★★★ Directed by: #YiFengChang Written by: #YiFengChang Starring: #YuChiehCheng, #AngelLee, #CincinJao Short Film Review by: #ChrisOlson A Taiwanese short film with a coming of age narrative, #filmmaker Yi-Feng Chang's Farewell to the Ark contains some sublime cinematography and editing but is tripped up by messy plotting and poor characters. Yu-Chieh Cheng plays a young man called Jie who is in a bad place. Struggling to pay rent and being tormented at his place of work, the only solace he finds is in an online game where he gets to communicate with Shizuko (Angel Lee). However, as she teases him about getting her an expensive figurine from a local shop, Jie makes a decision that will affect more than just himself. Told using a non-linear structure and text-message pop-up dialogue, there is a clunky feel to Farewell to the Ark that could have been avoided with a simpler, more traditional approach to storytelling. The audience is likely to feel some confusion as to the timeline of Jie’s situation and the multiple scenes involving supporting characters and seemingly unimportant story diversions definitely did not help. Throw into the mix Shizuko’s storyline regarding her dancing and Jie’s sister’s band and there is a lot going on but not in a coherent way. It was hard to fully care about these characters because their behaviour was not justified clearly by the storyline. That being said, there is a visual artistry to Chang’s movie that is wonderful. Shots of busy urban walkways and different locations are interspersed with the more intimate character sequences, allowing an immersive atmosphere to build that is founded on the relationships between people, even if those relationships can often seem elusive. Music was also used to complement the bittersweet tone of the piece, allowing the themes of regret, isolation, and moving on brilliantly. The performances were also great, Chang gets a lot of the cast who are believable and engaging. It is just a shame that the plot lets them down slightly. A lack of clarity in the storytelling made Farewell to the Ark hard to fully enjoy. Whilst the gorgeous cinematography and pleasing aesthetic are more than enough to satisfy short film fans, most will likely leave feeling unfulfilled by a plot that definitely had more to offer. Whilst we wait with bated breath to see what filmmaker Yi-Feng Chang does next in the indie circuit, because there is obvious potential there, we just hope the next project offers a focus on the strengths and a less-is-more approach to the plot structure.

★★★★ Directed by: #AnaPio Written by: #PedroBrum Starring: #RodrigoQuadrado, #MiguelSáNogueira, #JoãoCouto, #ManuelFrancisco, #LauraFrederico Short Film Review by: #ChrisOlson Set in 1974 Portugal, #shortfilm Eden tells a tentative story about a group of boys growing up in a Catholic seminary. The effects of the dictatorship that rules the country can be seen in numerous ways, most of which have cultivated a cold and oppressive environment for these kids to grow up in. Rodrigo Quadrado plays Pedro, one of the boys whose proclivity for breaking the rules creates a palpable tension between him and Father Joaquim (Miguel Sá Nogueira) who is in charge of these boys. However, as Pedro and his friends go about their daily activities, mostly focusing on football, we see glimpses of a society ready to abandon their culture of censorship and strict rules for something altogether more open and nurturing. Loaded with political themes and historical context, Eden is a short film that benefits from a rich background that is close to director Ana Pio's own heart and Portuguese heritage. Writer Pedro Brum brilliantly captures the balance between the hardened adult rules that swarm the environment and the innocence of the younger people with dialogue that is often curt and harsh being juxtaposed with scripted moments of glee amongst the kids - especially when they are playing or watching their beloved football. ABOVE: the official movie trailer for Eden. A few of the sequences screamed student film. The use of a roving camera shot of the boys’ sleeping quarters and of an outdoor figurine were both jolting exercises in movement that didn't suit the more bleak atmosphere that had been established. That being said, there were some brilliant set pieces to be found elsewhere, such as the boys having a kick-a-bout through the building, or the boys scarpering off to bed when they think Father Joaquim is going to catch them in the act of reading a naughty magazine. The relevance of the short film is easily found if you are so inclined. The acceptance or rejection of the status quo is an ongoing dilemma for all societies and this debate is no less pressing today. By combining the aspects of a dictatorship with a coming-of-age narrative, Eden is a movie that speaks volumes about the fundamentals of our humanity and the great things they can overcome. This is superb and thoughtful #filmmaking with a powerful story and a clever tone that embraces all levels of society as one.

★★★★ Directed by: Jeremiah Zagar Starring: Evan Rosado, Sheila Vand, Raul Castillo Film Review by: Rachel Willis Imaginative Jonah is the focal point of director Jeremiah Zagar's family drama, We the Animals. Based on Justin Torres's novel of the same name, Zagar and co-writer Daniel Kitrosser successfully enter the realm of adolescent boys. The youngest of three brothers, Jonah is the film's narrator. His quiet observations allow him to remain nearly invisible to the adults around him. He sees things others might miss, and with an artist's eye, he renders his observations into illustrations that jump off the page. With his two older brothers, Manny and Joel, Jonah navigates his parents' volatile relationship. Though there is love between his Paps and Ma, there are also moments of violence. While the time period of the film is never explicitly stated, based on a few clues it's likely the mid-1980's. It's a time when kids ran wild outdoors without cell phones or tablets in hand. The cinematography captures the sunny summer days when aimless kids roamed far and wide. It perfectly evokes the innocence and curiosity of young children. As Joel and Manny enter into adolescence and leave childhood behind, Jonah falls further into his own world. The three brothers, at first inseparable, start to drift apart. While Joel and Manny seek to become men just like their father, Jonah tries to carve out his own identity. It puts him at odds not only with his siblings, but his parents as well. There's a dream-like quality to the movie reminiscent of films such as Beasts of the Southern Wild and Pan's Labyrinth. Though Zagar's approach is slightly less fantastic than either film, there is still a lovable, magnetic child at the center. As Jonah, Evan Rosado joins the ranks of child actors whose talent belies their age. Zagar proves his mettle as both writer and director. His previous works include a number of solid documentaries (Captivated: The Trials of Pamela Smart, In a Dream), but as his first feature film We the Animals is a marvelous addition to his body of work. #JeremiahZagar #RachelWillis #EvanRosado #SheilaVand #RaulCastillo #movies #film39entertainment #moviereviews #filmreviews #independentfilm

★★★★ Directed by: Richard Prendergast Written by: Richard Prendergast Starring: Jolie Lennon, Benjamin Hartley Short Film Review by: Chris Olson The road trip movie is a long established cinematic genre that allows the audience to become an actual passenger to the plot that unfolds (most commonly with plenty of escapades along the way). In short film Sylvia, the journey as well as the car itself play vital roles in the storytelling, based on a tragic true story. Jolie Lennon plays Mandy, a mother of two who is carting her daughters and mother across the country where she plans to sell her beloved car called Sylvia. At first, the conflict seems to come from her family members ignoring Mandy's constant reminders to keep the car clean for its new owner (spoilers: spillages and lollipops do ensue) but as the adventure progresses, a different tale emerges and one with an emotional kick to the gut. Tender storytelling and loaded with awesome distance shots, writer and director Richard Prendergast achieves a phenomenal sense of drama through his short film. The comedy and poignancy are in perfect harmony, allowing the viewer to immerse themselves into the movie and feel its full effect without being forewarned either way. Some lovely visual tricks are on hand to make the whole experience feel hearty and intriguing. Above: the official movie trailer for short film Sylvia. Lennon is superb in the lead role, handling her character's demanding backstory with deft care and attention. The result is a knockout final third that is utterly lifted by her commanding on screen presence. The supporting players are also great and there is a wonderful chemistry between the family members. By leaning on some classic cinematic tropes, Prendergast sets his audience up to experience the film on familiar ground. The twists and turns which emerge in the journey are brilliantly delivered and this contrast between the expected and the unusual is needed to get the audience to pick up on the message which comes. Had the viewer been given more warning signs they may have anticipated too much and felt less of an impact come the short's climax. Prendergast is then able to communicate the themes of the story more efficiently which include loss, family, community and endurance. A remarkable piece with a fantastic central performance, Sylvia is a short film much like its namesake: reliable, not faultless but in pretty good condition, and able to provide you with a fantastic journey. #ShortFilmReviews #ShortFilms #ChrisOlson #Drama #MovieTrailers #RichardPrendergast #JolieLennon #BenjaminHartley

★★★★ Directed by: Ethan Hawke Starring: Ben Dickey, Alia Shawkat, Ethan Hawke, Kris Kristofferson Film Review by: George Wolf Outlaw country musician Blaze Foley lived too hard and died too young, a life so steeped in cultish mystery that even the director of his biopic believed an urban legend about what led to Foley's tragic death. Ethan Hawke, who also co-wrote the film with Foley's ex-wife Sybil Rosen, presents Blaze's story with respectful grace and an observational tone that moves casually but cuts deeply. Seemingly drawing inspiration from frequent collaborator Richard Linklater (who has a cameo role in the film), Hawke's directing style is unassuming and unhurried, mining resonance from small moments that define his subject. It seems cosmically right that a virtual unknown singer-songwriter, Ben Dickey, plays Foley, who may be best known to mainstream country fans as the writer behind songs recorded by artists such as Merle Haggard, Willie Nelson, Lyle Lovett, and John Prine. Dickey, who was working as a chef when Hawke offered him the role, is a revelation. Though more physically imposing than the real Foley, Dickey reveals the demons that frequently bested Blaze, pushing him to sabotage his relationship with Sybil (Alia Shawkat-also stellar) as well as his chances at big-time music business success. With music such a big part of the film, Hawke's decision to present it in its live, raw glory reaps big dividends. Dickey mimics Blaze's phrasing, picking and rambling onstage persona to eerie perfection, getting an impressive assist from Charlie Sexton as fellow troubadour Townes Van Zandt. Sexton (who had an 80s hit with "Beats So Lonely," has been Bob Dylan's guitarist for years and appeared alongside Hawke in Boyhood) gives the film solid layers of reference as the drawling Van Zandt charms a radio DJ (Hawke) with stories of Blaze, the little-known legend. From dreaming of stardom while riding in a truck bed, to antagonizing barroom audiences, to a visit with Blaze's once-abusive, now senile father (Kris Kristofferson), sequence after sequence rings more organic and true than most found in music biopics. It's clear this a passion project for Hawke (and, of course, for Rosen), who is smart enough not to let that passion interfere with authenticity. Blaze gives Foley the re-birth he clearly earned - as a conflicted, damaged soul longing to be heard. #BenDickey #AliaShawkat #EthanHawke #KrisKristofferson #GeoreWolf #movies #film #entertainment #moviereviews #filmreviews #Blaze #biopics #musicmovies

★★★★ Directed by: Chad Archibald Starring: Aidan Devine, Ava Preston, Jess Salgueiro Grimmfest Film Festival Review by: Darren Tilby William (Aidan Devine) is a simple man with a less than ordinary job: he ‘takes care’ of the corollary of inner-city gang violence — basically, he makes dead bodies disappear. This isn’t something he wants to do, but something he must do for the safety of his young daughter, Gloria (a stunning performance here from Ava Preston). But when one of the bodies turns out to be not quite so dead — everything changes. Of all the films I’d had in mind as possibly being similar in tone, of all the sources of inspiration I thought this film may draw from, and of all the expectations I’d built up in my mind, Guillermo del Toro’s Crimson Peak hadn’t entered into any of them. And yet, perhaps strangely, it’s the gothic horror/romance genre, and Crimson Peak specifically, that I picked up on most. It may seem like a strange comparison, but the two films have a lot in common: they both begin and end in a very similar fashion; they share a familiarity in their isolated rural setting beset by snow, interior gothic, aesthetic and both use their respective supernatural elements to support the plot rather than as its basis. And as with all good haunted house based horror films, the basement serves as the ghastly heart of the building: supernatural spectres emanate from the depths; escaping from the makeshift abattoir and spreading throughout the woodwork. I'll Take Your Dead makes excellent use of its isolated location, and the farmhouse, standing tall in its seclusion, strikes an imposing silhouette against the dull light and snow covered fields; the quintessential haunted house. The haunted house feel is also prevalent inside the farmhouse: the gothic interior, dimly lit rooms and dilapidated quality give the humble home an air of abandoned grandeur; it’s easy to forget the film takes place in an American farmhouse and not Eel Marsh or Hill House. Jeff Maher’s cinematography in I’ll Take Your Dead is a marvel: it draws you in, brings you into its world; refusing to relent and finding beauty in the macabre and grotesque. The camera and soundtrack work together to create an atmosphere of eerie, uneasy peace; the calm before the storm. And whilst I never found the film ‘scary’, the dour ambience and slowly building narrative kept me on the edge of my seat. The screenplay is well-written, and the pacing is, for the better part, spot-on; although the third act, whilst still gripping, did feel slightly rushed. It's also worth noting that nothing about the plot was greatly surprising, and I'd pretty much guessed how the film would end within 20 minutes of it starting: however, this in no way spoiled my enjoyment of what is an intelligent and beautifully made film. The script and characters are wonderfully put together: the dialogue flows with a naturalistic flair and is full of lines of biting riposte, while character development occurs in a timely and natural manner; helped along by some stunning performances from its cast. Aidan Devine and Jess Salgueiro – as William and Jackie respectively – give solid and down-to-earth performances as two people who, for varying reasons, are caught up in a situation neither of them belong in, whilst Ari Millen finds the perfect balance between the perversely creepy and borderline psychotic in Reggie, a vicious gang member and our primary antagonist. The star of the show, however, has to be young Ava Preston as Gloria, who proves herself more than capable of not only handling a difficult role, but regularly stealing the spotlight in any scene she's in. I'll Take Your Dead is an exciting and visceral experience, as well as being an interesting and surprisingly tender exploration of a father-daughter relationship that has seen better days, while the gothic-horror elements add a whole new level to a genre of film which isn't short on representation. #Grimmfest #GrimmfestFilmFestival #Grimmfest2018 #IndieFilmReviews #Horror #IndieFilms #FilmFestivals #DarrenTilby #ChadArchibald #AidanDevine #AvaPreston #JessSalgueiro

★★★★ Directed by: Olivier Afonso Starring: Denis Lavant, Dany Verissimo-Petit, Manon Azem, Camille Razat, Anne-Solenne Hatte, Tiphaine Daviot, Margot Dufrene, Louise Blachère Grimmfest Film Festival Review by: Darren Tilby A wonderfully over-the-top action-revenge film that had me laughing far more than I ever expected. Unapologetic in its bawdy and brash sentiment, Girls With Balls is a riotous, manic and bloody exploration of what it means to be a team player and embracing the tropes of the genre, before then kicking their heads in. A girls volleyball team, The Falcons, end up stranded in the middle of nowhere after an altercation with a less than savoury group when their minivan breaks down. Unbeknownst to the girls, said group are cannibalistic hunters, who then pursue the girls through the forest; expecting an easy time. But these girls aren't going to be taken down so easily, and soon, deep in the forest, the hunters become the hunted. There’s a great cast of French talent on screen here: Denis Lavant is the perfect mixture of diabolical and camply menacing in his role as the head of the hunters group, and Victor Artus Solaro, as the volleyball team coach, proves he’s a more than capable comedic actor; injecting a healthy dose of humour into the film. And the girls? The girls could not have been better selected: each one brings something unique and loveable to the film and they're having good chemistry seems as clear as day; creating a feeling of real sisterhood. The girls can be funny, they can banter with the best of them, but when pushed, they can be implicitly fierce. Of course, there’s always one who isn’t such a ‘team player.’ The cinematography and soundtrack are both fairly simple and competent in construction. The film seemingly shot on location, has a real backwoods feel to it and conveys the almost hopelessness of the girl’s situation with real finesse. Girls With Balls plays out like a very French Severance and is the kind of film you’ll enjoy infinitely more if you go into it not expecting anything too serious: in fact, there’s almost a mature comic book vibe in its manner, something in the same vein as the Kick-Ass movies. The over-the-top violence and genuinely funny, dark humour spotted throughout, lighten a film which otherwise may have become too severe. While being ‘nasty’ at times, I actually found the most shocking thing to be just how consistently funny the film was. There is some fantastically morbid humour here: I had expected a full-on gorefest; even Lavant’s utterly repulsive degenerate leader has a kind of funny swagger as he parades around; teasing his victims. If you’re not the kind of person who usually enjoys French-language films, then honestly, this isn’t likely to win you over, but I enjoyed it very much and would implore you to at least give it a go. #Grimmfest #GrimmfestFilmFestival #Grimmfest2018 #Horror #UKFilmFestivals #FilmFestivals #OlivierAfonso #DenisLavant #DanyVerissimoPetit #ManonAzem #CamilleRazat #AnneSolenneHatte #TiphaineDaviot #MargotDufrene #LouiseBlachère

★★★★ Directed by: Tim Earnheart Starring: Nadine Nagamatsu, Corrie Fleming, S. Joe Downing, Ayuba Audu, Reeve Scott Short Film Review by: Jack Bottomley When Tim Earnheart’s award winning action/thriller short Safe begins, it is rather easy to get lulled in to a false sense of security (pun is absolutely intended). What starts very much as a familiar double life thriller yarn, soon takes on a whole new angle and ends up taking influences from the home invasion thriller and, in a number of ways, Sci-Fi/Horror. However, for all the stylishness, in your face brutality and action (there really is a remarkable amount stuffed into its very brief 8 minute running time), it is actually the smaller details that prove the most important and – ultimately – most shattering. The story sees a lady (Nadine Nagamatsu) waiting for her soon to be adopted daughter (played briefly by a young Corrie Fleming) to get home but this woman has a secret life, one that enables her to use a specific set of skills when masked intruders arrive at her home and demand the contents of her safe. Despite sounding a little like Adam Wingard’s terrific You’re Next in how the hunted becomes the hunter, this is a little different. The masked intruders almost resemble a crew that would terrorise a film from The Purge series but all is not quite as it seems with Safe, as this is no ordinary home invasion. The less said about the meat of the narrative, the better (for fear of spoiling anything) but despite some shakes, the film unwinds very nicely overall and connects its dots in a most satisfying (or maybe most effective would be a better way to put it) fashion. The central McGuffin is purposely used in an almost darkly comic way on first reveal and when the crux of things kicks in mid-film, initially you are taken aback. But do stick with this initial change of pace because writer/director Earnheart knows exactly what he is doing, as the well-played (if a second or two too early revealed climax) displays in the most powerful, dramatic and quite unexpected way possible. ABOVE: the official movie trailer for Safe. Shot with a strong embrace of visual effects and a flare for bullet-flying violence, Earnheart uses Matt Fleming’s effective home-set cinematography to successfully confine the violence and muster more intensity in this smoothly made exciting thriller. The music pounds as hard as some of the onscreen thumps and when the plot is tied together you find yourself quite impressed by this taut little effort. An effort with some lessons to tell in how time can be cruel as well as kind and how the first answer is not often the right one. The time quite literally flies and the plot is mapped out nicely and wrapped up equally as well, with a tough central performance from Nadine Nagamatsu that sells the films potentially outlandish moments and central premise. Meanwhile the strength of the twisty writing keeps you intrigued right up until the aforementioned brilliant payoff. I very much enjoyed Safe, which, ironically, does not play it safe, boasting the bravery to go to some visually grand territory to get to a worthwhile and memorable final bang. It is little wonder the film has played well at numerous festivals and screenings because it is an impressively shot and written film that tips its hat to multiple genres and certain big screen styles but never loses grasp of the strong story it is telling in the process. #TimEarnheart #HomeInvasion #NadineNagamatsu #Thriller #Horror #SciFi #JackBottomley #ShortFilmReviews #ShortFilms #MovieTrailers

★★★★★ Directed by: Bradley Cooper Starring: Lady Gaga, Bradley Cooper, Sam Elliot, Andrew Dice Clay Film Review by: George Wolf A few weeks ago, for homework, I revisited the 3 previous versions of A Star Is Born. A friend later asked me which one was best. I have a different answer now. Director/co-writer/co-star Bradley Cooper brings a new depth of storytelling to the warhorse, with a greater commitment to character and the blazing star power of Lady Gaga. Cooper is Jackson Maine, a booze-swilling, pill-popping rock star who wanders into a random bar post-gig and catches Ally (Gaga) belting out "La Vie en Rose." Jack's entranced, and begins coaxing Ally to sing her own songs instead of covers. Everyone's got a talent, he tells her, the real gift is having something to say. Each previous film version represented its era well, but with the rock music setting and several recognizable homages, it's clear Cooper has a fondness for the Streisand/Kristofferson take from '76. His new vision carries a raw authenticity that eclipses them all. The battered star's instant infatuation with the young talent has never felt more understandable, the undeniable chemistry between Cooper and Gaga fueling the feeling that in Ally, Jack sees a better version of himself. Cooper, with a lower-range speaking voice and the musical talent from nearly 2 years of tutelage, is every bit the weathered rocker, on a misplaced search for redemption. Watch him when Jack is not the focus of a scene to see a character become complete. But then, another outstanding acting performance from Bradley Cooper is not a surprise. His remarkably instinctual directing debut here, though, must now place him among the premier talents in film. Nearly every scene, from stadium rock concert to intimate conversation, is framed for maximum impact. His camera can be stylish but not showy, with seamless scene transitions fueling a forward momentum that will not let the film drag. The melodramatic story has been stripped of pretense and buoyed by more layers of humanity, and not just between the two leads. Jack's brother (Sam Elliot), his boyhood friend (Dave Chappelle) and Ally's father (Andrew Dice Clay) emerge as important characters despite limited screen time. And then there's Gaga. The voice is, well, it's a force of nature, and the songs (some co-written with Cooper) are memorable. But if a star already shining can be born, welcome Gaga the movie star. She is electric, taking Ally from wide-eyed stage fright to SNL headliner with both tenderness and ferocity, giving this character the strength and nuance she has never had before. This film has talent everywhere, but it also has stirring things to say about love and sacrifice, about art and commerce, ambition and fame. I'll say this: A Star is Born is among the very best of the year. #AStarIsBorn #BradleyCooper #LadyGaga #GeorgeWolf #SamElliot #AndrewDiceDlay #musicalmovies #Oscarcontenders #moviesfilm #entertainment #moviereviews #filmreviews

★★ Directed by: Gregory Plotkin Starring: Amy Forsyth, Roby Attal, Tony Todd, Bex Taylor-Klaus, Reign Edwards Film Review by: Hope Madden Hell Fest is not the first film to point out that it would be really dangerous if any of the masked meanies inside a Halloween haunt were, indeed, a murder-happy maniac. It’s not a bad premise, just not a new one. In keeping with the not-so-fresh theme, this film is a straight-up, unapologetic slasher. Not a nostalgia-seeped, homage-laden satire or meta-commentary. Nope. Hell Fest is an unironic slasher. Six nubile youths drink some shots and head into a situation that should be fun but does, of course, hold the potential for serious danger. But they’re young, they’re immortal, they’re so hot and horny. Why so much groping, by the way? They aren’t that drunk, they have homes, none of them just got out of prison. That’s the thing about slashers: we’ve seen so, so, so many of them over the years that the cracks in the formula are gaping holes by this point. Nevertheless, Hell Fest stays its by-the-numbers course. Director Gregory Plotkin (Paranormal Activity: The Ghost Dimension) manages to keep the energy high, even as the story weaves tediously through an amusement park. The script, penned by a committee of five, doesn’t burden itself with much in the way of backstory or the need for character arc. Of the six, Natalie (Amy Forsyth) is the smartest and least slutty. She is, therefore, the target of our slow-moving, weirdly strong, masked marauder. Her friends are mainly over-the-top caricatures of humans, but there’s an almost believable camaraderie among them. Forsyth fares best, clumsily flirting with the equally awkward Gavin (Roby Attal) as their overdressed friends drink from flasks and tell us how very excited they are. While a couple of the attractions are fun, the main problem with Hell Fest is that it is not scary. Not for a minute. Nor is it gory—for a film with an R rating, there’s almost no blood, absolutely no nudity and very few F-bombs. It’s as if they hoped for a PG13 rating, didn’t get one and now they’re stuck with a movie that can’t entertain the wee ones and won’t entertain adults. They do have Tony Todd, though. When has that ever been a bad idea? I know, October is basically here and you just want to find some new scary movies to put you in the mood. Dude, seriously, Halloween comes out in two weeks. Just hold your horses. #GregoryPlotkin #AmyForsyth #RobyAttal #TonyTodd #BexTaylorKlaus #ReignEdwards #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #horror #horrormovies #HellFest #slashers

★★★ Directed by: Ruben Fleischer Starring: Tom Hardy, Riz Ahmed, Michelle Williams Film Review by: Hope Madden We don’t need another superhero. That’s what the Venom trailers told us, and it’s pretty true. So, what Venom had to offer—an antihero, a Jekyll/Hyde thing starring a brilliant actor who excels with complex, dark roles—felt like a great change of pace. Tom Hardy was the ideal choice for the dual role of Eddie Brock, semi-doofus reporter, and Venom, flesh-eating alien symbiote. This should have worked, partly because Hardy knows how to mine villains for their humanity, and watching him wrestle with the good v evil duality never ceases to be impressive. What Venom suffers from more than anything is the expectations set by a Marvel release. Don’t be mistaken, were this the DC universe it would be the second best comic book film released since Christopher Nolan cast Hardy as a super villain. But it is, indeed, Marvel. (If you forget, Stan Lee shows up to remind you.) And for that reason, regardless of the fact that Venom boasts superior acting, FX, story arc, action choreography and writing than anything DC has done this century besides Wonder Woman, its regrettably traditional execution makes it feel a bit stale. Because it is Marvel. A characteristically committed Hardy elevates scenes, indulging a far more humorous tone than what we’ve seen lately from the versatile actor. Riz Ahmed (Nightcrawler, Four Lions) is a solid choice to play Eddie/Venom’s nemesis. Never campy or over-the-top, Ahmed evokes a type of lifelong genius who cannot be persuaded that his ideas are at odds with the ideals he alleges to support. Michelle Williams is uncharacteristically flat, and the balance of the cast is mainly forgettable, but the real problem with the film rests on uninspired direction. Ruben Fleischer showed a flair for action, colorful theatrics and humor with his 2009 breakout Zombieland, but the joy of carnage and camaraderie that infected that flick is sadly missing here. Zombieland was aided immeasurably by writers Rhett Reese and Paul Wernick, whose irrepressible irreverence made the Deadpool films such a riot. It’s a tone sorely lacking in this screenplay, penned by a team of four whose output includes a Fifty Shades film, Kangaroo Jack and Fleischer’s abysmal 2013 mob flick, Gangster Squad. Venom is not a bad movie. It’s fun, competently made entertainment. And a disappointment. #Venom #TomHardy #RizAhmed #MichelleWilliams #RubenFleischer #HopeMadden #movies39fim #entertainment #moviereviews #filmreviews #Marvelmovies #comicbookovies #Spiderverse

★★★★ Directed by: Antony Spina Starring: Alexander Mandrides, Angela Peters, Antony Spina, Mark Wynter Short Film Review by: Darren Tilby The tragic consequences of mental illness all too often make front-page news, and yet, despite several high-profile deaths in recent years and a slew of ad campaigns, sufferers of mental illness are still stigmatised in the press, and sometimes, even medically; being met with scepticism, ignorance, even hostility. Sad Little Boy serves as a warning of the intense pain, and sense of abandonment depression instills in those afflicted by it; a thorough, frank and devastating examination of mental illness. We follow Del (Alexander Mandrides), who – in the midst of a bad break up with his now ex, Carla (Angela Peters) – has been sent home from work early again due to concerns for his health. As Del converses on the phone with best friend Craig (Voiced by Antony Spina), two things are clear: Firstly, Del is not doing well; having not eaten or slept since being dumped over the phone. Secondly, Del doesn’t want to inconvenience anybody and is reluctant to ask for help, stating: “...I’m not some stupid, sad little boy…” This sort of response is typical for those with depression and is a recurring theme throughout the film; being handled here with real nous. Asking for help is one of the most important steps to recovery, as well as one of the hardest things to do, so it’s really great to see a film frankly, but respectfully broach this tricky subject. Tonally, the film plays out like a horror; an expertly crafted dark, suffocating atmosphere of looming abandonment, with Del being tormented by an unforeseen malevolent force, rapidly slipping into madness as he begins to fall apart (beautifully visualised by the slow-motion shattering of a wine bottle), arguing fiercely with himself in scenes reminiscent of those with Golem in The Lord of the Rings films. The film creates its horror movie ambience through the skilful use of sound, framing and editing: the low droning hum of the film's understated soundtrack, coupled with a clever use of silence and sharply cut editing, builds tension and creates an environment where every minute seems to stretch on for hours, whilst framing seemingly mundane objects (a gate, a picture frame) in an uneven and crooked manner and bathing the scene in a dull, muted blue lustre gives Del's house a palpable sense of desertion; mirroring his psyche. Sad Little Boy is a difficult film to watch, but for all the right reasons. Its brutally honest approach to an incredibly sensitive subject and dour atmosphere may well be enough to turn some people away, but if you stick with it, I promise it's worth it. If you had to pick faults, they can be found, but there's nothing considerable here and certainly nothing immersion breaking. A thoroughly educational and important piece of filmmaking. #ShortFilmReviews #ShortFilms #DarrenTilby #AntonySpina #AlexanderMandrides #AngelaPetes #MarkWynter