★★ Directed by: Mark Young Starring: Scout Taylor-Compton, Olivia Luccardi, Lew Temple, Renee Olstead, Landry Allbright Film Review by: Hope Madden Here’s the thing about Feral. It’s a decent movie: well-paced, competently directed, solidly performed. And there is not a single interesting, novel, surprising or inspired moment in it. Maybe one, but it’s not reason enough to make this movie. Three handsome couples head into the woods. They get a little lost, decide to pitch tents and find the lake in the morning. They hear a noise. One of them goes out to pee. There’s something dangerous in the woods. Duh. Co-writer/director Mark Young follows up half a dozen low budget, middling-to-poor horror and action films with this adequate take on a monster-in-the-woods tale. The sole reason the film stands out in any way is that Young’s hero, Alice (Scout Taylor-Compton) is a lesbian. Equally refreshing, males are as likely as females to fall prey to the hungry forest beast. Bravo the nonchalance with which this is depicted, as the film does not strain to call attention to the novelty of this final girl and hero twist. Yes, it’s about time. And yet, maybe Feral needed at least one other thing to set it apart? Because as it is, it’s simply a checklist of cabin-in-the-woods horror tropes, faithfully rendered, right up to the waning moments of its running time. Taylor-Compton offers a perfectly serviceable performance, as do most of the actors around her. Olivia Luccardi, Renee Olstead and Landry Allbright all work to provide something close to a second dimension to underwritten, throwaway characters. Lew Temple is an always welcome sight as the—wait for it—hermit whose assistance in this situation is suspect. Together, cast and director generate scares by relying less on imagination and more on your familiarity with the genre itself. Therefore, assuming you have ever seen a horror movie in your life, you will not be scared. You’ll just be reminded for the thousandth time that camping is an undeniably stupid thing to do. That’s what I got out of it, anyway. #MarkYoung #ScoutTaylorCompton #OliviaLuccardi #LewTemple #LandryAllbright #HopeMdden #movies #film #entertainment #moviereviews #filmreviews #horrormovies #horror #zombies #LGBTQ #independentfilms

★★ Directed by: Michael Mayer Starring: Saoirse Ronan, Annette Bening, Elisabeth Moss, Corey Stoll, Mare Winningham, Billy Howle Film Review by: George Wolf You love her, but she loves him, and he loves somebody else... J. Geils may have rocked it up, but Russian playwright Anton Chekov was singing that tune in 1895 with The Seagull. Darker shades pepper the comedic take on unrequited love, and director Michael Mayer is the latest to bring that balancing act to the big screen. He's blessed with a wonderful cast. Saoirse Ronan shines again as Nina, a starry-eyed young woman who longs for a life on the stage. Nina's boyfriend Konstantin (Billy Howle) dreams of writing plays for her, but things get complicated when the couple meets up with family, friends and servants at a country estate in the early 20th century. Annette Bening, Elisabeth Moss, Corey Stoll, Brain Dennehy and Mare Winngham are customarily wonderful. There's no denying everyone here is committed, but Mayer and writer Stephen Karam (adapting Chekov) can't find the balance between comedy and drama, or stage and screen. The setting is perfectly lush, and the material has certainly lost little of its relevance over the many years, but all the worthy parts are never assembled into anything more than serviceable. The comedic barbs early on seem too restrained, and the later tragedies too melodramatic. Some staging seems lifted straight from a stage production, while other set pieces breath with more freedom. Give the relatively inexperienced writer/director team credit for taking on The Seagull. Getting the competing themes to work in unison is no easy feat, and this latest film version is a well-intentioned testament to that very challenge. #MichaelMayer #SaoirseRonan #AnnetteBening #ElisabethMoss #CoreyStoll #MareWinningham #BillyHowle #GeorgeWolf #film #movies #moviereviews #filmreviews #AntonChekov #TheSeagull #FilmReviews #TheatricalReleases

★★★ Directed by: Silas Howard Starring: Leo James Davis, Claire Danes, Jim Parsons, Octavia Spencer, Ann Dowd, Priyanka Chopra Film Review by: Rachel Willis What happens to parents when they’re confronted with the truth about their child? In A Kid Like Jake, the titular Jake is not the kind of five-year-old boy who likes trucks and cars, but rather princesses and fairy tales. His parents, Alex and Greg (Claire Danes and Jim Parsons), see it as a harmless phase. But when it seems possible it’s more than a phase, they’re forced to confront their own fears and prejudices. Writer Daniel Pearle (adapting from from his play) and director Silas Howard address a topic that deserves attention. With a sensitive touch, they’ve crafted a film that is heartfelt and earnest. The film’s main shortcomings occur during the first act. It takes the film a while to get to the meat of the issue, spending too much time on inconsequential details, including a montage of private school tours that has no real bearing on the story. Rather than focusing on this minutia, the film would have been better served if some of the ancillary characters were given more to do. Friends and family members are introduced (and played well by the likes of Octavia Spencer, Ann Dowd and Priyanka Chopra), but never satisfactorily weaved into the main drama. As Jake’s parents, Danes and Parsons work best together when they’re at odds. The dialog during Alex and Greg’s most charged moments is impeccable. Their idyllic scenes, on the other hand, are shallow. The attempt at showing us a loving family is superficial, and it’s hard to root for people we never get a chance to know. However, there are interesting dilemmas explored in the film. When Jake wants to dress as Rapunzel for Halloween, Alex instead brings home a pirate costume for him. Her rationale is that she wants to avoid weird looks or negative comments. She wants to “protect” her son. But as Jake acts out, it’s clear that her protection is misguided. Rather than defending her son, she’s part of the problem. Greg comes to this realization more quickly, recognizing his son’s change in demeanor as a sign he’s unhappy. It leads to confrontations that are uncomfortable, yet recognizable. As for Jake, most of what we learn about him comes from exposition. This is likely a result of the transition from stage play to film. In some ways, it works, as Jake knows who he is. But in a world that needs greater representation for gender nonconformity and transgender men and women, it would have been nice to spend time with Jake instead of only seeing him through other people’s eyes. #movies #film #entertainment #moviereviews #filmreviews #RachelWillis #SilasHoward #LeoJamesDavis #ClaireDanes #JimParsons #OctaviaSpencer #AnnDowd #PriyankaChopra #AKidLikeJake #LGBTQmovies #FilmReviews #TheatricalReleases

★★ Directed by: J.A. Bayona Starring: Bryce Dallas Howard, Chris Pratt, James Cromwell, Rafe Spall, Ted Levine Film Review by: Hope Madden If you don’t know director J.A. Bayona, that’s unfortunate. His first three feature films—The Orphanage, The Impossible and A Monster Calls—emphasized storytelling skills that were equal parts visceral and poetic. He picks up the Jurassic mantle with the latest in the franchise, Jurassic World: Fallen Kingdom. The visceral part seems likely, but dinosaur poetry? Sadly, no. It’s been a few years since toothy, carnivorous hell broke loose on the island theme park Jurassic World. Though the un-Jurassic world has left those dinosaurs alone on their island—mostly—the island itself seems to be self-selecting extinction for the beasts, its now-active volcano an immediate threat to their very survival. Claire Dearing (Bryce Dallas Howard) wants to save them. But how? I mean, dinosaurs are really big. Many of them bite. Interacting with them has proven dangerous and silly four different times. What’s a girl to do? Well, put on some sensible shoes, for once, and take a deal from a dying old billionaire with a Hogwarts-style estate and a guilt complex. Benjamin Lockwood (James Cromwell), one-time partner of John Hammond (Richard Attenborough from the original film), wants to bring as many beasties as possible to a secluded island he owns where they’ll be safe. Or is this just another example of idealistic lefties falling prey to greedy capitalists and scientists with their cadre of guns-for-hire? It’s basically Jurassic World: The Lost World with more volcano and less Vince Vaughn. Howard’s Dearing—point of such contention in the previous installment with her severe hair, white pumps and icy demeanor just waiting to be melted by a real man—is simultaneously softer and stronger this time around. Howard, though, is mainly just dewy-skinned and earnest. Chris Pratt returns as the real man in question, and he is as charmingly Chris Pratt as ever. The real problem, besides the hackneyed and derivative story penned by Derek Connolly and Colin Trevorrow (who both penned Jurassic World, which Trevorrow directed), is Bayona’s tired direction. Though he does not shy away from showing human carnage, there is not a fresh or compelling set piece in the film. What doesn’t feel directly lifted from earlier works plods along blandly, the only tension coming from the real curiosity about why the character hasn’t yet a) closed the door, b) climbed the ladder, c) run. Yes, the sight of a volcano exploding on Hawaii (location for the filming) does generate some anxiety, and the sound of a child crying out near images of anything being caged against its will is even more horrific. It’s hard to credit Bayona for having his finger on the pulse of current events, though, given that he’d have completed shooting at least a year before our latest American shame. Hell, dinosaurs would be a welcome change of pace at this point. Watch the official Jurassic World: Fallen Kingdom movie trailer below... #JamesCromwell #ChrisPratt #BryceDallasHoward #HopeMadden #JABayona #RafeSpall #TedLevine #movies #film #entertainment #moviereviews #filmreviews #blockbusters #sequels #dinosaures

★★ Directed by: Justine Genevieve Starring: Bob Albrecht and Justine Genevieve Short Film Review by: Annie Vincent Lowbrows: an arthouse film about a tiny bar in a tiny town in Texas. Outsider Justine has inherited half of the Lowbrows bar and moves into it with Bob, the other owner. As she settles into her new home, she explores the local community and uncovers a hive of humanity in all its madness and diversity. Charming, if experimental? Yes, just as we might hope an art house film would be. Utterly peculiar, egotistical and protracted? Also yes! By the time you reach the end of this movie, you will have found a nugget of charm. It is difficult not to (eventually) take a liking to the man who coaches his ducks in aerodynamism, or the French woman who tends her dying vines each day. The difficulty is in actually reaching the end of the movie, which at an hour and a half with limited plot progression feels very long. Perhaps this is a reflection of the slow-moving South, but perhaps it is also egotism, as this piece of meta-cinema screams loud and clear that it is the pride and joy of its writer, Genevieve. Whatever the reason, there’s limited material to keep the film interesting for a run time of ninety minutes. Sadly, the quality of production in this film doesn’t go over well. ‘But its an art house film: it’s meant to be rough around the edges’, I hear the art house fans cry. Not every film needs to be made in Hollywood: polished until it shines and then covered in lip-gloss. But it does need to be audible and the sound quality here is often very poor, with some lines completely silenced by a piece of background music or a passing train and it doesn’t ‘all add to the humour’ at all. It detracts from it completely. The camerawork is also amateur with the tops of heads regularly cut off and tracking wobbly, though the fast-motion sequences, reminiscent of the old black and white comedies are endearing. Some of the gags are also amusing. Bob Albrecht is a complete natural on screen and a breath of fresh air against the conceit of the script, especially when he stuffs his lines occasionally, and the soundtrack is pleasing. There may be many an arthouse comedy fan lining up to see this one, and there’s no doubt they’ll derive some charm from it, but it’s unlikely to draw a wider audience that will see it through to its end. #Arthouse #comedy #justinegenevieve #houseofjustine #AnnieVincent #JustineGenevieve #BobAlbrecht #IndieFilmReviews #IndieFilms

★★★★ Directed by: Louie Denniston Starring: Michael Burhan Scott, Danny Stewart, Danielle Howard, Aneta Pioprowska and Louie Denniston Short Film Review by: Rachel Pullen Don’t you hate it when you’re out of the loop, people are off bowling or going to tanning beds and you’re not? You remain pale, unable to score a strike and impress hot chicks, it sucks, well I can imagine that’s what it must be like to be in prison. This is where our leading man Jason [played by Michael Burhan Scott] is in life, fresh from the cast iron gates of her majesty’s judicial system, he begins to visit his old haunts, desperately trying to put his life back together after a three year absence. But things are not all he hoped for, he has lost all he once cared for, his lady love, his friends and quite quickly his sanity. What a drain that must be. The audience watch helplessly on the side as he falls in and out of memories of the night he got arrested, of what was and what could of been, all along as he struggles to keep a grip on his reality, his surroundings. A Long Time Gone as a short film brings a powerful sense of reality to Jason’s nervous breakdown, and this is due to the use of excellent camera work from director Louie Denniston, where the up close and personal shots are claustrophobic and intense, you’re right there face to face with his demise, and secondly to the performance of Burhan Scott, who plays the role in a way that is transfixing, compelling and bang on the money. His paranoia spirals out of control as he is plagued by visions of committing violent acts, and who here has not been guiltily of that, maybe not giving a good stabbing to everyone we know but when outside of the group we all become victim to our own sense of self doubt, imagining what is going on without us, how they are having more fun while we are alone. This is captured beautifully in this short film, for the main narrative is his paranoia of what has happened while he served time, his mental anguish is a bi product of these thoughts and the flashback and flashforward sequences that drive this piece also drive the ever-present sense of feeling incomplete, which is crushing the central character’s mental health. This film lived up to its reputation [people seem to dig it on the short film circuit] and I agree, with a complimentary soundtrack, powerful performances from all involved and slick directing style I give A Long Time Gone two thumbs way up. #ShortFilmReviews #ShortFilms #RachelPullen #Crime #LouieDenniston #MichaelBurhanScott #MichaelBurhan #DannyStewart #DanielleHoward #AnetaPioprowska

★★★★ Directed by: Paul Schrader Starring: Ethan Hawke, Amanda Seyfried, Cedric the Entertainer Film Review by: Rachel Willis Reminiscent of both Andrei Tarkovsky and Robert Bresson, writer/director Paul Schrader delivers a nearly flawless meditation on faith and despair with First Reformed. Schrader's film centers around Reverend Toller (Ethan Hawke), overseer of the small church, First Reformed. Reverend Toller lives a simple life. He delivers a Sunday sermon to a very small congregation, gives tours of the 250-year-old church, and occasionally ministers to a youth group. It's a simple, but seemingly pleasant existence. His life changes drastically when he's approached by a young, pregnant woman named Mary (Amanda Seyfried). Mary seeks counsel for her despondent husband, Michael, and Toller agrees to meet with him. It's a decision that will open the door to the question: Will God forgive us? Much of the film's success rests on Hawke. In what is possibly his best performance, he perfectly portrays the inner turmoil and anguish that seizes Reverend Toller. It's a slow slide from a pleasant façade to destructive rage, and Hawke perfectly captures every emotion, every nuance of Toller's internal crisis and its external manifestations. The majority of the supporting cast is able to meet Hawke's intensity with equal verve. Seyfried's Mary is the dynamic foil to Toller, and she mostly manages to stay on Hawke's level. At times, however, she seems out of place, unable to convey the depths of Mary's feelings. Schrader's commentary on the state of the world is bleak, and there's not much hope to be found in First Reformed. However, it can be seen in simple moments Toller spends with Mary. It provides a few moments of balance, and light, as Toller questions the right way forward. As the tension builds, the understated score plays a phenomenal role in pulling the audience into Toller's world. As he contemplates his future, there is a sense of dread that stays just beneath the surface, waiting to be released. There are many moments in which the stress is palpable. Schrader's film is a masterful character study that asks thoughtful questions about how our choices will be viewed in the eyes of God. #RachelWillis #film #movies #entertainment #moviereviews #filmreviews #FirstReformed #PaulSchrader #EthanHawke #AmandaSeyfried #CedrictheEntertainer #independentfilm #FilmReviews #TheatricalReleases

★★★ Directed by Carlton Sugarman Written by Carlton Sugarman Starring: Joey Baldwin, Carlotta Elektra Bosch, Jere Burns, Jeannetta Arnette, Marci Miller Indie Film Review by: Hannah Sayer The pursuit of artistic expression, and the struggles that come with it, is something often explored in film. The Amateur: or (Revenge of the Quadricorn) follows an artist named Joey, played by Joey Baldwin, trying to succeed in making music for a living in contemporary Los Angeles. Written and directed by Carlton Sugarman, The Amateur: or (Revenge of the Quadricorn) is a refreshingly naturalistic character study. A phone call from Joey’s sister, played by Marci Miller, leads Joey to return back to his family home in Florida. His father, played by Jere Burns, has unexpected news which puts things into perspective for Joey. He is met with interrogations from his family who do not understand his artistic endeavours or why he wants to make a living as a musician. Later in the film Joey explains how he felt that he had to leave home to escape the traditional path of having things set up early on, like having a family and a normal job. Joey just wants to make a living performing yet his family do not understand this way of life. The main focus of the film is Joey’s journey to try to achieve his dream, while along the way he meets Fiamma, played by Carlotta Elektra Bosch, who he falls in love with. The film also follows how he begins selling drugs to make money and how different relationships and chance encounters impact his journey both positively and negatively as he discovers his place in the music scene. The music in the film is by the star Joey Baldwin and the songs are significant in reflecting Joey’s turbulent state of living and what he’s going through. The music is catchy and fits well with the tone of the film. There is a real authenticity to the performances and it feels as if the film is following real artists. This is in part due to the film’s focus on character over plot. Ultimately this is a story about Joey and his life. The film lays bare both positive and negative experiences to fully explore this layered and often challenging lifestyle. By focusing more on his experiences and relationships within the LA music scene, the result is a more naturalistic exploration. The scene where Joey and Fiamma are strolling through the streets together is a perfect example of this. The dialogue feels natural and real and the camera follows the couple as they share intimate secrets with one another, as if the viewer is being given privileged access to witness this interaction. The scene between Joey and his father near the beginning of the film is one of the best. His father admitting that he once gave up his dream of being a dancer shapes how Joey sees his future and that perseverance is key. The Amateur: or (Revenge of the Quadricorn) is a unique and unexpectedly thoughtful film which contains a strong message about following your dreams and never giving up, even when it gets tough. Watch the official movie trailer for The Amateur: or (Revenge of the Quadricorn) below. #TheAmateur #RevengeoftheQuadricorn #CarltonSugarman #JoeyBaldwin #CarlottaElektraBosch #JereBurns #JeannettaArnette #MarciMiller #HannahSayer #IndieFilmReviews #IndieFilms #MovieTrailers

★★★ Directed by: Drew Pearce Starring: Jodie Foster, Sterling K. Brown, Sofia Boutella, Jeff Goldblum, Charlie Day, Jenny Slate, Zachary Quinto, Brian Tyree Henry Film Review by: Hope Madden In a world where the U.S. government stops supplying bottled water to Flint, Michigan residents while international asshats Nestle are allowed to increase their pumping of clean water from just 100 miles away… Well, that may not have been the inspiration for Hotel Artemis—the inspiration was probably that cool hotel in John Wick—but it is the kind of social disaster that will lead to the Mad-Max-like rebellion that backdrops writer/director Drew Pearce’s crime thriller. Los Angeles, 2028, and the bloodiest riots the city has ever known have broken out over the privatization of water. With the police very, very busy, it’s a perfect time for a bank heist. But timing isn’t everything—skill helps—and soon a trio of wounded nogoodnicks are headed to the one place they can safely receive emergency care: the exclusive, subscription-based, criminal-only hospital, Hotel Artemis. It may have a staff of only two—the nurse (Jodie Foster) and the orderly (Dave Bautista)—but it is chock full of high tech medical equipment, old-school security and strict rules. It may also be the best place to ride out these riots. Unless the tensions inside the hotel reach the same height as those outside. It’s an intriguing premise, one rife with tense and bloody opportunity. A collection of bad people is trapped in an enclosed, retro-seedy space hoping to survive the storm. If the story intrigues, the cast convinces. Jodie Foster nails the wearied, accepting, down-to-business Nurse. Though the dialog throughout is not as savvy as Pearce thinks it is, Foster delivers it beautifully and her physical mannerisms are even more convincing. Bautista charms as her tender strongarm. Sterling K. Brown does no wrong ever, here again radiating an intensity that mingles sadness, obligation and moral authority. Luckily for the entire ensemble, Pearce is more invested in character development than action. He creates a moody tension inside the walls, exacerbated by the explosion of rage and violence outside. All of which hits fever pitch when LA crime boss the Wolf King (Jeff Goldblum as Jeff Goldblum) shows up wanting to break the rules. Pearce and his top-to-bottom impressive cast deserve credit for sidestepping expectations and instead crafting a contained, absurd-yet-believable drama. Things get away from the filmmaker when he tries to complicate the plot with backstory, and there are two minor side plots that serve as little more than a distraction. It’s also an awful lot of tension-building with little in the way of a final release. But Pearce and team have done something remarkable in the summer months: delivered a fresh, imaginative, original film. #HopeMadden #film #movies #moviereviews #filmreviews #HotelArtemis #JodieFoster #SterlingKBrown #JeffGoldblum #SofiaBoutella #CharlieDay #JennySlate #ZacharyQuinto #BrianTyreeHenry #FilmReviews #TheatricalReleases

★★★ Directed by: Andrew Walsh Written by: Andrew Walsh Starring: Hannah Gott, Sarah Golding, Laura Vine, James Barr, Kyle Webb, Short Film Review by: Chris Olson Immersing the viewer into the depths of familial angst, short film I Miss The War is an uneven yet moving piece of filmmaking, written and directed by Andrew Walsh. Coming together on a particularly poignant anniversary, three sisters and two of their partners share more than just a meal. As they sit with an urn in front of them, they each bring to the table all manner of psychological trauma and emotional turmoil. Everyone except Adrian (a comedic turn from a very watchable James Barr), whose trust fund shedding tranquility makes him a super annoyance to the others, who are dealing with some pretty serious issues. The performances are great, in particular Hannah Gott as the anxiety-riddled actress who is determined to make something of herself. As well as Sarah Golding, whose heartbreaking soliloquy in the bathroom was the most compelling scene in the entire movie. Kyle Webb is a strong stranger in a foreign place with plenty of hangups, and Laura Vine brings a bubbly energy to the proceedings that is much needed given the tragic event which has brought them back together. Overall, an efficient and interesting ensemble cast. I Miss The War is let down by a more than a little rough around the edges sound design. Voices are recorded poorly and often the quality of the sound can vary even within the same scene. This was created a jolting viewing experience and stopped the short from gathering the emotional momentum it needed. Other elements of the filmmaking are pretty standard. There is no real attempt to introduce flair into the visuals which is probably for the best given the nature and tone of the plot. Whilst the narrative is full of interesting elements, it never fully develops into anything truly cohesive. Each character has a fascinating arc and it would have been awesome if they all came together in a more formidable conclusion. That being said, the thematic depth which Walsh presents is palpable, exploring numerous topics within a short running time, such as mental health, PTSD, and depression. In need of a slicker production and a tighter storyline, I Miss The War is still a piece of captivating cinema. The engaging performances make it a worthwhile watch and the subject matter is notably bold enough to make Walsh a filmmaker to watch out for in the future. Watch the official movie trailer below... #ShortFilmReviews #ShortFilms #ChrisOlson #Drama #MovieTrailers #AndrewWalsh #HannahGott #SarahGolding #LauraVine #JamesBarr #KyleWebb

★★ Directed by: Haifaa Al-Mansour Starring: Elle Fanning, Douglas Booth, Bel Powley, Tom Sturridge Film Review by: Hope Madden Mary Shelley was a fascinating person. She was the offspring of a radical feminist, sure. Still, what fire it must have taken to abandon societal pressures at the time in favor of a scandalous relationship with the married Percy Bysshe Shelley. Of course, she was 16, and 16-year-olds make poor decisions. Mary famously went on to outdo both her poet/philosopher husband and his poet/lover Lord Byron when, during a rainy spell in their summer together, they took part in a challenge to write a ghost story. What then, did Byron or Percy Shelley write? Who can recall? But we do remember Mary’s. Mary Wollstonecraft Godwin penned Frankenstein: or, The Modern Prometheus when she was 18 years old. Such a life story would seem like fertile ground for a stirring biopic. We’ll have to settle for Haiffa Al-Monsour’s stiff and middling effort, Mary Shelley. Elle Fanning portrays Mary, a melancholy rebel who has yet to find her literary inspiration or her voice. She does become muse to Shelley (Douglas Booth), a handsome scoundrel more opportunistic than idealistic. The film hopes to encapsulate the abandonment, longing and loneliness that fueled the creation of Mary Shelley’s novel, and more directly, her creature. But there is no life in these scenes—none of the gumption that must have fueled Mary’s early decisions. Fanning’s listless performance casts an awfully prim shadow. She’s surrounded by perfectly reasonable if somewhat anemic turns by her supporting cast. All this subdued hush only makes Tom Sturridge’s bluster that much more, easily stealing scenes as the lothario, Byron. Al-Monsour seems unsure of her intent. She struggles to illustrate the power struggle between male and female inside this free-loving environment. But more than anything, she fails to find any kind of spark or passion to propel her central character or her film. #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #MaryShelley #biopics #ElleVanning #Frankenstein #HaifaaAlMansour #DouglasBooth #BelPowley #TomSturridge #FilmReviews #TheatricalReleases

★★★★ Directed by: Chris Esper Written by: Chris Esper Starring: Tom Mariano, Brendan Meehan, Sheetal Kelkar, Jamie Braddy, William DeCoff, Adam Masnyk, Gina Petronella, Madeline B. Smith, Vac Harris, Omari Riley, Paul Kandarian, Grady Oberton, Lakia Norwood, Quitman McBride, Mackenzie Sarkisian, Gabriella Lentini, Annora Takeuchi, Ava Ingalls Short Film Review by: Chris Olson Baggage. It's both a psychological encumbrance and a physical annoyance (especially when travelling). Short film Imposter, written and directed by Chris Esper, takes a literal approach to representing the baggage we all bring with us, in this case embodied by our younger selves acting as a relentless passenger on our journey through life. Inside a coach sit numerous people from all walks of life. There's a businessman (Tom Mariano) who we see at the beginning of the movie going through a particularly difficult meeting. There's also an artist (Sheetal Kelkar), a veteran (William DeCoff), a drag queen (Lakia Norwood), a baseball player (Vac Harris) and more. The only thing this seemingly random selection of humanity has in common is that they are all sitting next to (or near) a younger version of themselves. And before you start to think that these are helpful and useful sidekicks like those little Daemon animals in The Golden Compass, think again. These younger characters serve as a brutal reminder of what could have been, shadowing every step their older counterparts make with their forlorn looks of judgement. Filmmaker Chris Esper delivers a bold and compelling short using a heavy dose of poignant storytelling that is surrounded with thematic breadth. The characters are well thought out without becoming too cartoonish; the use of minimal dialogue is a clever technique to emphasise the emotional drain that each has with its former self. This is then encased by an emotive sound design that allows the audience to sink into the drama and percolate its numerous themes. The performances are great across the board, all seem to be well aligned to the filmmaker's vision. DeCoff was particularly memorable as the PTSD afflicted veteran whose younger self becomes the catalyst for the film’s biggest moment. Watching him struggle with his inner demons and being tortured by his “new recruit” self was thoroughly engaging and tragic. There is so much to reflect on after watching Imposter. By exploring the themes using a more physical approach, Esper lets numerous ideas and topics intertwine brilliantly. Identities being a prominent theme, it was spectacular to see this on screen without copious amounts of exposition. Instead, the viewer is allowed to connect with all the stories on screen and identify with any and all that they find compelling. The climax of the film then delivers a wonderful moment of honest closure. Smart, engaging, and thoughtful storytelling with a masterful approach to its mise en scéne, Imposter is likely to get you inside your head and keep you there against your will. Watch the official movie trailer below... #ShortFilmReviews #ShortFilms #ChrisOlson #MovieTrailers #Drama #ChrisEsper #TomMariano #BrendanMeehan #SheetalKelkar #JamieBraddy #WilliamDeCoff