★★★★ Directed by: #DrewGoddard Written by: #DrewGoddard Starring: #JeffBridges #DakotaJohnson #ChrisHemsworth #JonHamm Film Review by: #GeorgeWolf A priest and a vacuum salesman walk into a bar... Well, one may not be a priest, the other might not be a salesman and the bar is really part of a nearly abandoned motel, but the point is all hell breaks loose in writer/director Drew Goddard's stylish thriller, Bad Times at the El Royale. Lake's Tahoe's El Royale sits straddling the Nevada/California border in the late 1960s. Before the East side lost its gambling license, the El Royale had been a hot spot and Rat Pack hangout, but lately bellboy/desk clerk and bartender Miles (Lewis Pullman) is pretty lonely. Then the priest (Jeff Bridges), the salesman (Jon Hamm) and a singer (Cynthia Erivo) check in, followed by a hippie (Dakota Johnson) who's got an F-you attitude and someone in her trunk (Cailee Spaeney). Their respective reasons for stopping at the El Royale are separate and shady, but as the characters reveal dark pasts and true intentions, the quiet hotel quickly becomes a battleground for survival. Goddard's follow-up to 2012's ingenious The Cabin in the Woods is anchored with the same inventive zest, and built with time-jumping back stories and placards that bring Tarentino to mind. And while El Royale can't completely deliver on its promise, it offers a gorgeous blast of color, sound and plot twists that are pretty fun to watch unravel. The entire ensemble is splendid, each digging into their characters with a relish that only elevates the impact when our feelings about them change, and change again. Who's a villain? Who's a patsy? Who's being framed and who's just looking for redemption? Though Goddard's pace gets bogged down at times, his visual style and careful placement of 60s pop hits make sure chasing those answers is always a retro hoot. The film's biggest disappointment stems from the arrival of the sinister Billy Lee (Chris Hemsworth), a violent charmer who's come to settle a score with someone in the El Royale's guestbook. As past histories and current events collide, the film reveals a late-stage moralistic vein as hopes for a type of Cabin in the Woods-style showstopping finale slowly fade away. Those final fifteen minutes are fine for any typical noir crime thriller, but not quite worthy of El Royale's previous deliciously indulgent two hours.

★★★★ Directed by: #DamienChazelle Written by: #JoshSinger #JamesRHansen Starring: #RyanGosling #ClaireFoy #JasonClarke Film Review by: #HopeMadden We’ve seen a lot of movies about astronauts, loads of sometimes great films about the US space race and the fearlessness of those involved. Director Damien Chazelle’s First Man is something different. Chazelle strips away the glamour and artifice, the bombast and spectacle usually associated with films of this nature. His vision is raw and visceral, often putting you in the moon boots of the lead, but never quite putting you inside his head. The director’s La La Land lead Ryan Gosling plays Neil Armstrong in this biopic of the first human being to set foot on the lunar surface. It’s another of Gosling’s impressive turns: reserved, with an early vulnerability that hardens over time to a protective stoicism. A no-frills Claire Foy plays Armstrong’s wife Janet, and the characters the two actors carve share a bristly chemistry that adds to the film’s committed authenticity. It also provides some kind of emotional center for the story. Chazelle’s observational, unhurried style doesn’t draw attention to the drama. There is nothing showy about this film. That understatement allows the most startling, horrifying and awe-inspiring moments their own power. The approach also quietly reminds you of the escalating pressures shouldered by Armstrong as he and NASA faced tragedy after tragedy in the name of space exploration. Gosling shares screentime with an enormous and talented ensemble boasting many fine performances and just as many welcome surprises. Though most roles are very small, Shea Wigham, Jason Clarke and Corey Stoll stand out. Stoll, playing a socially obtuse Buzz Aldrin, offers an enjoyable foil to Gosling’s composed Armstrong, sparking one of the film’s only real grins. Though Gosling’s distant performance and Chazelle’s near-verite style mirror Armstrong’s increasingly walled-off psyche, it becomes difficult to connect with characters. First Man deposits you inside the action but keeps you at arm’s length from Neil Armstrong. As gritty and unpolished as the film is, Chazelle never loses his sense of wonder. The jarring quiet, the stillness and vastness are captured with reverence and filmed beautifully. Those images of silent awe are as stirring as anything you will see, but it’s the visceral, queasying and claustrophobic moments underscoring the death-defying commitment to the cause that will shake you up.

★★★ Directed by: #AriSandel Written by: #RobLieber Starring: #JeremyRayTaylor #CaleelHarris #MadisonIseman #JackBlack #WendiMcLendonCovey Film Review by: #GeorgeWolf "Who would write this?" Any Goosebumps fan knows the answer to that is Bexley native/OSU grad R.L. Stine, but in Goosebumps 2 it's what Stine didn't write that unleashes some not-too-scary family fun. Good buddies Sonny (Jeremy Ray Taylor from IT) and Sam (Caleel Harris) stumble upon a mysterious book while cleaning out a creepy old house. They turn their backs and a ventriloquist's dummy makes sure he's found as well. "Slappy" (voiced by Jack Black) was born from the book they found, the unfinished manuscript of Stine's first novel, and he has some magical powers which are all fun and games until they're not. See, the dummy wants a real family, and he won't stop until he brings Halloween to life and makes Sonny's mom (Wendi McLendon-Covey) his own, which doesn't sit well with Sonny or his sister Sarah (Madison Iseman). It will take the whole gang, with a little help from Stine himself (Jack Black) to put Slappy and all he conjures back in the book where they belong. Director Ari Sandel, who helmed the smarter-than-average teen comedy The Duff, and writer Rob Leiber (Alexander and the...Very Bad Day) take over the Goosebumps film franchise and hit a satisfyingly specific 'tween target that will give adults some smiles as well. The humor is silly but not stupid, the frights won't bring nightmares, the town bully isn't really that mean, and the town does Halloween like no place you've ever seen, led by holiday enthusiast Mr. Chu (Ken Jeong). It makes for an inviting setting, and once all those costumes and decorations come to life, there is plenty of lower-budget visual pop. Goosebumps 2 has style, a winning cast, and winking nods to horror classics such as IT and Frankenstein. Plus, it makes books and science seem cool, and gets it all done in under 90 minutes. That adds up to one "fun-size" Halloween treat that doesn't disappoint.

★★★★ Directed by: #JacquesAudiard Written by: #JacquesAudiard #ThomasBidegain Starring: #JohnCReilly #JoaquinPhoenix #JakeGyllenhaal #RizAhmed Film Review by: #HopeMadden How many Jacques Audiard films have you seen? You should probably see all of them, including his latest, The Sisters Brothers. Like his previous films (Rust and Bone, A Prophet, Dheepan), The Sisters Brothers starts out as one film, inserts another fascinating story, and as those two come together the movie unveils its true intent. Unlike Audiard’s other films, The Sisters Brothers is a Western. We open with Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly, respectively), two gunslingers for hire on the job. Their next big gig assigned by The Commodore (Rutger Hauer) will put them on the trail of a prospector in the 1850s West. Phoenix, who is having a banner year even for him (if you haven’t already seen You Were Never Really Here and Don’t Worry, He Won’t Get Far on Foot, please do), plays the loose cannon brother. Making trouble is in his blood—a fact his brother is trying to forget. Eli longs for something better for himself, something settled and adult. But he is bound to his brother and their friction bristles with the bonds and bondage of family. Reilly’s conflicted tenderness and responsibility mingle with a genuine longing that offers an emotional center for the film. A few days’ ride ahead of the brothers is the tracker The Commodore hired to assist in the deed. Jake Gyllenhaal’s John Morris is an observer and a loner, a man who believes in his own intellect but is willfully blind to the consequences of his career choice—until he befriends the object of The Commodore’s interest, a chemist with ideals and a compound that seriously simplifies the act of finding gold. Good-natured chemist Hermann Kermit Warm is played by Riz Ahmed (also having quite a year, back to back this week with his strong turn in the overly criticized Venom). He and Gyllenhaal remind you of the amazing chemistry they shared in 2014’s Nightcrawler. Though their characters couldn’t be more different this time around, the two actors again share a natural rapport that makes you a believer. Peppered with fascinating images, intriguing side characters and the lonesome beauty that infects the best Westerns, Audiard’s film embraces a genre without bending to expectations. Does it all come down to daddy issues? Yes, but the longing for camaraderie and the quest for redemption has rarely been this charming. The film meanders intentionally, serving the rugged outdoorsiness required of its genre, but relies on its four leads to craft fascinating characters whose relationships and destinies infect you with a hope often lacking in Westerns.

★★★★ Directed by: #LanceDaly Written by: #LanceDaly #PJDillon Starring: #JamesFrecheville #HugoWeaving #StephenRea Film Review by: #BrandonThomas Black ’47 opens at the height of the Great Famine in Ireland – a time when countless Irish left their homeland for America, and when over a million that stayed died of starvation. At this time, Ireland is also under the punishing rule of the British Empire. While the Irish people starve, the British lords presiding over Ireland complain that the people want “too much.” Martin Feeney (James Frecheville) has returned to Ireland after having deserted the British Army while fighting in Afghanistan. Feeney learns that his mother has succumbed to the famine, and his brother has been hanged for murder. Desperate to get his remaining family out of Ireland, he pleads with them to join him in going to America. Unfortunately, tragedy strikes, and Feeney finds himself hunted by former comrade Hannah (Hugo Weaving), and two young British soldiers (Freddie Fox and Barry Keoghan). What’s immediately interesting about Black ’47 is that it’s essentially a Western. These characters might not be fighting the Comanche, or ordering up a bottle of whiskey in a saloon, but the Western tropes are there: the recently returned solider seeking revenge; the posse turned lose to hunt down a raging outlaw; evil land barons uninterested in the lives they destroy. Director Lance Daly has fun tipping his hat at the great American genre, while never going full John Ford. Any good Western homage has to be anchored by lead performances with presence. Frecheville brings a soulless quality to Martin. He is a man that barely had anything to begin with, and when the rest is taken from him he becomes cold and methodical. Grieving isn’t an option, and the emptiness in Frecheville’s eyes in the latter half of the film is chilling. Weaving’s world-weary Hannah slowly becomes the moral compass of the film. He’s numb to so much of the horror around him – having participated in it, too – but Feeney’s rampage opens up something in the veteran soldier that he can’t quiet. Weaving has a gravitas that cannot be ignored. Black ’47 has something to say about the horrors of Ireland’s past. The film just wants to say it through the guise of shootouts and rollicking revenge.

Everything you need to know about the 61st London Film Festival Film Festival Feature by Owen Herman On 4th October 2017 the 61st BFI London Film Festival will begin. Over twelve days, fifteen cinemas will show two-hundred and forty-three features from sixty-one countries. Four competitions will be judged and the “Strands” of Love, Debate, Laugh, Dare, Thrill, Cult, Journey, Create, Family, Experimental, and Treasures will all be explored. There is much to get one’s head around but this preview article features the biggest films and events, starting with the headline galas: Breathe The festival opens with Andy Serkis’ directorial debut, Breathe. Written by William Nicholson, the film chronicles the true story of Robin Cavendish (Andrew Garfield), diagnosed with polio and given three months to live, but who instead became one of the longest living polio survivors and a pioneer of life-improving technology for those with the disease. Cavendish’s son Jonathon (played in the film by Game of Thrones’ Dean-Charles Chapman) produces the film as part of Imaginarium Studios which he founded with Serkis. The film also stars Claire Foy, Hugh Bonneville, and Tom Hollander (who plays two twins). It’s safe to say it’s going to be a tear-jerker. Three Billboards Outside Ebbing, Missouri Martin McDonagh’s dark comedy will premiere at the London Film Festival 2017 Closing Gala, and will no doubt bring the festival to a satisfying and crowd-pleasing end. The black comedy made an appearance at both the Venice and Toronto film festivals, garnering great praise, especially for Frances McDormand’s lead performance as a foul-mouthed mother who confronts police after no arrests have been made for her daughter’s murder. With many comparisons to Fargo, TBOEM (as no-one is calling it) is likely to continue receiving positive reviews from its audiences. Battle of the Sexes A big screen account of the 1973 tennis match between Billy Jean King (Emma Stone) and Bobby Riggs (Steve Carrell) has been widely anticipated and has so far received warm reviews after showing at the Telluride Film Festival. Directors Jonathon Dayton and Valerie Faris seem to have gone for a movie that has mixes comedy with some important social commentary, resulting in something that could be both feel-good and thought provoking. Call Me by Your Name Based on the novel of the same name, this romantic coming-o- age drama focuses on the blossoming relationship between Armie Hammer’s Oliver and Timothée Chalamet’s Elio. Luca Guadagino’s film premiered at Sundance, receiving fantastic reviews. Those who have experienced it describe a love story that conveys romance in its simplest and most powerful terms. One that’s sure to make a huge impact. Downsizing Downsizing stars Matt Damon and Kristen Wiig as a couple who decide to be shrunk and live in a tiny community. One of the more bizarre sounding films at the festival, it has so far received mixed reviews after its appearance at Venice. Some critics love its comedy and social undertones but others have found it annoying and even boring. Director Alexander Payne has certainly come up with an original idea and at least the film’s premise is memorable, even if it has failed to hit its mark with some audiences. Film Stars Don’t Die in Liverpool Based on Peter Turner’s memoirs of the same name, Film Stars Don’t Die in Liverpool looks at the real romance between young, struggling actor Peter Turner (Jamie Bell) and legendary film star Gloria Grahame (Annette Bening). The two leads have already received praise for their convincing performances and on-screen chemistry. Film Stars Don’t Die in Liverpool is directed by Paul McGuigan and co-stars Julie Walters and Vanessa Redgrave. Journey’s End World War One drama Journey’s End is the fifth film adaption of R. C. Sherriff’s play, a production of which once starred Laurence Olivier. This film version has a less legendary, but still very strong, cast including Sam Claflin, Asa Butterfield, Paul Bettany and Toby Jones. It is bound to explore similar themes to 2017’s other major war picture, Dunkirk. The critical and commercial success of Christopher Nolan’s tense thriller sets a standard that Journey’s End director Saul Dibb will do well to match. Killing of a Sacred Deer Director Yorgos Lanthimos has rightly earned a reputation for the weird and surreal, with films including Dogtooth and The Lobster, and his latest offering looks to deliver on both. Winner of the Best Screenplay Award at Cannes, Killing of a Sacred Deer is a psychological horror film said to be both intriguing and chilling. The film reunites Lanthimos with Colin Farrell and also stars Nicole Kidman and Dunkirk’s Barry Keoghan. Expect the unexpected from a film whose trailer managed to make Ellie Goulding’s “Burn” sound delightfully creepy. Last Flag Flying A sequel to 1973’s The Last Detail, Richard Linklater’s new film features Steve Carell, Bryan Cranston, and Laurence Fishburne as three Vietnam veterans reunited after one of their sons is killed in Iraq. As they bond over shared memories, expect plenty of warm comedy about growing old and male relationships. It was co-written by Darryl Ponicsan, author of the novels on which this film, and its predecessor, are based. Mudbound An epic which tackles many dark themes, from racism to PTSD, Mudbound looks at post-war America in all its grim detail. Mudbound also happens to be distributed by Netflix, so it will be interesting to see how it is received, after the controversy surrounding the streaming service’s films at Cannes. Director Dee Rees had a huge breakthrough with Pariah in 2011, a film which seems small in comparison to the sweeping period drama coming to LFF, but Mudbound will nonetheless share the intricate look at life for those who feel persecuted by society. The Shape of Water The festival film I am personally the most excited about is Guillermo del Toro’s latest fantasy offering. The winner of the Golden Lion at the Venice Film Festival, The Shape of Water tells the touching tale of a mute woman who befriends an amphibious creature being scrutinised by the American government in the early 60s. Sally Hawkins leads a cast including Octavia Spencer and the ever-sinister Michael Shannon. Doug Jones stars as the creature, reuniting with del Toro for the sixth time. Early reviews from Venice suggest that the The Shape of Water is both delightful and beautiful, as well as being del Toro's’ best film since his 2006 masterpiece Pan’s Labyrinth. You Were Never Really Here With comparisons already drawn with Taxi Driver and Drive, Lynne Ramsey’s violent hitman thriller looks to find art in brutality. The film won Best Screenplay (alongside Killing of a Scared Deer) and Best Actor (Joaquin Phoenix) at Cannes as well as earning a seven-minute standing ovation. At a slim eighty-five minutes Ramsey has stripped the film down to the essentials, crafting a taut, intense thriller that will stick with you for better or worse. And the rest … These are far from all the films being shown at the London Film Festival 2017. Other notable screenings include On Chesil Beach, which has been adapted from Ian McEwan’s novel by the author himself, ultra-violent and ultra-stylish samurai epic Blade of the Immortal (Takashi Miike’s 100th film), The Meyerowitz Stories (New and Selected), which features a rare but unsurprisingly excellent Adam Sandler performance, Israeli drama Foxtrot which won the Grand Jury Prize at Venice, 1928’s Shiraz: A Romance of India (featuring a new score performed live), and French animation The Big Bad Fox & Other Tales. In addition to these are Amant Double, Redoutable, Wonderstruck, and Thelma. The BFI will also run several special presentations, including Dark River, A Fantastic Woman, The Final Year, Happy End, Looking for Oum Kulthum, The Party, Zama, and even David Fincher’s new Netflix crime drama series Mindhunter. Fincher will appear at an LFF Connects event. Other events feature Cate Blanchett, Nitin Sawhney, Ian McEwan, Johan Knattrup Jensen, Julian Rosefeldt, Demis Hassibis, and Takashi Miike. The BFI London Film Festival 2017 certainly has a lot going on, and plenty of news and reviews will come out of it. The above provides information on all the main features, but there are plenty of unknowns that will make an appearance, from shorts to directors’ debut features. This British celebration of film will have everything, and it’ll be well worth paying a visit. #FilmFestivals2017 #FilmFestivals #UKFilmFestivals #BFILondonFilmFestival #BFILFF #OwenHerman #London #FilmFeatures #FilmEvents

★★★★ Written and Directed by Chloé Zhao Starring Brady Jandreau, Tim Jandreau, Lily Jandreau, Cat Clifford, Lane Scott, BFI London Film Festival Review by Chris Olson How do you get your balance back when you (literally) lose the grip of your life's reigns? This dilemma is at the core of Chloé Zhoa's The Rider. With autobiographical content and troubling themes of identity and purpose, this entry into the Journey thread of the 2017 BFI London Film Festival is a worthy exploration of what is means to adapt physically, mentally and emotionally when you fall off the horse. Brady Jandreau plays Brady Blackburn, a recently damaged bull rider whose numerous staples in the side of his head attest to the brutal community he belongs to. Telling all the well wishers around him that he is just in a period of healing and that he will soon be back on the rodeo circuit, it becomes tragically obvious that Brady is at an impasse in his career and must come to terms with what that means. Few other archetypes offer such easy discussion on masculinity than the cowboy, and Zhao is intelligent and sensitive in using her central character's fall from stardom to raise questions about the nature of "manning up", "gritting your teeth", and "getting back in the saddle". Several other riders share their knocks and blows over the years, and some comment on a cowboy's duty to ride through the pain. Brady for the majority of The Rider is reserved and polite to all those who enquire about his health and future, however, gaps in the armour (or denim) begin to widen and his bubbling rage seems poised to spill over. Sequences with his father (Tim Jandreau) are dealt with honestly and have enough angst to unsaddle the viewer when they argue about Brady's choices in life. It's not all heavy going, though, and audiences will find significant moments of beauty and heart on the prairie. Brady training horses is magnificently cinematic and tense, and his fondness for the animals is touching, especially when he compares his own fate to that of a lame horse. Brady also spends time with Lane Scott, a fellow victim of the brutal reality of bull riding and brother figure. The kinship and affection they show each other is mesmerising. As are the wonderful moments Brady shares with his sister Lily - whose delightful rebelliousness and charming singing offer a much needed touch of lightness. As with many heartland movies, there is a demand for the cinematographer to deliver, and Joshua James Richards does this effortlessly. Beautiful wide angles of the empty countryside are juxtaposed with frenetic energy and close up shots when it comes to the rodeo or horse training scenes. There is also a slight dullness to the grading which potentially reflects the loss of vigour from Brady's life force in his new status. Zhao also implements a steady pace which allows plenty of room for Brady to unfold introspectively for the viewer instead of galloping into any needlessly dramatic contrivances. Expertly controlled and caringly delivered, The Rider is an absorbing human drama that manages to keep you gripped to your seat whilst everything around you bucks and jolts. Incredibly focused with a tour de force performance from Brady Jandreau. #FilmReviews #TheatricalReleases #ChrisOlson #BFILondonFilmFestival #BFILFF #BFILFF2017 #LondonFilmFestival2017 #Western #ChloéZhao #BradyJandreau

★★★★ Directed by Andy Serkis Written by William Nicholson Starring Andrew Garfield, Claire Foy, Tom Hollander & Hugh Bonnerville BFI London Film Festival Review by Dean Pettipher Every time they enter the movie theatre, audiences willingly accept and embrace tremendous mismatches between what is claimed and what is. The barriers of tolerance vary greatly from person to person. However, ultimately, they all have these internal fortifications firmly set between what they are happy to accept and what they simply cannot even pretend to agree with. While such escapism can be exhausting, the sheer scale of pain and suffering that plagues the world, as if it was constantly in flames, serves as a reasonable justification for determinedly navigating through the dull realities and harsh trials of life towards focusing on what makes life worth living, in spite of its various hardships. Thus, Breathe (2017), the directorial debut from the finest motion capture actor of all-time, Andy Serkis, was a warmly welcomed opening movie for the BFI London Film Festival 2017. The film feels like a frustratingly safe mixture of The Theory of Everything (2014) and A United Kingdom (2016), with an exploration of romantic love and disability similar to the former feature and a sentimental tone akin to the latter movie. Nonetheless, the lack of experimentation is superbly compensated for by an overwhelmingly poignant story, performed and captured on camera with remarkable elegance. A clear and sincere emphasis on particular emotions, mainly romantic love, propels the otherwise doomed tale into the realms of the ineffable, especially for audiences who truly adore movies based on true stories. Indeed, in the modern world, where dating seems all but totally void of any genuine feelings when it really matters, the optimistic possibilities that Breathe hopes to share with audiences around the globe at times hardly seems possible. So, while audiences may not leave the cinema with a totally new outlook on filmmaking or storytelling, they will almost certainly leave with a powerful and unquestionably essential reminder of hope. At the heart of Breathe are the sensational performances; Claire Foy and Andrew Garfield in particular glow triumphantly bright as truly believable, passionate and compelling leads in their respective roles. Garfield strikes again, by highlighting through a depiction of a disabled protagonist that is as convincing as the performances by Eddie Redmayne in The Theory of Everything or Charlie Coz in Marvel’s Daredevil (2015-Present) that he is comfortably at the top of his game. His authentic portrayal of yet another real-life character, noting his wonderful work from Hacksaw Ridge (2016), reminds audiences that he really did recover, at least regarding his career, after his abrupt conclusion with The Amazing Spider-Man series (2012-2014). Foy also shines, courtesy of her enviable eloquence and sophistication, which audiences have already relished from Wolf Hall (2015) and The Crown (2016-Present). Her expert grasp and translation of profound emotions through the art of the motion picture are ceaselessly astounding. Every moment that Garfield and Foy are together is fuelled by enough indescribable chemistry to make the coldest hearts aquiver, especially in the wake of the incredible limerence that Foy conveys towards Garfield in his company, even in the darkest hours. The result is a portrayal of a love and also a life-partner that all may dream of and feel, at least once, that they may never find. Accompanying the two aforementioned stars is a perfectly-selected group of supporting players, including Hugh Bonneville, who brings an undeniably charismatic presence to the silver screen, even if a familiar one for fans of his integral part in Downton Abbey (2010-2015). The performances are propelled further by gorgeous cinematography that maintains its alluring beauty even with the most mournful settings, as it so beautifully captures the aesthetic similarities and contrasts between locations ranging from Kenya to Germany and England. The music and the writing of Breathe both hit the right beats when pinpoiting the emotioanl complexities of the drama. Having given life to the epic that was Gladiator (2000) over a decade ago, William Nicholson provides the same care and thoughtfulness to his latest script, employing some dialogue that can only be delivered with the most tenacious of efforts if it is to be fully appreciated. Nitin Sawhney adds yet another crucial injection of poignancy to the picture with his majestic and mellifluous orchestral score. While what is heard in the form of both the spoken word and the musical instruments feels at best like a different flavour of what audiences have experienced at least a few times before, Breathe would not be able to maintain its tender and fragile emotional hold of them without it. After all is seen and loved, the spark of Breathe will fade because much of what is seen and heard is at least fairly derivative. At worst, nothing may feel truly new, save for the unique circumstances that make up the story. Thus, particularly around the middle of the movie, the emotional impact is weakened by what seems like an uncomfortably slow pace because much feels so familiar, especially in the eyes of avid movie or romance lovers. While Serkis clearly knows how to tell a story through the art of cinema, he has yet to establish what makes his directorial style distinct. Still, his first outing as the leader of the team is promising. Furthermore, Serkis has every chance of reaching the heights of the legends, such as Quentin Tarantino, David Fincher and Tom Hooper. Another concern raised from the movie is how far the boundary is crossed with the sugar-coating of some key events and the lack of exploration of others. For example, the development of the relationship, supposedly grown entirely through serendipity, between Garfield and Foy from strangers to lovers, gets so little attention that one can struggle to invest too much emotion into their relationship at first, since one may not be able to believe how what cannot have been that easy to develop was glossed over and even ostensibly ignored. Fortunately, the depiction of the trials faced by the couple as they cope with a life-changing disability are given a much greater depth of exploration that sheds light on the suffering as well as the joy that their characters must have shared in reality. Therefore, by the conclusion of the tale, enough light has been shed on the struggles and the rewards that followed to instil at least a hint of inspiration within the audience. In the end, Breathe remains a story that needed to be told and a film that should be seen. Just about everyone knows all too well that life is difficult and that love is messy. So it seems understandable to want to focus mainly on the joy, even if only for a couple of hours. The movie makes a wonderfully convincing case for two notions. The first is that one can live life to the full in spite of a disability, in a manner that sees disability in an admirably positive way. The second is that true, unflinching love has the power to change and even save lives. Audiences would definitely appreciate more movies like Breathe, which honestly and sensitively explore disability. Moreover, they would revel in the prospect of films that are so sincere in their artistic intentions that even the promotional material, designed solely to sell films to potential audiences no matter how good or bad they really are, appears to be genuine. For, as the poster suggests, it certainly seems true that, “with her love, he lived.” #FilmReviews #TheatricalReleases #BFILondonFilmFestival #BFILFF #BFILFF2017 #FilmFestival #DeanPettipher #Drama #Biopic #AndySerkis #AndrewGarfield #ClaireFoy #TomHollander #HughBonnerville

★★★★★ Directed by Saul Dibb Written by Simon Reade Starring Sam Claflin, Paul Bettany, Asa Butterfield, Stephen Graham, Toby Jones & Tom Sturridge BFI London Film Festival Review by Dean Pettipher One struggles to comprehend why on earth World War I does not receive nearly as much attention in the entertainment industries as World War II, or, indeed, even other noteworthy conflicts including the Cold War. Not just filmmakers but indeed videogame developers seem to behave as if venturing into the Great War is a sort of no man’s land, where a paralysing uncertainty around the film’s box office potential especially hold aspiring storytellers at bay, left with ostensibly little choice but the pursuit of the safer avenues. Regarding the latter medium of entertainment, the only example that one might be able to think of immediately is Battlefield 1 (2016). While the fact that even critically-acclaimed masterpieces like A Very Long Engagement (2004) that did not far exceed its budget and so struggled to raise the morale of those keen to delve into tales of the Western Front and bring them to life on the silver screen, hope loiters defiantly in the wake of impressive box office successes that took on the meticulously-studied topic, such as War Horse (2011), which was the highest grossing World War I movie until, believe it or not, Wonder Woman (2017). The BFI London Film Festival 2017 (LFF 2017) featured a picture that will not break through the line over towards any noteworthy records. Nonetheless, a splendid war movie awaits avid fans of the genre, with an assemblage of superb stars who, along with the wonderful crew, propel the film to the frontline with some of the most superb World War I films of all-time. The team behind Journey’s End (2017) may comfortably stand at ease, for the spoils of their labour are evident in a harrowing tale overflowing with emotion towards a depth of profound sentiment that speaks volumes concerning their artistic talents. Leading the glorious acting masterclass of the ensemble is a remarkable performance from Sam Claflin, whose becoming presence upon the screen provides the source of the most intense, poignant and scarring emotional bombardments of the story. Claflin portrays a clearly good man, who appears so broken by the terrors of war and the heartless class structure epitomised by the military with which he so nobly serves, that insanity incessantly looms within his waning mind and increasingly shattered heart. Claflin proves in his latest outing in the movies that he is only just treading the lowlands towards the peak of the enormous mountain that his potential as an actor seems, almost inevitably, set to lead him. Moreover, Claflin’s journey in cinema is not dissimilar from that embarked upon years before by Leonardo DiCaprio, who, after his breakthrough role in Titanic (1997), was determined to prove to the world and to himself that he was far more than a mere pretty-faced teenage heart-throb, succeeding in his argument principally with films including The Aviator (2004) and Blood Diamond (2006). Likewise, Claflin has come a long way since his intriguing work on The Hunger Games series (2012-2015) and his impressive feats with Me Before You (2016), evident not only in Journey’s End but also the war drama that he starred in last year entitled Their Finest (2016) and more recently My Cousin Rachel (2017). Claflin’s grasp of the more mature roles is truly astonishing and he should undoubtedly attract attention from the highest ranks of Hollywood for prestigious honours, including the Oscars, if he continues to be given the right chances, in the form of increasingly challenging roles, with which he will ceaselessly bring his own quintessential emotional intricacies to life. The music and the writing dance together brilliantly, save for the moments where one wishes that there was even more of both during particular climactic scenes or key moments of character development. The woebegone but beautiful, deep melodies create a constant sense of impending danger, growing frustration and even all but unavoidable defeat. The writing expertly targets and hits at the heart of each soldier in the unit, compelling the audience to care deeply for each of them and ponder over those questions of morality surrounding the Great War that have been asked and debated for centuries, such as, “Why on earth did so many have to suffer and perish for so little?” Note that such questions concern the excruciatingly small amount gained in terms of the opposition’s battlefield territories. For, on the other hand, it is clear, within minutes of the film commencing, that the sacrifice made by the soldiers amounted to a magnitude that the generations set to follow them would never truly comprehend. What is easier to understand is that Journey’s End is a fantastic adaptation, which, incidentally, was inspired by a play written by R. C. Sheriff, which, of course, was in turn inspired by the true events that made up World War I. One would eagerly recommend the play for certain, for Journey’s End is a tale that has proven to be so excellently told through each of the different art forms. One may be understandably enjoyed more than the other but neither one shall disappoint. Journey’s End will linger within the soul like a chillingly unsettling ghost of a traumatic past, in all its bitter sweetness, for all of the right reasons. Chiefly, the picture proves yet again that a magnificent war story can be told with World War I is the chosen setting. It remains far too early to tell if the critical acclaim will translate to a victory at the box office. However, audiences will not soon forget the valiant effort made by the cast and crew to make a spectacular movie. More importantly, they will have been reminded just how crucial it is to hold dear the memories of the tremendous sacrifices made by the soldiers, on all sides of the conflict, in the wake of unmistakably nefarious odds. So expertly has their plight been interpreted for the silver screen with Journey’s End that one can only hope that the true tragedies and triumphs from which the film was given life are never, ever forsaken and forgotten. #FilmReviews #TheatricalReleases #DeanPettipher #BFILFF #BFILFF2017 #BFILondonFilmFestival #LondonFilmFestival2017 #SaulDibb #SimonReade #SamClaflin #PaulBettany #AsaButterfield #StephenGraham #TobyJones #TomSturridge #FilmFestival

★★★★★ Directed by Martin McDonagh Starring Frances McDormand, Woody Harrelson, Sam Rockwell, Caleb Landry Jones, Lucas Hedges, and Amanda Warren Film Review by Niall Maggs Three Billboards Outside Ebbing, Missouri tells the story of Mildred (Frances McDormand) who sets up three billboards, questioning the police as to why they haven’t captured the culprit of her daughter's murder. Things take a turn when Chief Willoughby (Woody Harrelson) gets involved, and the townsfolk turn against Mildred and her methods of getting answers. Frances McDormand is incredible in the lead role, and truly deserves the praise she is getting (like everything in this fantastic crime drama, the praise is most definitely earned). Her character has been through hell, and McDormand portrays this perfectly. She brings the character to life in every scene she’s in, and steals the show completely. The character wasn’t a stereotype or cliché, she was very unique and interesting. Her determination is also quite inspiring. The citizens of the town hate her, the police also are strongly against her; even the priest disagrees with her! But she carries on going to get to the bottom of the mystery, no matter what happens to her, even if her life is at risk. Woody Harrelson as the lead male is also magnificent. His character arc is very captivating, and even though he can come off as despicable at parts, we learn that he really is a nice guy who just loves his family. He gives a very realistic performance, and one that will be remembered for a very long time. The chief also had quite a complex personality, and it suggests he has also had a hard life, like Mildred, and the way Harrelson portrays this is exceptional. The plot and narrative is very unique and like nothing we have seen before; because of this, you stay absolutely invested throughout. Although it seems implausible, it manages to remain thought-provoking and interesting. The setting worked really well with the narrative as it’s just a small town, and not on a large scale. Because of this, you really get to know the characters thoroughly because they’re all equally explored in a tight, compact environment. The payoff is then much more effective and the audience can resonate with the characters. There are only five main roles in the film that serve significance; you really learn about each of their pasts and what part they have in the story, so there aren’t any moments in the film where you feel confused or asking ‘who’s that?’. McDonagh’s direction is flawless and the pace is beyond perfect. The story building is quite slow and there is a lack of action, but this works excellently for what it’s trying to do: tell the story of a mum who’s desperate to find the murderer of her daughter. The overall storytelling is methodical, simple and straightforward, but along the way it examines each of the characters extensively, so your constantly invested and there are no sections which feel boring. The conflict between Mildred and the citizens is explored interestingly, and is captivating from start to finish. The way McDonagh chose to tell this dynamic is expertly done. I noticed an underlying theme of redemption as well. The characters development is very satisfying and they change their ways for the better, redeeming all of their bad past actions, which makes the climax have a better payoff. The dark comedy is also a theme which is done fantastically. In a film which has such a dark storyline, it manages to balance the humour and the emotion. Some poignant and sad parts are followed up by a comedic scene, which in a lot of films really wouldn’t work and the shift of tone would feel out of place, but in Three Billboards it fits like a glove. The script and writing by McDonagh is yet another strong point, in a film which has lots! The screenplay is very witty at parts and is plain hilarious in some scenes. The interactions between the characters work well because It has a very strong script to back it up. The ending is very optimistic and can be frustrating come to think of it, which is the only downside of the film, but for me it worked really well and it was the perfect way to finish off a fantastic film. Overall, Three Billboards Outside Ebbing, Missouri is beyond brilliant and deserves its never-ending praise. The performances are some of the best I’ve ever seen and the script is expertly written. The pace is exceptional. The plot is interesting. The direction is flawless. Nothing less than a masterpiece… #FilmReviews #TheatricalReleases #NiallMaggs #Drama #BFILondonFilmFestival #MartinMcDonagh #FrancesMcDormand #WoodyHarrelson #SamRockwell #CalebLandryJones #LucasHedges #AmandaWarren

★★★★★ Directed by: Nadira Amrani Starring: Flohio BFI London Film Festival Review by: Chris Olson Part of the “Journey” thread at the LFF 2018, Nadira Amrani’s short film Fly is a fluid piece of cinema with an incredible central performance. Charting the rise of a female rapper in Bermondsey, the movie explores a smorgasbord of cultural and social issues whilst providing a quasi coming-of-age parable in which the main protagonist literally gets their wings. The film stars real-life rapper Flohio, a talented vocalist who wants to spread her art to the masses without the downside of fame: the media. Being a minority in her chosen musical genre and isolated from her family, Flohio attempts to carve her own route through life whilst staying true to who she thinks and feels she is. Her path is guided by the “feathers” she finds along the way in life - signposts that music is an important part of her destiny even if the formation of her identity takes a little longer to work out. Amrani described her short film Fly as “a surreal hybrid drama-doc” on Twitter, which is an important categorisation. This unconforming genre pick very much complements the nature of Flohio’s dilemma in the world: when you don’t seem to fit inside the box, is there really a place for you? This is the challenge to the viewer, who is asked to identify with this character who is obviously sympathetic but most likely existing in a social climate worlds away from their own. The reality is Amrani does a phenomenal job of rising to the task, creating an absorbing and fluid atmosphere for the journey to take place in. The use of visual effects and artistic cinematography allowed the story of a rapper to transcend any cliched or formulaic biopic narratives (which audiences are more than used to) in favour of something altogether more impressive and intriguing. Flohio offers a powerhouse performance in the lead role, commanding the screen like it's another tool in her utility belt of talent. From the energy shown in her performances to the more low-key sequences such as getting a tattoo or a call from a family member, Flohio offers a versatile and compelling portrayal of herself that is mesmerising. Part of an urban filmmaking scene that is somehow hugely artistic, Fly is able to grapple with numerous themes, such as the aforementioned sense of identity, gender disparity, and even class and social status. What was universal about the short film was the use of a music promo style narrative that went into deep and meaningful discussions, like a memoir from an experienced artist but from the perspective of someone relatively green behind the ears who is potentially at the start of their career. The blend of hip-hop and rap with classical music at one point again cements this clash in the way in which identity should be a more fluctuating notion than it is. The rigid structures that are in place, determined to find sense of everything are collapsed by Amrani’s filmmaking, which is a potent piece of arthouse, mainstream, and artistic short filmmaking. #ShortFilmReviews #ShortFilms #ChrisOlson #BFILondonFilmFestival #BFILFF2018 #BFILFF #Urban #London #MusicFilms #Biopic #DocumentaryFilmReviews #NadiraAmrani #Flohio

★★★★ Directed by: Dan Sully Written by: Dan Sully Starring: Tom Padley, Khali Best, Frances Campbell, James Eeles, Jackson Milner BFI London Film Festival Review by: Chris Olson The stag do movie done with a penchant for mischievousness, short film I’m Dead from writer and director Dan Sully is a playful and entertaining comedy that, thankfully, doesn’t know when to stop. Starring Tom Padley as Joe, a soon-to-be-wed young man who is about to embark on the notorious rite-of-passage, the stag do (or bachelor party if you are so inclined). Packing his bag and about to set off, Joe’s journey to the airport is halted, however, when he notices very loud music coming from his neighbour Linda's (Frances Campbell) house. Popping in to check that everything is okay, Joe is perturbed to discover that his neighbour is dead and he is being framed for the murder. Candid and wickedly funny, the cast are a brilliant mix of Inbetweener crudeness and likeable jokesters. Padley goes through the various set pieces and sequences with an affable presence, coping well with the twists and turns in the narrative which switch from hilarious to macabre in a moment's notice. Shout out too to Campbell's turn which was understated to say the least, *chuckle. The short film didn't really venture into any specific cinematic gimmickry or clever visuals. Filmmaker Dan Sully instead uses a tight collection of sequences and easy framing to ensure the audience keeps up with the plot, allowing the chemistry of the performances to do most of the heavy lifting. There was a nice bit of menace introduced by the robotic voice that gives Joe's his instructions to follow if he is to avoid having his life ruined. There does feel like some potential was squandered in the limited run time of I'm Dead. Parts of the story could have definitely been explored further and it would have been really enjoyable to know more about each of the characters, especially Joe's friends who felt slightly underdeveloped. The production value was high, the performers are great and the script was compelling that audiences would have definitely stuck around for more as long as the hijinks were spaced out cleverly. As it is, this feels like a fun and engaging taste what the filmmakers can do and we wait with baited breath to see what comes. We just hope we can hold our breath as long as Linda. #BFILondonFilmFestival #BFILFF2018 #BFILFF #FilmFestivals #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #DanSully #TomPadley #KhaliBest #FrancesCampbell #JamesEeles #JacksonMilner