★★ Directed by: Sylvain White Starring: Joey King, Julia Goldani Telles, Javier Botet, Jaz Sinclair, Annalise Basso Film Review by: Hope Madden It’s the end of the summer! Quick, what lackluster genre trash can we tidy up with a PG-13 rating to cash in on kids’ free time before they have to go back to school next week?! That’s the theme for this week at the movies, a period in which a 70-foot prehistoric shark movie contains no blood-not one drop. Also, a super creepy, tall, faceless but nattily clad monster terrorizes teens. I love a good villain, and this film has an opportunity. Slender Man is a cool character. Born online in a meme contest in 2009, the elongated, pale, bald and faceless man in a black suit who beckons children was immediately embraced by a horror community who apparently has no idea what to do with him. Sylvain White’s film positions him as an urban legend. Four girls watch a video to conjure the beastie. Bad things happen. Do you know why bad things happen? Because kids today aren’t shown the classics, like The Ring. That movie knew how to maneuver a PG13 rating. So, the supernatural being haunts the woods. Or your phone. He’s electrical, you see. So, the woods. No, wait… And therein lies the problem. We have a villain, born a meme. He has no real backstory, but he’s cool and he deserves a proper horror show. Screenwriter David Birke was absolutely not up to the task of creating that story. And even if he had done a proper job of it, White can’t manage to move scene to scene with any sense of dread or even narrative logic. Boxes are checked with zero thought about why. Is there a scene in a library where one character stumbles upon some important background information? Why, yes, although it doesn’t make sense and leads nowhere. Is there another scene of googling where a previous victim turns out to be in an asylum? Indeed! And again, this goes nowhere. Do they find her? Do they visit the asylum? Is she ever brought up again? Nope. More than anything, Slender Man is just boring. And he shouldn't be. #SylvainWhite #JoeyKing #JuliaGoldaniTelles #JavierBotet #AnnaliseBasso #SlenderMan #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #horror #horrormovies #FilmReviews #TheatricalReleases

★★★★ Directed by: Hirokazu Kore-eda Starring: Masaharu Fukuyama, Kôji Yakusho Film Review by: Matt Weiner “He changes his story every time.” This early warning might be the only straightforward point made in The Third Murder, a new film from Hirokazu Kore-eda that goes from courtroom procedural to riveting thriller to heady exploration of truth and objectivity in rapid succession. Defense lawyer Shigemori (Masaharu Fukuyama) takes the lead in re-investigating a murder committed by Takashi Misumi (Kôji Yakusho), with an eye toward helping his client avoid the death penalty. A few small tugs at loose ends cause the official description of the case to unravel, presenting an entirely new take on the crime—and Misumi’s motivations in particular. Kore-eda’s austere settings and still, unflinching direction for the legal proceedings suggest an air of impartiality at first. But the deeper Shigemori delves into what happened, and the more everyone’s stories start to come into conflict, it becomes clear that Kore-eda’s setup has been as misleading as the characters within it. Balancing Shigemori’s dogged pursuit for the truth are his fellow lawyers, including his world-weary older boss and a bright-eyed new lawyer. The team reaches out to the family of Misumi’s victims, while also trying to learn more about their unhelpful client. As with a typical legal thriller, the ideals of truth and justice are on trial along with the crime itself. Unlike lesser genre entries, however, Kore-eda’s characters are cursed with a hyperawareness that the parts they are playing are bigger than the justice system. For all the lofty discussions of capital-T truth, the actors all keep their monologues from drifting into melodrama. As Misumi, Yakusho is especially compelling as a cipher for much of the movie (or “vessel,” as his lawyers might say). The inconsistent narratives only work if they’re believable, and frustration is rarely as delightful as watching everyone try to get a straight answer out of Misumi. Learning that the legal system isn’t there to get people to tell the truth is punishing enough for even the most jaded lawyers in The Third Murder. Kore-eda’s methodical prodding offers a glimmer of hope that while easy resolutions might forever escape us, there’s a moral victory to be had in the examination, however pyrrhic. #HirokazuKoreeda #MasaharuFukuyama #KôjiYakusho #TheThirdMurder #MattWeiner #movies #film #entertainment #moviereviews #filmreviews #Japanesefilms #FilmReviews #TheatricalReleases

★★ Directed by: Jon Turteltaub Starring: Jason Statham, Rainn Wilson, Bingbing Li, Cliff Curtis Film Review by: George Wolf You didn't think Great White-invested tornados meant the pool of shark movie premises was running dry, did you? Not so long as someone is just conscious enough to mumble "Statham fights a shark" in a drunken pitch meeting! The Meg brings that premise to 3-D life, with Statham wet-suitting up as Jonas, the reluctant hero with a haunted past. After a tragic encounter with a giant underwater beast, Jonas hangs up the scuba mask to drink away his days in the bars of Thailand. But five years later, his ex-wife is part of a undersea research team at the mercy of the legendary Megaladon, a 70-foot long "living fossil" of a shark thought to be extinct for over 200 years. Jonas, of course, knew it wasn't, and now he must tell everyone "I told you so" with his most steely glare, go back on his vow to never dive again, and take everything much too seriously. And that's the biggest misstep weighing down the entire film. You get the feeling that with a knowing, "Kong: Skull Island" type of monster vibe, this could have been fun, but director Jon Turteltaub (National Treasure) can't settle on one charted course. Turteltaub and his team of writers adapt the first of Steve Allen's "Meg" novels with a host of changes, presumably meant to bolster Statham's damaged hero quotient. The dramatics are overdone by nearly all involved (though Rainn Wilson, as the billionaire behind the research, finds a mark), and when a nicely subtle hat-tip to Jaws opens the gates for all out scene stealing, The Meg becomes a water-logged mess. A Chinese co-production with a clear eye on international markets, the film has moments of promise that are quickly snuffed out by exposition that's neither needed, wanted or interesting. Where's the fun, sharky nonsense promised by the trailer? That movie might have been a guilty pleasure. The Meg is just guilty. #GeorgeWolf #JasonStatham #movies #film #entertainment #moviereviews #filmreviews #BingbingLi #RainnWilson #CliffCurtis #JohnTurtletaub #TheMewg #sharkmovies #FilmReviews #TheatricalReleases

★★★★ Directed by: Taron Lexton Written by: Jim Meskimen Starring: Jim Meskimen, Nick Lane Short Film Review by: Chris Olson Did you ever see that famous painting Nighthawks by Edward Hopper? The one of the American diner at night. I want you to picture it. Now imagine that scene with a father and son sitting inside, both adults, the son a former heroin addict. Feels weird right? Now imagine that the father is also a drug addict, asking his recovered son to aid him in his quest for a more powerful opioid drug. A nightmarish twist on a classic painting you might say and that is exactly what filmmakers Taron Lexton and Jim Meskimen have created with short film Son to Son. Jim Meskimen (who also writes here) stars as the aforementioned father, sitting inside a diner at night waiting for the arrival of his son (Nick Lane). The tension between the familial pair is obvious and as his dad starts to question his recovery, the son feels a very familiar routine setting in. However, what becomes troublingly clear is that his dad is not asking questions about his drug habit and former cohorts out of love or worry, but instead as a reconnaissance mission to fuel his own addiction. Superbly dark yet peppered with intimate moments, Son to Son captures an original take on a common theme. Exploring the destruction drugs can take on a family is certainly well explored territory, yet the film, directed by Taron Lexton, feels immensely fresh and compelling. This is aided by two fierce central performances who have incredible chemistry on screen, and a terrific aesthetic that combines noirish motifs and intelligent dramatic devices (the salt shaker scene being particularly memorable). Lane provides a suitably moody turn as the wayward child, adopting a slouched and wearied demeanor as he delivers his lines that are pointed and laced with indignation, hinting at a brilliant backstory. It is Meskimen’s performance, however, that really stood out for me. His journey for the audience goes from a worried, almost tender father to a reckless and unstable drug addict within minutes and yet the effect is not jolting or unconvincing. Instead, Meskimen delivers a tragically believable character in a short space of time to great effect. Both performers benefit from a well-crafted script that has an authenticity to it rarely found in stories of drug abuse, where the dialogue can often drift off into a reverie of cliched innocence and villainy. Thematically there is a lot to grapple with in Son to Son. During the 8 minutes running time the viewer is presented with a lot of ideas to chew on. When role reversal occurs in a family structure, what's the protocol? If someone falls down the same slippery slope as you, do you respond in kind or offer the support you wish you had received? This and a whole lot more gets posited but unfortunately left dangling by the short's climax. Infuriating for some, most audiences will likely be jonesing for a feature length, as is the case with the best short films. Riddled with tension, guilt, and role reversal, Son to Son is a remarkable feat of cinematic storytelling that pays tribute to classic genres whilst offering a modern twist to a quintessential tale. Watch the official movie trailer below... #ShortFilmReviews #ShortFilms #ChrisOlson #MovieTrailers #Drama #Drugs #TaronLexton #JimMeskimen #NickLane

★★★★ Directed by: Spike Lee Starring: John David Washington, Adam Driver, Topher Grace Film Review by: Hope Madden Welcome back, Spike Lee! It’s not like he’s really been gone. He’s made a dozen or more TV episodes, documentaries, short films and basement-budget indies since his unfortunate 2013 compromised vision Old Boy. But BlacKkKlansman is a return to form—to the envelope-pushing enjoyment that showcases his skills as storyteller, entertainer and activist. Earmarks of his most indelible marks on cinema—Do the Right Thing, Jungle Fever, Malcolm X—these three elements have rarely joined forces since 1992. You might get one (Get on the Bus) or two (Inside Man, Chi-Raq), but not all three. Why now? Lee isn’t the first filmmaker to realize how painfully relevant historical tales of systemic racism are at the moment. But it wasn’t until 2014 that Ron Stallworth published the book detailing how he, a black cop in Colorado Springs in 1979, infiltrated the KKK. You see how it all comes together? If you don’t, you really should. Lee balances unexpected shifts between humor and drama, camaraderie and horror, entertainment and history lesson, popcorn-muncher and experimental indie with a fluidity few other directors could muster. The story itself is beyond insane—a zany, hair-raising misadventure destined for the big screen. Stallworth (John David Washington), a rookie in Colorado Springs’s intelligence office, stumbles upon an ad in the newspaper, makes a call, and joins the Klan. Of course, he’ll need a second officer to actually show up. Enter Flip Zimmerman (Adam Driver—perfect), who sounds about as much like Stallworth as he looks, plus he’s Jewish, which could further complicate his face-to-face relationship with the hate group. Much sit-com-esque absurdity and dramatic police procedural thrills follow, but it’s the way Lee subverts these standard formats that hits home. The insidious nature of the racism depicted in 1979 echoes in both directions—in the history that brought our country to this moment in time, and in the future Ron Stallworth undoubtedly hoped he could prevent. Yes, there are laugh out loud moments in this film, but there are far more rallying cries. #SpikeLee #HopeMadden #movies #film #entertainment #BlacKkKlansman #JohnDavidWashington #AdamDriver #independentfilm #TopherGrace #moviereviews #filmreviews #FilmReviews #TheatricalReleases

★★★★ Directed by: Aidan Weaver Starring: Mary Katherine O’Donnell, Jennifer Trudrung, Reginald Heinish, Jenna Goforth Short Film Review by: Darren Tilby Unbearing is a film that sits – with no uncertainty – in the horror genre; something made clear within seconds as the opening credits begin: the music, setting the scene, exudes an atmosphere of apprehensive dread, one that refuses to relent throughout the film’s duration. Lindsay, played by Mary Katherine O’Donnell (hardly a stranger to the horror genre) is introduced as our central character; a young girl who has mothballed on plans to socialise with friends in favour of a short but well-paid babysitting job: “they’re paying me a small fortune for maybe two and a half hours work.”. The couple in question, Brian (Reginald Heinish) and Beth (Jennifer Trudrung, who also has sole writing credit) are, shall we say, highly strung. Lindsay puts this down to them both being first-time parents who have never used a babysitter before: however, we as the viewer know that darker things are at work here, with Beth, in particular, effusing a distinctly baleful aroma as she apprises Lindsay of the sine qua non of not entering the baby’s room; stating only that “Theo will sleep.”. Taking inspiration from films like The Boy, Unbearing is a horror film which relies on the steady build-up of tension and suspense to deliver its final and shocking twist: and while the excellent cinematography and eerie soundtrack do a lot to create the apprehensive atmosphere required, this is hampered by the film’s use of exposition; too much is revealed at too early a stage, leaving the “shock ending” feeling less shocking than it should. Director (Aidan Weaver) and writer (Jennifer Trudrung) clearly know and respect the genre, and it’s to their credit that the film is as successful as it is, but I do think the movie would have benefitted from being a little longer, maybe a mere five minutes more, just to help build that all-important tension, give the main character more motive for her actions and aid the narrative; which at times feels rushed. I don’t wish this to be seen as a damning criticism of the movie or anybody involved in making it; I’m well aware of the constraints of making a short, independent movie and it’s obvious that those constraints are to blame for the issues mentioned above; truly, the filmmakers have done an excellent job of making a type of film that benefits from a longer duration time work as a short film. O’Donnell gives a sterling performance in, what I think is, her first lead role: she comes across as instantly likeable and sympathetic, and during the final act, the sense of dread and uncertainty oozing out of her character is palpable. Both Trudrung and Heinish are excellent in their roles as the typical suburban family, but one harbouring a ghastly secret. What makes this pairing work so well, however, is the totally believable relationship displayed on-screen: Beth, the mother, is shown to be far more concerned about leaving her child alone with a sitter for the first time than Brian, the father; a dynamic most parents – particularly first-time parents – can relate to. Having a good script to work from is a godsend for actors and here is a script that flows fluently and feels natural, at least in the context of the film. Trudrung’s screenplay is one of the film’s greatest assets, and remains faithful to the genre’s cinematic tropes of taking everyday issues then assigning a monstrous quality to it: these can be things such as the fear of the consequences of sex (It Follows), the destructive nature of grief (The Babadook), or it can have religious invocations (The Witch and The Exorcist). In the Unbearing, Trudrung has deftly explored the fears of parenthood, and the lengths parents will go to to keep their children safe with terrifying finesse. The lingering camerawork and use of spine-tingling music more than make up for any shortcomings from the narrative issues discussed earlier; most of which really can’t be helped. And whilst there is overuse of exposition during the second act, this is still a very enjoyable edge-of-your-seat horror experience which has actually improved for me the more I’ve watched it. #ShortFilmReviews #ShortFilms #DarrenTilby #AidanWeaver #MaryKatherineO39Donnell #JenniferTrudrung #ReginaldHeinish #JennaGoforth

★★ Directed by: Bruno Dumont Starring: Lise Leplat Prudhomme, Elise Charles, Aline Charles Film Review by: Cat McAlpine I do not like the works of Picasso. I recognize that his paintings changed the course of art forever, and they are done with incredible skill and talent. I just don’t like them. They’re not my jam. I also did not like Jeannette: The Childhood of Joan of Arc. But art isn’t always about whether you like it or not. And, unfortunately, art is almost never about me. Jeannette is beautiful, absurd, and a true test of endurance. I’ve read that Bruno Dumont does not cast experienced actors. That much is painfully obvious from a litany of bizarre deliveries, missed high notes, and the ultimate theatre sin: I-don’t-know-what-to-do-with-my-hands thigh slaps. In harsh contrast to the period, pastoral landscape and costuming is the original soundtrack from avant-garde band Igorrr, full of electric guitar riffs that all sounded the same even twenty minutes in. The accompanying choreography, always including stomping and head banging, is as bizarre as it is uncomfortable. After the third pitchy prayer to god by doe-eyed Lise Leplat Prudhomme, I stopped asking Jeanette to be a musical. I waited for Jeanette to simply be… whatever it wanted to be. Hark! Deliverance! Director Dumont hits his bizarre and delightful stride when identical twins Elise and Aline Charles play Madame Gervaise simultaneously. They speak quickly and flatly, alternating between speaking in turn and in unison. “I” they chorus. They chastise Prudhomme's Jeannette for questioning God. They are the Tweedledee and Tweedledum of eternal suffering. Later, the Charles sisters appear as floating visions of saints. I realize that Jeanette is unfolding like a Medieval epic poem. Characters call to God, visions appear from nowhere, and the choreography mimics the exaggerated gestures of much older theatrical performances. The longer scenes drag on the more they make insane sense. Not much happens in Jeannette. A solid 80% of the film is shot from the same angle in the same field. The characters talk in circles about eternal suffering and God’s plan for France. It gets tedious. Boring. There’s a glimpse into the true absurdity of Dumont’s vision when we finally see into an older Jeanne’s home (played now by a righteous Jeanne Voisin, much better than her young counterpart). Jeanne’s brothers, with no lines, undulate as her father sings their work order for the day. Her uncle (a green but intriguing Nicolas Leclaire, who raps instead of singing) writhes in the corner, throwing in a few dabs for good measure. The height of lunacy is where Dumont is most brilliant. If anything, his greatest hindrance was not going big enough. Dream on, my dear Dumont. Surely you’re doing something important for the rest of the film world. It’s just not my jam. And that’s okay. #BrunoDumont #LiseLeplatPrudhomme #EliseCharles #AlineCharles #CatMcAlpine #movies #film #moviereviews #JeannetteTheChildhoodofJoanofArc #Frenchfilms #mjusicals #viopics #FilmReviews

★★★★ Directed by: Emrhys Cooper Starring: Emrhys Cooper, Anthony Johnson, Gerald Mcullough, Donal Brophy LGBT Film Review by: Jack Bottomley Social media and the modern cult of celebrity has become a two-headed beast in many ways. Once upon a time a celebrity was considered someone who had achieved fame through his or her work in the public eye – a film star/director for instance – or who had attained a fanbase for their contributions to their audiences and society as a whole. Now, a celebrity can be deemed as such by being known merely as “that guy who farted on Big Brother Series whatever” or “the woman who called somebody a ‘see you next Tuesday’ on Wife Swap”, indeed the introduction of social media has made even larger icons out of people who know how to self promote, even if what they are promoting is little more than white teeth, abs and butt cheek. In an era like this a short like Trophy Boy is very on the pulse. Opening with an overpowering array of snapshot Instagram, Twitter and Facebook pics and posts, Trophy Boy unravels the perceived glamour of this “fame” as it progresses before revealing the reality in a more gritty finale, backed by composer Aydin Ali and Cameron Edward Neilson’s strong song “Beautiful Boy”. The film tells the story of young man James (Emrhys Cooper) living a life of certified social notoriety until it all goes downhill when he is broken up with by his wealthy older boyfriend Mark (Gerald Mcullough). Taken aback by the prospect of having to pay his own way and get a job, James decides to seek out a new man and is confident that his status will ensure him a partner in an instant. Starring and directed by Cooper this short is truly of the hour in its topics of discussion and despite being a bit too short to fully delve into the darkness it hints at, Trophy Boy is an attention-grabbing piece of craft. Anthony Johnson’s (who also co-stars in the film) screenplay picks at ideas of trophy partner culture, as well as sexual identity and the vices that cling to living with wealth or supposed fame like remora to a shark. In one key sequence we see James and his pal Andy (Johnson) forced to confront their ultimately destructive way of life and while Andy reaches a point of realization, James still clings to the superficial pleasures he deems necessary to living. In moments like this the dark underbelly of social celebrity is well realized, even if – like I stated earlier – the film feels a tad short to fully delve into this harsh reality. That said Cooper’s film addresses a lot in the time it has and takes viewers on a journey through the highs of party life and some lows. While some effective cinematography by Benjamin J. Murry and editing by Christian Suau punctuates the film with a high energy one second and a quietly dramatic punch the next. Meanwhile the characters themselves are allowed to stand out due to some excellent direction and performances. Cooper excels in the lead as the vain “star”, and is remarkably believable and almost childlike in his unwavering pursuit of this life and its riches, in spite of the dangers and warnings from his fed up boyfriend Mark (played unflashily by Gerald Mcullough). While Anthony Johnson is most excellent as Andy who has some well timed comic moments, as well as emerging as the film’s most likeable character, who truly wins our affections more and more after he is first introduced. So, in an age where – and this is real – the winners of Love Island going to Greggs makes news headlines (yes, really), the time could not be any better for a film like Trophy Boy and all involved are up to the task of making this a very memorable watch. Watch the official movie trailer below... #LGBT #EmrhysCooper #AnthonyJohnson #ShortFilmReviews #ShortFilms #JackBottomley #LGBTFilmReviews #LGBTQ #MovieTrailers #GeraldMcullough #DonalBrophy

★★★★ Directed by: Ian Bonhôte, Peter Ettedgui Starring: Alexander McQueen Film Review by: Rachel Willis The life of iconic fashion designer Alexander McQueen is the subject of director Ian Bonhôte’s documentary, McQueen. With writer and co-director Peter Ettedgui, Bonhôte creates a richly artistic dive into the controversial designer's life and art. Dividing his portrait into sections, Bonhôte uses home videos, archival footage, interviews with family and friends, and scenes from the catwalk to highlight McQueen’s unique—and oftentimes controversial—work. As Bonhôte highlights with sensitivity and warmth throughout the film, fashion is an expression of McQueen's experiences. It’s clear McQueen puts his feelings into his designs, and his collections become deeply personal. “I would go to the far reaches of my dark side and pull these horrors out of my soul and put them on the catwalk,” he says of his art. The fondness with which people speak of McQueen in the documentary’s many interviews offers a picture of someone who made an impact beyond his creative output. His friends, many of whom were part of his design team, speak of the dedication and drive behind his designs. There is a love for McQueen that shines throughout the film. However, the darkness in McQueen, at first kept to the catwalk, begins to come through in his personal life. As his success grows, the energy behind his work grows darker. Some of his long-time collaborators end their working relationship with him, something he takes personally. For McQueen, there was no such thing as a work-life balance. It’s clear through the course of the film that the world of haute couture is a stressful one, and no one seemed to take on more than McQueen. In an interview, he mentions assembling 14 collections a year. It’s a staggering number given how much time, energy, and effort must go into each piece of clothing, not to mention the hair, makeup, and set design that made up McQueen’s unique and stunning exhibitions. What's unclear is if McQueen’s inner turmoil drove him to work nonstop or if it was the work that fueled his inner chaos. Bonhôte and Ettedgui produce a mesmerizing narrative. From McQueen’s early apprenticeships with tailors to his meteoric rise as one of the most sought-after designers, the filmmakers cultivate an interest in a subject that many may be unfamiliar with. They highlight the art in fashion design, utilizing footage from many of McQueen’s collections to show this artistry. Coupling the fashion world and McQueen’s creativity with a captivating score, the documentary pulls the viewer in from the first moment and never lets go. It’s a fascinating, compassionate portrait of an imaginative genius. #PeterEttedgui #IanBonhôte #RachelWillis #AlexanderMcQueen #documentary #movies #film #entertainment #moviereviews #filmreviews #fashiondocumentary

★★★★ Directed by: Sanket Durshettiwar Starring: Dipti Salunkhe Short Film Review by: Owen Herman With little dialogue and few characters Replica manages to tell a powerful and tragic story. Director Sanket Durshettiwar manages to build an atmosphere and use visual storytelling to convey a devastating message about the harsh lives that some live. Tejas Padave provides the music for this short film, an almost ever-present score that evokes the feeling of hardship. The atmosphere this score creates early on allows the viewer to get a sense of the world they are watching without the need for exposition. We are immediately introduced to a mother, played by Dipti Salunkhe, who wanders the street with her goods, trying to get enough money to pay for her son’s treatment. Replica sets up its story simply and effectively, something which can be difficult to achieve in such a short runtime. Replica’s devastating twist is set up as an act of kindness, leading to a much bigger impact. The message Durshettiwar is trying to convey is immediately clear with the blunt and sudden nature of the film’s biggest moment. Rather like the films early set up, its late shift is achieved mostly through visual storytelling. A simple cut away shot is all that is needed to portray the film’s dark and upsetting message. Some sharper editing is perhaps all that is needed to improve this well-crafted short. Durshettiwar understands the power of cinema, and uses it extremely well. #ShortFilmreviews #ShortFilms #OwenHerman #SanketDurshettiwar #DiptiSalunkhe

★★ Directed by: Jennifer Yuh Nelson Starring: Amandla Stenberg Film Review by: Hope Madden Let me not be misleading. I did not want to see this movie. Not just because The Darkest Minds is yet another cinematic adaptation of a dystopian young adult novel. No, wait. That is why. And if you think you already know every moment of this film, you are correct. The Darkest Minds = X-Men + Divergent + The Girl with All the Gifts. (Haven’t seen that last one? You should!) Ruby (Amandla Stenberg) is one of the very few children in America who have survived a virus, but survivors have been left with super powers. Deemed threats by the US government, they are rounded up, placed in internment camps and quarantined. That right. Within moments of “fade in,” the president of the United States is ordering that children be caged. I swear to God. The dystopian future is now. But the horrifying reality of our day-to-day world is not novelist Alexandra Bracken’s point, nor is it the point of screenwriter Chad Hodge or director Jennifer Yuh Nelson (Kung Fu Panda 2 & 3). No, their point, as is required by their genre, is that our protagonist is so very special. So very special. She just doesn’t know it. It’s also about evolution. It’s basically the youth of the world recognizing that they are the future and wondering why the hell they should wait to take over, seeing as how the adults are screwing things up to such a degree that we all may be dead before the youngsters can straighten things up. That checks out. To be perfectly honest, The Darkest Minds is nowhere near as awful as the trailer made it out to be. Yes, it is predictable to a fault, but the performances aren’t terrible. There are also shades of moral ambiguity here that are uncommon in this type of film. Stenberg is a veteran of YA cinema—she’s Katniss’s beloved Rue from the original The Hunger Games, for God’s sake. That’s like 'tween royalty. She’s exactly as awkward, angsty and unaware as she needs to be to become the vehicle for the “she’s so special” storyline. She’s surrounded by a capable cast of children and veterans that keep the story engaging and moving. The action is adequate at best, the villain obvious and bland, and the climax will leave most people a bit underwhelmed. And yet, I think these mutant kids may be right. They’ve convinced me. It’s time we just hand them the keys. They couldn’t do any worse, right? #AmandlaStenberg #JenniferYuhNelson #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #youngadultnovels #TheDarkestMinds #dystopianfantasy #FilmReviews

★★★ Directed by: Kyra E. Lukas and Patrick Marcel Benito Starring: Jonny Richard, Kyra E. Lukas, Patrick Marcel Benito, Marcel Zuber, Axel Schmidt-Basler and Xenia Celine Jones Short Film Review by: Niall Maggs Her Hunter's Tale is a 16-minute short film set in a fantastical medieval period directed by Kyra E. Lukas and Patrick Marcel Benito. It tells the ambiguous story of Kiaran (Jonny Richard) and Erikir (Marcel Zuber), two knights who engage in a bloody battle, while also having mysterious and unexplained flashbacks of their past journey. There is also the inclusion of a priestess - played solidly by Kyra E. Lukas - which adds a bit of emotion and romance into the whole situation. What we now have is a reasonably solid, but flawed, tale of violence, betrayal and religion. What impressed me most about Her Hunter's Tale is the effective cinematography conducted by a large list of people. The choice of camera movement is basic, but the grimy colour palette and choice of lighting really creates an immersive experience, and a dark, eerie tone. The use of shadow also builds quite an unsettling and uncomfortable mood, which really works with the genre. Plus, the decision to include fantasy elements makes the whole crimson-like tint work really well. The fight choreography by Benito is terrific, and the action scenes are directed reasonably well. The actors who are in these action scenes do a solid job, and make the sequences work greatly with style and talent. If more of the film was dedicated to action, then it would work much better - but unfortunately the weak and confusing plot just feels wasted and rushed. If the writers focused more on the quality of the story - rather than the unrealism - then the short film would have great action and an intriguing story to accompany it. The script has less than several lines, which means there's no support for the story... which also means I'm left puzzled and confused. The only reason I know the plot was because it was in the description box, so the writers should focus on trying to include more elements of the story into the visual and verbal aspects of the film. Because if not, then you will be dealing with many unhappy audience members. The short would also work better if the filmmakers included a medieval-themed score to emphasise the tone and mood. This would also add a subtle touch to the film. Overall, I was impressed with Her Hunter's Tale. The visual aspects of the film are terrific and the acting is quite decent - but unfortunately the film suffers greatly due to an unpolished script and a much-too-confusing story. #ShortFilmReviews #ShortFilms #NiallMaggs #KyraELukas #PatrickMarcelBenito #JonnyRichard #MarcelZuber #AxelSchmidtBasler #XeniaCelineJoes