★★★★ Directed by: Morgan Neville Starring: Fred Rogers, Joanne Rogers, Francois Clemmons, Film Review by: Hope Madden The world did not deserve Fred Rogers. A loving and tender soul if ever there was one, Fred Rogers saw children not as future consumers, but as vulnerable human beings who needed to know they had value. Directed by documentarian Morgan Neville (Oscar winner for his 2013 doc 20 Feet from Stardom), Won’t You Be My Neighbor? trollies into the life of the children’s TV host. What you’ll learn is that, yes, Mr. Rogers was really like that. What might surprise you, though, is how brave he was in representing the themes and conflicts of current events in the neighborhood. It seems everybody missed that—perhaps because of his gentle delivery, or maybe adults just couldn’t see past the puppets to notice. Rogers wasn’t out to be controversial. But when horrifying images from the Vietnam War, assassinations or terrorism splashed across TV screens, Rogers understood that this would frighten children, and they would need ways to cope that would not likely be there. So he did it himself. The parallels to today are hard to miss, as is the current need for Rogers’s sincerity and idealism. Neville mines ample archival reels from programs, interviews and home movies and offsets them nicely with talking head footage. The family exposes a man who struggled at times with exactly the kinds of insecurities and fears he addressed head-on for children on his show: fear of being a fraud, the need to be loved. Neville’s film does not canonize the man. We see how uncomfortable he was with his SNL-style imitators and how infuriating he found trashy children’s programming. Meanwhile, experts position him among the great child educators and colleagues see him as a fearless and savvy manipulator of the medium. An ordained pastor, Rogers also utilized his time with children to preach by example. In one episode, Rogers is cooling himself on a hot day by bathing his feet. A visit from Officer Clemons, an African American character played by Francois Clemmons, prompts Fred asks him to join. The two men sit blandly enough, side by side, their bare feet chilling in a plastic pool. At that same time - as Neville points out with news footage - children may also have witnessed a different image on their TV screens: one of a public pool manager tossing bleach into the water to bully a black family into leaving the grounds. Fred Rogers looked out for children, understanding what frightened us and making every attempt to help us through those “difficult modulations.” It’s tough to make it through the film’s 94 minutes without tearing up, and that’s not entirely from sentimentality. It’s from wondering whether today's world is simply too cruel and cynical for Mr. Rogers. #MorganNeville #JoanneRogers #FredRogers #HopeMadden #movies #film #moviereviews #filmreviews #documentary

★★★ Directed by: Rawson Marshall Thurber Starring: Dwayne Johnson, Neve Campbell, Roland Moller, Chin Han Film Review by: George Wolf My wife says if I can't get through this without mentioning Die Hard, I owe her ten bucks. So how much will The Towering Inferno cost me? Get over it, right? Those are decades old. Fair enough. Ideas are born to be borrowed, and the real question is how well Skyscraper assembles its inspirations. The answers come without apology, cranked up to full tilt boogie until the rubble-strewn, crowd pleasing finale. Of course Dwayne Johnson stars as Will Seymour, a former Marine and FBI hostage negotiator now working as a security expert. A tragedy on his former job cost Will his left lower leg, but it led him to a perfect new life with his surgeon wife Sarah (Neve Campbell) and their two cute kids. Will's hired to assess the security measures at The Pearl in Hong Kong, the world's new tallest building that is ready to open its luxurious residential upper half. Will's intimidated by such a large assignment for his small firm, but there's a specific reason he got the call. There's something in The Pearl's vault that is very valuable to international terrorist Kores Botha (Roland Moller), and Will is part of the plan to take it from the skyscraper's visionary designer (Chin Han). Who's the fly in that high rise ointment? The monkey in the wrench? It's The F. Rock Writer/director Rawson Marshall Thurber (Dodgeball, We're the Millers, Central Intelligence) trades comedy for disaster thrills with the tangible relish of a kid trading flashcards for the latest XNintendoBox 64 in 3D. The heroics are grand in scale, engulfed in flames and often unveiled with gasp-inducing effects that consistently poke at our fear of heights. The pace is quick, Johnson serves up his usual good guy charisma and Campbell gets to be more than just a loving bystander. And it all could only be more ridiculous if Will and Botha got in the Face/Off machine and switched identities. The film's plot turns and callbacks get so shameless it nearly pauses for applause, but the commitment is so unabashed and the spectacle so summer-ready, Skyscraper wins you over with pure "are you not entertained?" tenacity. Yippee Ki....psych! #RawsonMarshallThurber #DwayneJohnson #NeveCampbell #RolandMoller #ChinHan #GeorgeWolf #Skyscraper #actionmovies #movies #film #entertainment #filmreviews #moviereviews #summerblockbusters #FilmReviews #TheatricalReleases

★★★★ Directed by: Simon Baker Starring: Simon Baker, Samson Coulter, Ben Spence Film Review by: Hope Madden Quiet poetry is hardly what we’ve come to expect from a surf movie. But actor-turned-director Simon Baker offers exactly that in his elegantly familiar coming-of-age story, Breath. Based on Tim Winton’s novel, the film follows two mates in coastal Australia as their childhood friendship faces the snarls of the onset of adulthood. Pikelet (Samson Coulter) —a beautiful gangle of limbs and promise—is the only child of a humble but loving family. He and Loonie (Ben Spence) are inseparable, though their futures are destined to veer in wildly different directions. Before that happens, they will tumble toward adulthood on some dangerous waves. The lads find an unlikely mentor in the form of a bohemian surfer. Bodhi…no, I’m lying. His name is Sando (Baker), and for every one of Point Break’s Hollywood-slick moments of waves, wisdom and gleaming tan, Sando offers authentic surf-tossed ruggedness and reflection. This film is less about that one big one, the one that’ll make you famous. It’s entirely about the journey, the solitude and the fear—what an individual can make of those elements, what those elements make of an individual. It’s about life. The young actors’ performances are wonderfully true and fresh, each easily articulating those days immediately before adulthood claims a child, determining his inevitable direction. Breath is most at home as these two boys bristle and bond, but slightly less honest as they separate and explore the world’s dangerous secrets on their own. The lads are full of promise, though you can already see a darker path for one. The adults onscreen, including Sando and his wife Eva (played with appropriate chill by Elizabeth Debicki), represent the many possible ways that journey could go wrong. Though Baker directed a number of episodes of his TV show The Mentalist, Breath represents his first venture into feature filmmaking. He shows a knack for authenticity and understatement—two elements sorely lacking in coming-of-age dramas, not to mention surf films. Even the way he captures the water evokes the idea of imperfection and wonder, unlike those crystal blue, foaming tubes we’ve become used to. It works well with Winton’s words, adapted for the screen by Gerard Lee. Both he and Baker seem to have crafted the entire, lovely effort around one nearly perfect line: Never had I seen men do something so beautiful, so pointless and elegant, as if dancing on water was the best and brightest thing a man could do. #SimonBaker #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #SamsonCoulter #BenSpence #HopeMaddensurfing

★★★★ Directed by: Tom Harden Starring: Stefan Kabrowski Short Film Review by: Bruna Foletto Lucas As the name of the film suggests, Humdrum is about the lack of excitement about life and the ordeal of the daily routine. The short film is beautifully shot and told through the main character’s point of view. We follow him as he goes on with his day, but we also get a glimpse of his past and inside thoughts as he narrates them. In a poetic, yet very relatable narration, that follows Virgina Wools’s stream of consciousness, we understand that the character is not only fighting against the daily grind and the dullness of life – he has lost something he can never get it back. We don’t know whether the thing he has lost is his innocence, passion for life, but right from the beginning we get a hint that he has done something that has changed his life. He wakes up and never smiles; rather he never changes the dead expression on his face. Here, the character is relatable, especially with the millennials as they struggle to accept the 9-to-5 routine, the suits and the pointless jobs. However, his narration gives us an insight that maybe his situation is different. The water motif is present throughout the film – when he takes a shower, he looks peaceful and the voiceover makes us question why - “small droplets washing away my sin” – “sin”, singular, not sins, as we use normally, suggesting there is something specific the character regrets that causes such sadness. The water, as he says, brings him to a time of warmth and evanescence, to a time life had endless possibilities. The shots with the beach show us the immensity of the ocean and waves suggest the comings and goings of life, the surfers taking those waves and riding them mean the possibilities taken and not taken, and finally, when the waves break, they are the end, the opportunities are not coming back, and neither is the time. Time of evanescence. Moreover, when getting dressed to go to work, the character points out he looks like a Bond villain getting prepared to die, he calls himself “an office drone, far from the one my loved ones once known”. He has changed, life is not what it used to be. He goes to his job facing the day’s headaches – someone at the bus stop looking for trouble, co-workers who don’t respect boundaries and who bully him; it is easy to see why he is so miserable. The character works in customer support office, filled with “robots” unsatisfied with their own life, but helping others – yet, as he says “this is only thought, never said”. We all suffer together, but we learn to fake it. Part of life is to successfully fake it. Not only do we all suffer together, but everyone is the the same, we all have the same “bugs” in our system, we can all do the same things, but somehow, only a few of us can overcome things to show who’s boss. He isn’t one of them. He hasn’t overcome his problems. When mentioning his youth, he says that the boy has sadly grown – he is unable to accept life and the changes it brings about. He is not a boss. But, although the film shows such a dark picture of life, of our Humdrum, it ends on a happy note. One of the good thing that happens during his day is a look he got from a girl, enough to brighten his day, even for a few seconds (change we see on the colour of the film, as well). He is unable to do anything at the moment, but that small look, that small bright moment, was enough to plant a seed on his mind. In the closing, when he asks if life will be always this dull, he takes in the possibility of new beginnings. If he was happy once, why can’t he be again? After all, if life is like the ocean, the waves will come again and that seed that was planted grows to become a beautiful flower. #ShortFilmReviews #ShortFilms #Drama #BrunaFolettoLucas #TomHarden #StefanKabrowski

★★ Directed by: Charles Stone III Starring: Kyrie Irving, Lil Rel Howery, Tiffany Haddish, Chris Webber, Shaquille O'Neal, Lisa Leslie, Nate Robinson, Nate Robinson, Reggie Miller Film Review by: George Wolf So Kyrie Irving has parlayed his Pepsi commercial into a full-length Uncle Drew feature? As a Cleveland sports fan I'm conflicted, I ain't even gonna lie. A little history: when Irving first put on the old man makeup and schooled some unassuming playground ballers, he was a Cleveland Cavalier. Then he hit the shot that propelled the Cavs to The Land's first championship in 52 years. Mad love for you Kyrie! Then he demanded a trade out of Cleveland. (Al Pacino voice) Kyrie, you broke my heart. The point is, I need to get over it, I mean the point is, what made the original Uncle Drew work was the prank. Like the Jeff Gordon version when the NASCAR champion put on a disguise, took a test drive and nearly gave his car salesman a coronary, the fun was being in on the stunt. That jig is up, and expanding a marketing idea to feature length means filling the void with more basketball stars in disguise, a few reliable comedians, and some warmed-over attempts at fuzzy life lessons. Dax (Lil Rel Howery) has dreams of winning New York's legendary Rucker Park street ball tournament, taking the 100K prize money and vanquishing his longtime basketball nemesis, Mookie (Nick Kroll). But just before tourney time, Dax loses his team and his girl (Tiffany Haddish), leaving playground legend Drew as his only hope. In true Blues Brothers fashion, Drew reforms his (very) old band (Shaq, Chris Webber, Reggie Miller, Nate Robinson) to break some ankles and get some buckets. With a cast light on actors and a script light on substance, director Charles Stone III (Drumline) has his hands full. He tries to balance the athletes' often painful emoting with the solid timing of the actual comics, and a few good laughs come out in the process (mainly in the first act and the closing blooper reel). Basketball fans will appreciate a few self-aware inside gags (Chris Webber is a good sport), but with the novelty of the superstar-in-disguise long gone, Uncle Drew feels like little more than the corporate branding love child of Pepsi and Nike. Now if you'll excuse me, I've got some 2016 NBA Finals highlights to cue up.... #KyrieIrving #UncleDrew #GeorgeWolf #movies #film #entertainment #moviereviews #filmreviews #CharlesStoneIII #TiffanyHaddish #LilRelHowery #ChrisWebber

★★ Directed by: Luke Ostermiller Starring: Adrian Eledge, Alex Marin, Cali June, Luke Ostermiller, Tamika Caldwell Short Film Review by: Alexandra James This Scooby-Doo parody features the grooviest mystery solvers and their mission to capture and unveil a ghost. However, the desire to get high overpowers them and it is they who become the troublemakers! Produced and directed by Luke Ostermiller, a young filmmaker and founder of the production company Loste Films. Where Are We? can be considered a window into the groovy gang’s dark habits and reveals the truth as to what really occurs behind the closed doors of the Mystery Machine. Unfortunately, I felt that this short film suffered heavily from poor script writing. The dialogue often seemed predictable and rigid and left me with a bitter taste in which I was laughing at, rather than with, the characters themselves. However, I felt that actor Adrian Eledge playing Red pulled off the cool, suave persona of Fred and helped to lift the overall narrative. Moreover, Luke Ostermiller playing Stoney did in fact portray the character Shaggy successfully and the voices hit the nail on the head and captivated me. The editing was smooth and conveyed that 70’s vibe connected with the mystery gang, although, the non-diegetic sounds of laughter and audience applause was too much and seemed over played throughout Where Are We? which can sometimes remove comedic elements. Tamika Caldwell (Valerie) and Cali June (Daisy) were awkwardly placed in the background and their performances did not seem strong enough or perhaps match up to the other actors within the short film. I did, unfortunately, struggle to see the actresses as central characters within the storyline as they seemed unnoticeable in comparison. The narrative was quite limited and left no room for exploration, the plot, although simple, can be seen as empty and could have perhaps worked well if more action or events occurred for the characters to work through. To improve the narrative, a variety of locations and movement may have benefitted the storyline and allowed the audience to engage with the action on screen as well as connect with the characters easier. Although the storyline needed revamping and perhaps further development of characters needed to be worked on, it’s certainly interesting to view the Scooby-Doo gang in an entirely new and unique way. Characters Stoney and Red did make Where Are We? more enjoyable and really made the characters of Shaggy and Fred come alive. Therefore, I felt that if the narrative involved more action, the characters could have done a lot more with their performances. #ShortFilmReviews #ShortFilms #AlexandraJames #Spoof #Comedy #LukeOstermiller #AdrianEledge #AlexMarin #CaliJune #TamikaCaldwell

★★★ Written and Directed by: Maxime-Claude L’Écuyer Based on William Shakespeare’s Hamlet soliloquy Short Film Review by: Hannah Sayer “To be, or not to be, that is the question.” In Maxime-Claude L’ Écuyer’s short film Squad Leader TD-73028 Soliloquy, Shakespeare’s famous soliloquy from Hamlet is reimagined within the weird and wacky context of the intergalactic universe of Star Wars. To celebrate both the 40th anniversary of Star Wars original release and the recent 400th anniversary of Shakespeare’s death, the short film presents this soliloquy as the inner voice of a Stormtrooper. The short film opens with this aforementioned Stormtrooper TD-73028, played by David Blouin and voiced by Anton Golikov, alone in a desolate and vast landscape in space. This is a more contemplative piece which is driven forward by the soliloquy rather than plot-based, so not a lot of action takes place in the film’s short 8 minute running time. Certain moments later in the short film mirror the plot of Hamlet, but primarily the focus is on the Stormtrooper’s inner voice and the power of this famous soliloquy. This soliloquy is the most famous of Shakespeare’s works, and it is also one of the most famous pieces of writing ever created. It is familiar to most people and holds an iconic status. It has been revisited and performed countless times, yet Squad Leader TD-73028 Soliloquy distorts this familiarity by placing it within an unfamiliar context not associated with the Shakespearean language. There is something particularly uncanny about recognising these familiar words and language somewhere unexpected and without the wider context of the play. The sound design and music used in the short creates an eerie atmosphere which adds to the dramatic tension reinforced. The short film is beautifully shot and captures the contemplative mood of the piece perfectly. In the same way that the use of the soliloquy is unique, it is also limiting. The Hamlet soliloquy loses some of its original power through its position within this new context of Star Wars. It’s a soliloquy so familiar that it would be impossible to create an entirely unique or separate entity without drawing comparisons to what has come before it. The short film feels empty of a grand statement or of a significant plot, yet it is an interesting and unique exploration of Shakespeare within this Star Wars universe. Squad Leader TD-73028 Soliloquy demonstrates the way Shakespeare’s language is still relevant today, while also enforcing the power of language and how it can transport you, even sometimes to another galaxy entirely. #SquadLeaderTD73028Soliloquy #MaximeClaudeLÉcuyer #DavidBlouin #AntonGolikov #StarWars #Hamlet #Shakespeare #HannahSayer #ShortFilmReviews

★★★ Directed by: Niklas Berggren Starring: Clarissa Hoffman, Ellis Miller, Eve Coquillard, Cynthia Aileen Strahan Short Film Review by: Darren Tilby Below the surface of Niklas Berggren’s seemingly run-of-the-mill drama lies a movie which is as complex as it is beautiful. As the movie begins, the soundtrack, dimly lit environment, and long slow panning movements of the camera; scanning across the bathroom sink at seemingly mundane items – a bunch of flowers, a burning candle, his and her toothbrushes, and a pill pot – come together to conjure an atmosphere comparable, almost, to a horror film. The tone of the film reminded me of The Babadook; a visually and darkly characterful movie that used the horror genre as an avenue with which to explore the destructive nature of grief. This is the atmosphere short film Faithful maintains throughout much of its thirteen-minute duration, before slightly petering out during the third act. The difference being, where grief in The Babadook is outwardly destructive, violent, and very apparent, grief in Faithful is self-destructive and more subtle; the damage and consequences, however, are no less severe. The cast of Faithful is adequate and for the most part, deliver their lines in a believable and timely manner; although some of the dialogue does seem more forced than natural, I suspect this may be more down to what is a rather gauche script in places. Clarissa Hoffman is well cast in the lead role of Lauren – an emotionally introverted young woman – a role that requires a considerable range of emotions to be displayed, almost entirely through body language and facial expressions. And although Hoffman does slip up in places, this form of acting is one of the most difficult around and she deserves full credit for the performance she puts on screen. Brooke Schulte’s cinematography is perhaps the movie's most impressive aspect; the lighting and camera work is virtually perfect: coming together with the score – which is strong during much of the movie, but does trail off during the third act – to help create a truly gripping and intriguing film. Whilst this is assuredly to the movie's credit, it does give rise to problems: the main issue being the presence of some very clunky editing. At several points during Faithful – which I was thoroughly engrossed in – I found myself being ripped out of the experience by shots that ended far too suddenly; sometimes whilst actors were still reacting to something that had just happened or been said, or by shots that went from being extremely dark, to extremely bright; making for disorientating, sometimes confusing viewing. My other complaint I have is with the lack of time perception: I had to rewatch the short film several times to finally realise that certain scenes of the movie take place — well — I still don’t really know. Months? Years, later? I realise it’s a short movie, and due to time constraints it’s a hard thing to do without having a bold “12 months later” or such screen appear; something I’m not keen on and indeed wouldn’t have worked here. Nevertheless, something was needed, just to help the viewer along a little, and not having that knowledge merely serves to sow the confusion created by the editing. Faithful is an intelligent, psychological drama and has a lot to discover within its thirteen-minute running time. All things considered, I have really enjoyed watching this movie. I’ve seen it several times now, each time I’ve spotted more seemingly irrelevant but actually really important clues, pointing to the reveal at the end of the movie. In Faithful, the devil’s in the detail and not much appears on screen without reason. Whilst this movie certainly isn’t great, it does offer heaps of potential wrapped up within it; namely its director (Niklas Berggren), its lead star (Clarissa Hoffman), and its cinematographer (Brooke Schulte.) All names I will be eagerly looking out for in the future. #ShortFilmReviews #ShortFilms #DarrenTilby #NiklasBerggren #ClarissaHoffman #EllisMiller #EveCoquillard #CynthiaAileenStrahan

★★★ Directed by: Stefano Sollima Starring: Benicio del Toro, Josh Brolin, Catherine Keener, Isabela Moner Film Review by: Hope Madden How’s your summer going? It may be good, but I bet it’s not Josh Brolin good. He’s having a one-of-a-kind summer. The kind that follows blockbuster Avengers: Infinity War and Deadpool 2 with the sequel to the film that should have earned him his second Oscar nomination. (It also should have won Benicio Del Toro his second Oscar.) But can Sicario: Day of the Soldado accomplish as much insightful commentary, intimate drama and visceral action as Denis Villeneuve’s riveting 2015 peek behind the curtains of the drug war? The first piece of great news: writer Taylor Sheridan returns, scripting another border war with the cartels, this time focused less on drugs, more on smuggling terrorists across to the US. Now for the bad news. Visionary director Villeneuve does not return, nor does legendary cinematographer Roger Deakins. Or Emily Blunt. Dude, that hurts. But del Toro and Brolin are back, and they were so fun last time. Brolin’s brash, deceptively easygoing Matt Graver has another mission requiring that he get dirty, which means more work for his favorite operative, played with shadowy precision by del Toro. Cleveland’s own Isabela Moner joins the cast as a kingpin’s daughter, and for a moment you might think that the hole Blunt left has been filled. Defiant and solitary, Moner’s Isabella Reyes quickly becomes an enigmatic character you long to get to know better. Unfortunately, we don’t. Equally underused is the great Catherine Keener, playing the administrator who holds Graver’s leash. Dariusz Wolski is a gifted cinematographer, but he’s no Roger Deakins, whose brutal cinematic lyricism gave Sicario its arresting beauty. That fluidity is missing from the sequel, along with the fierce idealism that so perfectly balanced the cynical nature of the story. Gone, too, are Graver’s eccentricities. Though Brolin’s performance is strong, the character himself has become little more than the traditional conflicted mercenary. Likewise, del Toro is given a more ordinary man’s role. Not entirely ordinary, but that enigma that haunted Sicario serves more to keep the story moving forward, his time on screen rarely allowing a glimpse at who he is or, more frustratingly, how he and Moner’s Isabella respond to each other. It sounds like it’s all bad news, and it’s not. Director Stefano Sollima serves up a fine, edgy piece of action for the summer. It’s just that I’d hoped for more. #StefanoSollima #BeniciodelToro #JoshBrolin #CatherineKeener #IsabelaMoner #HopeMadden #SicarioDayofatheSoldado #HopeMdden #movies #film #entertainment #mvoiereviews #filmreviews

★★★ Directed by: Gerard McMurray Starring: Lex Scott Davis, Y’lan Noel, Marisa Tomei, Rotimi Paul Film Review by: Hope Madden Is it me, or does Independence Day feel a little tough to celebrate this year? Is there a downward spiral going on that seems like the backstory of a dystopian SciFi novel? One where the Supreme Court finally crumbles to an administration that embraces white supremacy, gun violence and toxic masculinity? Oh, it’s not just me, then? You want to see a movie? Five years ago, writer/director James DeMonaco spun a tale of a government-sanctioned, pseudo-religious night of violence meant to purge us of our evil. The Purge turned out to be a cautionary tale: if we’re not careful, this could happen. Three films later, allegories are cast aside. From tiki torches to pussy grabbers, this is Trump’s America. The First Purge takes us back to the experiment that set off the once-annual night of mayhem. A test, funded by the NRA and backed by the far-right government, is carried out on Staten Island. DeMonaco returns to write the latest installment, but for the first time he hands off directing duties. Gerard McMurray makes his feature directing debut with a film that does not mix messages. The African American director and his primarily African American cast take us inside a film that, if it’s not America today, it’s America of like three weeks from now. DeMonaco didn’t have to work too hard for his script. From robed Klansmen to unrepentant, officially-sanctioned police officers with badges and billy clubs, to doughy white political mouthpieces altering facts to further their agenda, DeMonaco pulls nightmares from reality and pastes them together in a world that’s almost more comforting in that it’s supposed to be fantasy. McMurray struggles a bit with action sequences, although, as he follows one misguided young man, he does manage a funhouse atmosphere that creates a giddy tension. His cast, including Lex Scott Davis, Y’lan Noel and Marisa Tomei, offer entirely solid performances in fairly underwritten roles. Meanwhile, Rotimi Paul cuts an impressive figure as Skeletor, one of the few citizens of Staten Island genuinely interested in participating in the experiment. McMurray and DeMonaco are not all gloom and doom. Mercifully, they root their story in a realistic optimism that we, the citizens of the United States—potential voters, all—are not as easily manipulated as the powerful may think. We are not sheep. Not one of us is expendable and we outnumber them. God bless America. #HopeMadden #movies #film #entertainment #moviereviews #moviereviewsTheFirstPurge #horror #sequels #summermovies #JamesDeMonaco #GerardMcMurray #LexScottDavis #YlanNoel #MarisaTomei #RotimiPaul #FilmReviews #TheatricalReleases

★★★ Directed by: James Webber Starring: Mhairi Calvey, Will Rastall and Max Mallaby Short Film Review by: Rachel Pullen Don’t you hate it when you’re trying to be a good parent and raise your child in a healthy positive environment but then your partner gets all possessed and jacks up the electricity bill by staying up all night watching static on the T.V? What a drain. Not only is it selfish to burden you with all the parenting responsibilities, but you know it’s a real inconvenience, what with all the cadavers laying around and TV’s you have to turn off all the time, some people should just not have kids. Well this nightmare is no longer just that, but it’s the story behind James Webber’s short horror called Hushy Bye, well maybe not the whole “burden of parenting” part and fears of electrical consumption, but you know the possession part for sure. We welcome the story onto our screens as a tired man [played by Will Rastall] is awoken in the night, probably not the first time because babies are self involved like that, by his screaming child and so he goes to do that thing where he looks after it. Once he has regained his senses he notices that his wife, lady friend, casual lover, whoever I’m not judging, is nowhere to be seen, so he ventures downstairs to see if she is busy cooking a pot roast for him, dudes love pot roasts at 3 am, but alas this is not the case. We stumble upon his lady [played by Mhairi Calvey] staring aimlessly into the television, which as I mentioned earlier has nothing on it but static, think of The Ring but without small Asian ladies coming from the screen. It does not take long for our poor father figure to clock on to the fact that this woman is no longer the mother of his child, ensuring a world of evil awakens in his front room. For a short that is only 3 minutes long Webber does an excellent job in creating tension and suspense, the angle choices and lighting play pivotal roles in making an unsettling environment on screen, building us up for the unnerving scene where we are presented with the female character. Although there is little to the storyline in terms of dialogue we are very aware of what is going on, this short confidently keeps a good pace and allows for easy access to the characters and their needs. Hushy Bye is professional, stylish and well presented, and although you won’t lose any sleep on this horror it certainly provides open doors for a more developed storyline that could become a feature length film. It has the feel of a trailer, making the audience want more and more, and I certainly want to see how this one plays out… Did he ever get that pot roast? Maybe I will never know. #ShortFilmReviews #ShortFilms #RachelPullen #Horror #Thriller #JamesWebber #MhairiCalvey #WillRastall #MaxMallaby

★★★ Directed by: Jason Attar and Danny Wimborne Written by: Jason Attar, Danny Wimborne and Simon Fairhead Starring: Jason Attar, Steve Townsend, Tony Townsend, Lollypop, Emilyjane Vernau, Dom Geraghty, Martin Gooch, Lola-Rose Maxwell Indie Film Review by: Hannah Sayer KevCoin: The Movie is described by the filmmakers as being “The World’s First Crypto Feature Film”. Shot as a mockumentary, the film parodies the cryptocurrency phenomenon and follows the character Kevin Powder, played by Jason Attar, as he reveals at the opening of the film that he is creating his own version of this currency: KevCoin. Based on an original short film by Jason Attar and Phil Jones, the film introduces Kevin Powder who is described as having been a music promoter, PR guru as well as an agent. The viewer is given a quick introduction to the eccentric and former rock and roll lifestyle of Kevin Powder and how his life led to him to create the KevCoin as he wanted to make a trillion dollar currency. While watching a Sci-Fi classic from the 50s drunk, Kevin Powder then has his second epiphany. He will make a film within a film, as a camera crew is currently already filming his journey to create the KevCoin. He will then use his cryptocurrency to make his own Sci-Fi film which will be titled “The Day Peckham Stood Still”. The film makes effective use of styles of direction often found in mockumentary style projects. Kevin Powder often speaks directly to camera and Attar’s performance captures the eccentricities of the character and the situations he often causes while on this eventful and weird creative journey. With a cast predominantly made up of passersby in South London who were approached this provides some interesting interactions between these people who often don’t seem to realise what they have let themselves in for when they are confronted by the character of Kevin Powder. These interactions between the cast and crew members, some who are extremely passionate about being involved within the filmmaking process, are some of the more interesting aspects of the film, which at times may seem so niche and strange to be off-putting to the average viewer. KevCoin: The Movie both promotes and parodies at the same time, as the filmmakers have used this cryptocurrency to fund the project. The end of KevCoin: The Movie shows Kevin Powder even selling his cryptocurrency KevCoin to cinemagoers after the screening of “The Day Peckham Stood Still”. For those fairly unfamiliar to the world of cryptocurrency, KevCoin: The Movie may be difficult to fully grasp. It is a bizarre film and one which will surely delight fans in the cryptocurrency community. However, the very concept the film is parodying may mean that some viewers are left feeling slightly lost. Watch the official movie trailer for KevCoin: The Movie below. #KevCoinTheMovie #JasonAttar #DannyWimborne #SimonFairhead #SteveTownsend #TonyTownsend #Lollypop #EmilyjaneVernau #DomGeraghty #MartinGooch #LolaRoseMaxwell #HannahSayer #IndieFilmReviews #Cryptocurrency #Mockumentary