathered crowd at St Peter’s Field allow us to acknowledge its enormity, whilst understand the problems people had escaping once soldiers had moved into position. Even interior shots, many of which, early in the film, takes place in confined spaces, are beautifully framed and lit with a naturalistic ambience. The concept of size and space is used cleverly to highlight the growing popularity of this ‘radical’ #grassroots movement. What begins as hushed whispers shared amongst family and friends at home, soon leads to small gatherings in local taverns. And as the idea of fair parliamentary representation becomes more mainstream and widespread, so to do the venues in which these meetings are held becomes grander and more formal. And soon, these previously secretive and unsavoury utterances are being bellowed openly and proudly throughout cavernous town halls and courts all over the north; culminating in the speech at St Peter’s Field. #Peterloo is one of the finest #historicaldramas I’ve seen for a really long time. Mike Leigh has gone to incredible lengths to really inform us, not only of the events of that day but also those leading up to it; and does so with an #historical credibility rarely seen in film. It feels a little long-winded at times, and there is no spectacularly over-the-top battle scene or bloodbath near the end. But that doesn't make it any less affecting. Ultimately it invests us in the characters, makes us sympathetic to their plight and bubbles with tension before boiling over into that devastating and overwhelming finale.

★★★★ Directed by #RupertEverett Written by #RupertEverett Starring #RupertEverett, #ColinFirth, #ColinMorgan, #EdwinThomas Film Review by #HopeMadden “Why does one run toward ruin? Why does it hold such fascination?” Oscar Wilde, by way of writer/star Rupert Everett, wonders these potent lines partway through The Happy Prince, director Everett’s biopic of the infamous decadent/undeniable genius. Everett’s tale flashes backward and forward but mainly focuses on the period between Wilde’s 1897 release from prison and his death in 1900. A rather bleak time in a very rich and colorful life, but Everett’s execution never forgets the heights, and his performance is haunted with the fall. Upon his release, Wilde finds support with sometime lover and literary agent Robert Ross (Edwin Thomas) and writer/friend Reginald Turner (Colin Firth – delightful, especially when his character is not the focus of a scene). But Wilde cannot or will not deny his desire for Alfred “Bosie” Douglas (Colin Morgan). It is a perfect vehicle for a film that lays bare this particular genius and that rumination on running toward ruin. Only a few years earlier, Wilde’s ego required recompense from his lover’s father, who’d libeled him. Wilde’s suit, however, only uncovered his own then-illegal dalliances and instead of recompense he found himself facing hard labor. And yet, even with emotional support from his friends and financial support from his wife jeopardized by the decision, Wilde joyously takes Bosie back and the two travel to Naples to misbehave. Everett’s film more than forgives Wilde’s wildness, though it doesn't go so far as to fully admire it. His lead performance is colored by an understanding of the difference between living lustily when you have everything, and when all that you once had is forever out of reach. As a writer and director, Everett tries too hard to use Wilde’s short story The Happy Prince to create a running metaphor, perhaps suggesting that Wilde’s end, like the story’s, reaches transcendence. It’s a tough sell, passing off the short’s image of voluntary self-sacrifice as analogous to Wilde’s fall from grace. Otherwise, though, the first-time filmmaker delivers a vision edged with the melancholy of a brilliant mind never again able to see the world as bountiful and beautiful. It’s as touching as it is resonant, and nothing in The Happy Prince articulates this tragedy as beautifully as Everett’s performance. It's a performance simultaneously full of life and of death. You see the enormous loss, but more than that, the deflating ugliness of this world etched on Everett’s face, echoing in his every gesture. Everett's instincts behind the camera come as a nice surprise. With more than 70 acting credits to judge by—many of them quite fine, some even awards contenders—the real surprise is that he had this performance in him.

★★★★ Directed by #LucaGuadagnino Written by #DarioArgento #DariaNicolodi #DavidKajganich Starring #DakotaJohnson #TildaSwinton #MiaGoth #ChloeGraceMoretz Film Review by #GeorgeWolf Seventies horror has had a damn good month. Just weeks after David Gordon Green gave 1978's Halloween the sequel it deserved, director Luca Guadagnino re-imagines 1977's giallo classic Suspiria as a gorgeous rumination on the horror of being haunted by echoes of your past. Wait, wasn't the original about witches? It still is, more than ever. Guadagnino and screenwriter David Kajganich ( Story, A Bigger Splash, the upcoming Pet Sematary remake) remove the guesswork about the dance academy coven in favor of a narrative much more layered, meaningful and bloody. The building blocks remain the same. It is 1977 in "a divided Berlin," when American Susie Bannion (Dakota Johnson, nicely moving the character from naivete to complexity) arrives for an audition with a world-renowned dance company run by Madame Blanc (Tilda Swinton, mesmerizing). Susie impresses immediately, and is soon given the lead in the company's next production. This "cover version" (The Tilda's phrase, and valid) of Argento's original lifts the veil on the academy elders early, via the diaries of Patricia (Chloe Moretz), a dancer who has fled the troupe in fear. While whispers paint Patricia as a radical member of the anti-fascist Red Army Faction, she tells psychotherapist Dr. Josef Kiemperer (also The Tilda, under impressive makeup) wild tales of witches and their shocking plans. Guadagnino continues to be a master film craftsman. Much as he draped Call Me by Your Name in waves of dreamy romance, here he establishes a consistent mood of nightmarish goth. Macabre visions dart in and out like a video that will kill you in 7 days while sudden, extreme zooms, precise sound design and a vivid score from Thom Yorke help cement the homage to another era. But even when this new Suspiria is tipping its hat, Guadagnino leaves no doubt he is making his own confident statement. The color scheme is intentionally muted, and you'll find no men in this dance troupe, serving immediate notice that superficialities are not the endgame here. Guadagnino's stated goal of "de-victimizing" women in this film shows early and often. They move in strong solidarity both onstage and off, dancing with a hypnotic power capable of deadly results. In fact, most of the male characters here are mere playthings under the spell of powerful women, which takes a deliciously ironic swipe at witch lore as it creates a compelling bookend to what's going on away from the dance academy. Dr. Kiemperer, still searching for his wife missing since the end of WWII, becomes a personal illustration of Germany's struggle with its Nazi legacy. When paired with Patricia's rumored involvement in the "German Autumn" uprising of '77, we get two important pillars of an epilogue that, admittedly, some may find a head-scratching overreach. But after the finale that precedes that epilogue, the bigger problem may be breath-catching. A glorious celebration of the grotesque, it explodes into a cathartic mix of Ken Russell's and GOT's Red Wedding that more than affirms the film's intense, obsessive build. Guadagnino has thrown so much at us, he knows we deserve a payoff and damn, he delivers one. It cements a vision of Suspiria that's as ambitious and it is uncompromising, one that explores different definitions of horror while ultimately delivering more outright shocks and shivers than Argento ever attempted. Who knew a silly witch story could support so much mind-fuckery? His name is Luca.

★★★ Directed by #PeterFarrelly Written by #PeterFarrelly #NickVallelonga #BrianHayesCurrie Starring #MahershalaAli #ViggoMortensen Film Review by #HopeMadden What have the Farrelly brothers been up to? Well, one of them (Peter) just updated Driving Miss Daisy. Nope, it is not a provocative but good natured spoof. It is Oscar bait. The director and co-writer penned Green Book, a road picture telling the true tale of 1960s musician Dr. Don Shirley (Mahershala Ali) and Tony Vallelonga (Viggo Mortensen), the New York City nightclub bouncer Shirley hired to drive him throughout his tour of the deep South. It’s a nice story, buoyantly directed. It’s another odd couple, two people with nothing in common who learn a lot from each other. And it’s hard to pick apart a true story for being so achingly convenient. The film, co-written by Vallelonga’s son Nick, owes what artistic success it offers to two strong central performances. Ali and Mortensen are veteran actors who just do not ever give an inferior performance. They are both excellent, always, and Green Book is no different. Their rapport and chemistry are the stuff of movie magic, and it is a joy to ride along with them. Credit Mortensen for making more of Tony than a working class cliché, and to Ali for finding so many layers in what could have been a one-dimensional character. In his hands, Don Shirley is not simply the high class genius Tony first sees. Ali finds more in the character even than the lonely outsider Tony comes to understand. In Ali’s hands, there is a level of otherness, isolation and loneliness that borders on masochism, and it makes for a far more fascinating and far less knowable character. Little else onscreen suggests layers. Green Book is a film that tries very hard and wants so badly not to offend. Yes, the unlikely duo faces some challenges on their journey, but honestly, their struggle—indeed, everything about the movie—feels easy. Neutered. Equally problematic is the point of view, which is, of course, the white male lead’s. It’s his lessons we’re really interested in, right? And he learns to have deep sympathy for Dr. Shirley. But that is the primary problem with Green Book. It sympathizes greatly, but has absolutely no idea how to empathize.

★★★ Directed by #PhilJohnson #RichMoore Written by #PhilJohnson #PamelaRibon Starring #JohnCReilly #SarahSilverman Film Review by #ChristieRobb Movies with an abundance of pop-culture references run the risk of dating themselves well before they're released. Ralph (John C. Reilly) and Vanellope (Sarah Silverman) from 2012’s Wreck-It-Ralph stride directly into that potential minefield. The film opens as playable racer Princess Vanellope von Schweetz has an existential crisis wondering if there is more to life than looping the same levels of her game, Sugar Rush, every day and drinking root beers with Ralph at Tappers every night. When her hero inadvertently breaks her game, the duo head off into the internet in search of the part they need to fix Sugar Rush and secure Vanellope’s monotonous future at the Litwack Family Fun Center & Arcade. And, it’s…fine, I guess. Flocks of blue Twitter birds soar over Google’s skyscraper and Amazon’s distribution center. Folks with signs pop up, baiting others to click on their content. There’s a search bar that’s kind of an actual bar, and there’s a whole Snapchat area off in the distance. But the film has none of the bonkers creativity of Sausage Fest’s imagined grocery store and more or less comes off as designed by an intercompany team of Silicon Valley marketing executives. A fundamental misunderstanding about how eBay works results in Ralph and Vanellope needing to come up with $27,001 for the part they need. Now it’s a question of how they get rich quick on the Internet. This leads to Vanellope’s discovery of Slaughter Race, a gritty, open world driving game a la Grand Theft Auto that becomes her happy place. And Ralph becomes needy, clingy, and self-destructive, refusing to let his best friend move on as he hustles for cash by making viral videos on a site called BuzzTube. This part drags as it trots out references to past time wasters like Chewbacca Mom, hot pepper challenges, and screaming goats. Honestly, easily the best part of the movie is when Vanellope wanders over to the Disney website and hobnobs with the princesses while evading some Stormtroopers. It’s 10 minutes of Disney patting itself on the back for its ownership of a ludicrous amount of intellectual property. But it’s fun, creative, and silly in a way the rest of Ralph Breaks the Internet is not. There’s a much better movie here that I hope is in the works. What we get with Ralph is a pretty movie with some great voice acting that’s got enough detail in the background to make you smile. But it’s the kind of amusement you’ll probably forget about soon enough, like planking, Keyboard Cat, or Doge memes.

★★★ Directed by #JasonReitman Written by #MattBai #JayCarson #JasonReitman Starring #HughJackman #VeraFarmiga #JKSimmons Film Review by #GeorgeWolf The Front Runner closes with Gary Hart (Hugh Jackman) dropping out of the 1988 Presidential race with a dire warning: Beware the day we elect leaders we deserve. The film's previous 110 minutes operate on the premise that day has come, pinpointing Hart's very public fall from grace as the three watershed weeks that made it possible. Hart, the Colorado senator who had been a surprise runner up to Walter Mondale for the 1984 Democratic nomination, emerged four years later as the assumed nominee and betting favorite to be the next President. But then, angered by questions about his marriage, Hart famously challenged the press to "put a tail on me, you'll be bored." So they did, and they weren't. There was that yacht named Monkey Business (I swear, kids, look it up), the affair with Donna Rice, and damaging photos with another not Mrs. Hart. And before you could say "Dukakis" without laughing, we got President George H.W. Bush and a journalistic landscape that's never been the same. That's more than enough meat for director Jason Reitman to chew on, and he gamely tries to balance all the ethical questions that remain startlingly vibrant today. Should serious journalism embrace tabloid fodder? Are politicians entitled to private lives? Whose responsibility is it to hold powerful men accountable for their treatment of women? Reitman, who also helped screenwriter Matt Bai adapt his own best seller All the Truth is Out, taps back into much of the groove that made his Thank You for Smoking such a mischievous treat. The dialogue is fast and smart, often evoking a more easily digestible Aaron Sorkin. Salient points are made and then rebutted through the precise timing and intricate blocking of an outstanding ensemble (including greats such as J.K. Simmons, Vera Farmiga and Alfred Molina) that serves up indelible characters with relative ease. Jackman is flat out terrific as the natural-born politician ("his hair alone is worth 6 points, 4 if it's windy") who could not, and would not, accept that the press were no longer giving men like him free passes. Hart used his fame when it suited him and railed against its trappings when it didn't. Jackman, in a thoroughly realized performance, is able to unveil this hypocrisy subtly enough to keep the authenticity of Hart's political convictions uninjured. The attention to narrative ebb and flow is detailed, becoming an absorbing dive into a historical clash of idealism, self-interest, and morality that seems almost quaint today. But strangely, it finds a depth that feels intentionally cautious, and the film never pounds a fist toward any viewpoint of its own. Is that layup designed to encourage our own conclusions? Maybe. But Hart's warning closes the film for a reason, and The Front Runner, much like the man himself, might have cut even deeper with more courage alongside those convictions.

★★ Directed by #OttoBathurst Written by #BenChandler and #DavidJamesKelly Starring #TaronEgerton #JamieFoxx #EveHewson #BenMendelsohn Film Review by #HopeMadden Hey, do you guys remember Guy Ritchie’s King Arthur? I mean, of course you don’t. It made like $9. Had it been anything other than a global box office disaster, a likeminded retooling of the British legend of Robin Hood might have made sense. And yet, here we have it: a poor man’s Guy Ritchie (Otto Bathurst) trying to anachronism his way through the old bandit’s tale. Taron Egerton stars as the Hood, billed by imdb as “a war-hardened Crusader” but coming off more as a precocious 12-year-old. He’s joined by battlefield adversary and post-war comrade John (Jamie Foxx), who insists on calling him English regardless of the fact that they are in England and, you know, every single person is English. (Let’s not even talk about his accent.) Eve Hewson and Tim Minchin round out the merry band as the politically liberal/inappropriately dressed Marian and the only actor who doesn’t embarrass himself, respectively. Ben Mendelsohn shoulders the evil Sheriff of Nottingham duties this go-round. If you only know Mendelsohn’s from Ready Player One, Rogue One or Dark Knight Rises, please believe me when I say that he needs to stop playing scenery-chewing baddies. He is one of the most versatile and talented character actors in film today. Please go watch literally anything else he’s ever made. (Give yourself the gift of the Aussie film Animal Kingdom.) Writers Ben Chandler and David James Kelly blandly reimagine Robin of Loxley’s origin story, casting aside any historical authenticity in favor of hip fun. Tragically, the result is never hip and rarely fun. The film details some ludicrously debauched ties with the church and a global plot to bilk a few hundred peasants of more money than the whole of England would possess. Where do all those golden bowls and goblets come from? How many peasants are dining so flamboyantly? They also reach to give the sheriff some Trumpian moments, though that backfires as well. As fine an actor as Mendelsohn is, it is tough for him to come off as a dumb ass. The score feels cribbed, the action is video-game superficial and the costuming came directly from Forever 21. Why did they make this movie again?

★★ Directed by: Bryce Hirschberg Starring: #BryceHirschberg, #RobertMcEveety, #TaylorLockwood, #ShawnRolph, #PeytonPritchard Indie Film Review by: #BradyClark Counterfeiters is an indie drama from director, writer and lead actor Bryce Hirshberg that starts off as a fairly slick and exciting crime-based film where you find yourself rooting for a bunch of characters that aren’t all that likeable. The story itself is initially well thought out, with Hirschberg’s Bridger designing an inventive way to counterfeit money – namely producing a heap of $20 bills since no one checks the legitimacy of smaller cash. A clever idea combined with some nice bird’s-eye view camerawork and fairly seamless transitions allows the viewer to forgive the poorly acted scene of Bridger consoling his terminally-ill mother as well as some of the strange, lingering shots of printers, gates and continual walking. Some of the script in the first two acts leaves a little to be desired (’40 or 50 what?’ for the Porsche – duh) and seems a little too improvised in places. But the quickly established relationships between Bridger and his girlfriend Amber (Peyton Pritchard), his trusted friend Jimmy (Shawn Rolph) and the counterfeiting team of Robbie and Preston (Robert McEveety and Taylor Lockwood) are believable and encouraging. Other strong aspects include the ominous #score that does well to create tension throughout, and the sense Bridger and co are getting in over their heads. Robbie’s reckless spending and drug addiction combined with Bridger’s ego hint at an inevitable fall and the overall Limitless feel to the film keeps the heart beating fast. The marina setting is cool and worked into the story well with the boat Bridger purchased being used for the gang’s criminal office. However, the third and final act descends into poor acting and lazy transitioning full of glitches. Hirschberg is apt at creating tension, but when it comes to the inevitable violent finale, the execution is poor and inconsistent, particularly with the over and underuse of blood. We are reminded for the first time of Bridger’s initial motivations and also shown how completely irrelevant other aspects of the film were (Megan the bartender and Candice the horny cocaine addict). Hirschberg has done a surprisingly good job of keeping Counterfeiters from being overly cheesy, despite the early scene with Bridger’s mother indicating this could have not been the case. But the film may benefit from releasing a few of the less relevant elements. The main story also occurs over such a short space of time, that the believability factor is further lost.