★★★★ Directed by: Claire Denis Starring: Juliette Binoche, Xavier Beauvois, Alex Descas Film Review by: Hope Madden Claire Denis + Juliet Binoche = yes, please. For her latest, Let the Sunshine In, the unerringly insightful French filmmaker takes on middle aged dating, following behind an exasperated Isabelle (Binoche) as she rotates through a series of relationships in Paris. Isabelle is an artist, though her work—and her 10-year-old daughter, for that matter—are trivialities here. The point is the journey toward that last, real companion for the rest of the journey. Could it be the boorish, married banker (Xavier Beauvois, flawlessly intolerable)? The boozy but oh-so-dreamy stage actor (Nicolas Duvauchelle)? Sensitive artist (Denis regular Alex Descas)? Brooding guy with the smooth dance moves (Paul Blain)? Ex-husband (Laurent Grevill)? Whew! Who needs a rest? Don’t look for any additional plot here. Denis’s focus, through a circuitous story of relationships crumbling, rekindling and sparking for the first time, simply illuminates the passionate daily trivialities of mid-life dating. She strips away nearly everything besides the ups and downs of Isabelle’s romantic life, sometimes skipping weeks at a time to pinpoint not the relationship itself, but each beginning and end. And, of course, that intoxicating moment of promise —of love? Sex? Rejection? Few filmmakers capture that one moment, breathless and nervous, as authentically as Denis does. It’s dizzying. No wonder Isabelle’s always so tired. Binoche’s generous performance as the self-sabotaging Isabelle embraces the insecurities, optimism and neediness that color the character’s quest. Though never laugh-out-loud funny, the film is a comedy of sorts. There is something absurd about the assault of highs and lows, the desperate lurches toward love and the inevitably disappointing consequences. And then a big cry and she’s off again. Though Isabelle is a frustrating, often unlikeable character, the film never judges her. It’s too late to settle, which is a dangerous, selfish, vulnerable decision to make. Good for her. #movies #film #entertainment #HopeMadden #Frenchfilms #LettheSunshineIn #ClaireDenis #JulietteBinoche #romance

★★★ Directed by: Jeff Tomsic Starring: Ed Helms, Jon Hamm, Jake Johnson, Hannibal Buress, Isla Fisher, LilRei Howery, Jeremy Renner, Leslie Bibb Film Review by: George Wolf The premise is ridiculous. It's also attention-grabbing, and mostly true. A film could have worse starting blocks, and Tag makes sure they're put to good use. TV vet Jeff Tomsic flashes sharp directing instincts in his feature film debut, blending a snappy pace with sharp characterizations, some effective physical comedy and just enough heart for a solidly funny good time. Five years ago, a front page Wall Street Journal article hipped the world to a group of 10 friends who'd been playing the same game of tag for over twenty years. Adhering to their original rules, and then amendments to those rules, they'd stalk each other every February. For the film version, the month has changed to May and the group scaled down to the four (Jon Hamm, Ed Helms, Hannibal Burris and Jake Johnston) that think they finally have a plan to tag the fifth (Jeremy Renner), who has never, ever been "it." The WSJ reporter who tags along (Annabelle Wallis) becomes an effective device to organically handle the questions we're wondering about, and the entire ensemble quickly establishes a chemistry that feels true. Hamm, Johnston and Renner carve out layered characters with ease, while Helms and Burris are basically leaning on their usual, but reliably funny, personas. Nice assists come from Isla Fisher as Helms's highly competitive wife, and some assorted memorable weirdos (Steve Berg, Nora Dunn, Thomas MIddleditch). The script, from Rob McKittrick and Mark Steilin, stays funny and hip throughout, pausing just long enough to reflect on friendship and adulthood without getting sappy. It's more than enough fuel for this likable ensemble to play with and come out a winner. #JeffTomsic #EdHelms #JonHamm #HannibalBuress #JakeJohnson #IslaFisher #LilReiHowery #JeremyRenner #LeslieBibb #GeorgeWolf #Tag #movies #film #entertainment #moviereviews #filmreviews #summermovies #comedy #IslaFisher #FilmReviews #TheatricalReleases

★★★ Directed by: Gary Ross Starring: Sandra Bullock, Cate Blanchett, Rihanna, Anne Hathaway, Helena Bonham Carter, Mindy Kaling, Awkwafina, James Corden Film Review by: Hope Madden and George Wolf More than 15 years ago, Steven Soderbergh recast the Rat Pack, pointing out a set of Hollywood A-listers led by George Clooney who were as stylish and cool as Sinatra and the fellas. Three films later (four, if you count Soderbergh’s hillbilly version Logan Lucky, and you should) and the Ocean family is drawn once again to the big payoff. This time it’s Danny Ocean's sister Deb (Sandra Bullock). A life of crime runs in the family, it seems. Fresh from incarceration, Deb is looking to execute the con she’s been fine tuning over the last 5 years in lockdown. What Debbie needs is a team, and she knows what kind. "A 'him' gets noticed. A 'her' gets ignored." That's a line well-placed and well-played, and though the film seems awfully familiar from the jump, that's not necessarily a bad thing. The music bumpers, throwback scene segues, strategy meetings and comfortable pacing set the cool vibe, and Ocean’s 8 is cheeky enough in its outright impersonation of the previous installments to shrug off feeling derivative. Instead, it comes off as second class, which may be more disappointing. Though director Gary Ross (The Hunger Games) can crib the style—his cast (including Cate Blanchett, Sarah Paulson, Helena Bonham Carter, Mindy Kaling, Rihanna and a spunky Awkwafina) can’t generate the same chemistry. No one does a bad job, far from it, but Ocean’s 8 lacks the overlapping dialogue and easy rapport of earlier efforts. They have the talent, they just don’t have the material. Anne Hathaway is the real thief in this caper, stealing every scene with a fun and funny send-up of the Hollywood diva persona (including her own). James Corden, popping in as a fraud expert investigating the theft of a multi-million dollar Cartier necklace during the Met Gala, brightens up the third act as well with his fresh perspective and savvy delivery. Otherwise, the side characters are neither as meaty or as interesting as in previous franchise efforts. Surprisingly it’s Blanchett who disappoints most. Too dialed down, her Lou lacks the color and definition to be effective as Debbie’s second banana, and Blanchett's casual greatness feels wasted. The best of the Ocean’s films rely on sharp characterizations and sharper sleight of hand. You believe you’re watching the con unfold only to find that ...whaat?....the real heist was somewhere you weren't looking. It is you who's been conned. While 8 follows that formula it succeeds only to a degree, its script simply not crisp enough to charm you into buying all in. The con itself is not believably intricate and Ross, who co-wrote the screenplay with Olivia Milch, cops out in act three with heavy exposition. But hey, heist movies are fun, and movies with this much star power are fun. Ergo, Ocean's 8 is a fun time at the movies. Glitzy, forgettable fun. Watch the Ocean's 8 movie trailer below... #HopeMadden #GeorgeWolf #movies #film #entertainment #moviereviews #filmreviews #sequels #Ocean39s8 #AnneHathaway #SandraBullock #CateBlanchett #Rihanna #GaryRoss #Awkwafina #HelenaBonhamCarter #JamesCorden

★★★ Directed by Brad Bird Starring Holly Hunter, Craig T. Nelson, Samuel L. Jackson, Sarah Vowell, Catherine Keener, Huck Milner, Bob Odenkirk Film Review by George Wolf I'm no math whiz, but 2004 seems somewhere close to 14 years ago. You wouldn't know it from Incredibles 2, where no time has passed. Kicking off right where the original left off, the long-awaited sequel delivers just enough of the same charm to stave off some stale odors. The super-powered Parr family has been sidelined, along with all the others like them, thanks to the law against superheroes. But when the evil Screenslayer starts cyber-attacking the city, local tycoon Winston Deavor (voiced by Bob Odenkirk) and his tech-savvy sister Evelyn (Catherine Keener) hatch a plan to get the supers back on the job. It starts with putting Helen Parr aka Elastigirl (Holly Hunter) on the trail of Screenslayer, leaving Bob/Mr. Incredible (Craig T. Nelson) alone to care for baby Jack-Jack, help Dash (Huck Milner) with his homework and Violet (Sarah Vowell) with her first heartbreak. Brad Bird returns as writer/director, armed with a worthy game plan but not quite enough nerve to swing for the fences. While the Deavor's groom Elastigirl for a media makeover, Screenslayer's plan is to use technology against its users, and to "destroy the people's trust in it." Call that incredibly timely, and fertile ground for some Zootopia-style animated bite. Bird is more interested in exploring the warm family fuzzies. That's fine, but the "can clueless Dad handle the house while Mom's at work?" angle feels every bit 14 years old, even more so when you consider the edgy path Bird abandons to chase one so safe and comfortable. But hey, it's summer, why so serious? Frozone (Samuel L. Jackson) is back in chill mode, the action sequences pop and the animation has the requisite pizazz. I2 is a part 2 that's easy to enjoy. Outside of the near-perfect Toy Story franchise, Pixar sequels (much like sequels in general) have often faltered. Incredibles 2 ranks as one of their best, even with all it leaves on the table. Watch the Teaser Trailer for Incredibles 2 below... #GeorgeWolf #movies #film #entertainment #moviereviews #Incredibles2 #HollyHunter #CraigTNelson #SamuelLJackson #SarahVowell #CatherineKeener #HuckMilner #BobOdenkirk #BradBird #animation #familyfilms #Pixar #sequels #Summermovies #FilmReviews #AnimatedFilmReviews

★★★ Directed by Dominic Cooke Starring Saoirse Ronan, Billy Howle Film Review by Hope Madden Saoirse Ronan is a treasure. The fact that she follows up one raucous, very American coming of age film (Lady Bird) with a delicate, very British coming of age film (On Chesil Beach) without hitting a false note is hardly a surprise. She is maybe the most versatile talent of her generation. On Chesil Beach reunites the performer with novelist Ian McEwan, whose Atonement garnered Ronan her first Oscar nomination back at the tender age of 13. Adapting his own novella this time around, McEwan deliberates on the romantic struggle of two young lovers, Florence Ponting (Ronan) and Edward Mayhew (Billy Howle, who also co-stars with Ronan in an upcoming adaptation of Chekhov’s The Seagull). Florence is a highly-strung classical musician from money. Edward comes from less, hopes to write history books and sometimes behaves rashly. Regardless of their differences, they are endearingly in love. They are also identifiably at an age where a person may see this very moment in time as the only moment, the only way it will ever be, the only way they will ever feel. This terrifying, ignorant, innocent moment is something Howle, Ronan, McEwan and director Dominic Cooke capture effectively. Elsewhere, they falter. The film and its story revolve around one night on Chesil Beach where the two newlyweds contemplate their present and future while we’re given a glimpse of their past. For a number of different reasons (some explained, some just suggested) Florence has an abiding revulsion of sex. Edward does not. Expectations, yearnings and dread come to a boil on their wedding night, when a lack of wisdom and an abundance of insecurity convince the two (one of them quite rashly) to make a questionable decision. Though Ronan’s performance perfectly captures both Florence’s love and her reticence, Howle struggles to convince as an impetuous, even volatile young lover. He seems nervous and sweet, and every sudden outburst feels out of place. Director Dominic Cooke, known primarily for stage work, has trouble creating a welcoming atmosphere. Cooke keeps you at arm's length from the lovers, less likely to empathize with them than to judge. The gravity of one rash decision weighs heavily on both, and though McEwan’s beloved pages may make that felt, Dominic’s film does not, so when we revisit Edward years after that pivotal moment at the beach, it’s tough to buy his situation or feel much for him. On Chesil Beach is a pretty film and a nice story, but never finds the depth to break your heart. #SaoirseRonan #IanMcEwan #BillyHowle #DominicCooke #HopeMadden #independentfilm #movies #film #entertainment #moviereviews #filmreviews #FilmReviews #TheatricalReleases

★★★★ Directed by Ari Aster Starring Toni Collette, Milly Shapiro, Gabriel Byrne, Alex Wolff, Ann Dowd Film Review by Hope Madden and George Wolf Grief and guilt color every somber, shadowy frame of writer/director Ari Aster’s unbelievably assured feature film debut, Hereditary. The Graham family is maybe less grief-stricken over the loss of Grandma than you might expect. Daughter Annie (Toni Collette) delivers a eulogy that admits her mother was difficult, secretive. Her oldest son Peter (Alex Wolff) seems nonplussed by it all. He’s probably stoned, though. Supportive but exhausted husband Steve (Gabriel Byrne) is almost relieved, but the loss does bother the Graham's socially isolated younger daughter, Charlie (Millie Shapiro, in one of the more chilling performances this year). With just a handful of mannerisms, one melodic clucking noise, and a few seemingly throwaway lines, Aster and his magnificent cast quickly establish what will become nuanced, layered human characters, all of them scarred and battered by family. The eulogy caps a striking film opening, where serpentine camera movement intertwines the Graham family with the intricate miniatures Annie creates inside their grand, secluded house. What we see suggests a scaled-down world of its own, lifelike but lifeless. Art and life imitate each other to macabre degrees while family members strain to behave in the manner that feels human, seems connected, or might be normal. What is said and what stays hidden, what’s festering in the attic and in the unspoken tensions within the family, it’s all part of a horrific atmosphere meticulously crafted to unnerve you. If horror fare such as The VVitch or It Comes at Night is not your bag, then you probably don’t care for the slow, detailed burn that A24 studio regularly serves. For those that do, hooray! Here's another "adult" horror film, one that invests more in character development than in jump scares (though there are a few, including one so jarring it awakens the potential of the device). Aster takes advantage of a remarkably committed cast to explore family dysfunction of the most insidious type. Whether his supernatural twisting and turning amount to metaphor or fact hardly matters with performances this unnerving and visual storytelling this hypnotic. Applause to cinematographer Pawel Pogorzelski for turning this intricately designed home into a foreboding character all its own. Like Rosemary’s Baby, The Shining, The Haunting, The Others and any number of brilliant genre hauntings, Hereditary uses its surroundings to create a space where the most mundane moments take on a diabolical chill. The family dynamic at work here is gut-punch authentic. Collette anchors the film with a performance full of grief, insecurity, bitterness and terror. It’s another in a string of award-worthy turns, and the support she gets from the ensemble, including a game Ann Dowd, elevates the tension in every intricately detailed frame. You will have been quietly unnerved, startled from your seat, and then unsettled by the time the supernatural elements overtake the story. The peppering of hardline genre tropes in act 3 may feel like a cop out, but Aster's interplay with the differing family members is too careful for such an easy summation. The web of mental states, understandable suspicions and direct bloodlines layer the brutally effective fable, and Aster wields these weapons with stealthy precision. His work here is so smartly embedded that Hereditary continually tempts potential non-believers to dismiss where it leads as something you've seen before. Don't. You haven't. #movies #film #entertainment #moviereviews #filmreviews #Hereditary #horrormovies #ariAster #ToniCollette #MillyShapiro #GabrielByrne #AlexWolffe #AnnDowd #GeorgeWolf #HopeMadden #FilmReviews #TheatricalReleases

★★★★ Directed by: Kevin Peters Written by: Kevin Peters Starring: Thomasin Lawson, Jay Adam, Anna MacArthur, Ed Atlas, Alex Ranahan and Mel Clarace Short Film Review by: Dean Pettipher Deep down, avid and even casual film lovers can often tell within minutes whether or not sincere passion lies at the core of the picture. Beyond the initial noting of fait but nonetheless clear aesthetic similarities to, for instance, Jessica Jones (2015 – Present), Kevin Peters has crafted a short, bittersweet masterpiece and leaves one craving for more. Indeed, one can tell with ease that Peters has spent much of his life playing in bands and recording music, for one gets the all but unquestionable sense that his has that rare ability as an excellent collaborator and leader to bring out the best in people. His latest movie, Jessica (2018), serves as important reminder that the serendipity so many long to experience in their pursuit of fulfilment through, for instance, romantic love, can, at least just occasionally, not be the answer one seeks. The performances from each of the players are strong and compelling, particularly from Jay Adam, who possesses striking charisma not dissimilar to Miles Teller, which allows him to play the most unlikeable characters and still find the audience rooting for him. Here, though, Adam portrays a fully-fledged lead that audiences can find reasons to genuinely care about very quickly. Adam’s interactions with his fellow artists in front of the camera, including Thomasin Lawson and Anna MacArthur, are at times so engaging that they command audiences to believe in the ineffable qualities of their respective relationships and consequently despair when those relationships are tested towards unmanageable limits. More emotion could have been employed during the most dramatic moments of the movie to make them that much more convincing, to the extent where one feels as though the actors were holding back. However, just enough feeling is expressed to prevent the key turning points of the movie from falling flat after their impressive build-ups. The camera work is superb, boasting of unpredictability akin to the greatest works of Edgar Wright, including Hot Fuzz (2007) and Baby Driver (2017). Such a choice of shots and the pace at which they are made heighten the drama, especially when principle characters engage in truly nefarious actions. Peters takes just as a great a risk with his music as he does with the camera. At first, the choice of sound suggests science fiction, recalling stories like the Mass Effect Trilogy (2007 – 2012) to the fore. Yet it works just as well here in propelling a drama in a more contemporary drama towards the stars. Peters also knows exactly when to break from the mellifluous melodies into silence, remaining ceaselessly in control in his of these tools to create suspense and tension throughout the movie. The movie would have made a great full-length feature, which the writing makes evident. Each character possesses a distinct voice, yet not all characters are able to have their voices heard as much as they could have. An exploration of the relationships between Adam’s protagonist and some of the crucial people in his life by the time those individuals departed from the story would have been greatly received. Still protagonist keeps hold of the audience as he navigates his deeply felt and undeniably relatable struggle towards real and long-lasting connections with others. Jessica is a dark, thought-provoking tale that sheds light on, among other things, the cost of loneliness. Solitude can make one feel very vulnerable, easily misled towards dangerous territories by the need for reciprocated connections and blind to beauty that is often so clearly visible. Peters emerges from the darkness as a promising filmmaker, with a team beside him also possessing the potential to enjoy fruitful careers in the film business. Whatever happens, their latest work provides a fleeting moment of great entertainment that must be shared with those who revel in relish the works of up-and-coming talent. Watch the official movie trailer below... #Drama #KevinPeters #DeanPettipher #JayAdam #ShortFilmReviews #ThomasinLawson #AnnaMacArthur #EdAtlas #AlexRanahan #MelClarace #MovieTrailers

★★★★ Directed by: Patrick Ryder Written by: Cheryl Neve Cinematography by: Richard Oakes Starring: Robert Dukes, Kevin Leslie, Jacob Anderton, Kelly Browne, Neal Ward, Christopher Mulvin, Short Film Review by: Chris Olson The emotional tumult of war given a visually compelling spin in this short film from director Patrick Ryder. The Code is a story of survival, brotherhood, and sacrifice that delves deep into the brutality of conflict. Robert Dukes, Kevin Leslie, and Jacob Anderton play soldiers in the the Royal Essex Regiment. Their situation is dire, being hounded by enemy combatants as they attempt to flee across the countryside. Stumbling across a downed and cantankerous German pilot (Christopher Mulvin), they find a code upon his person that could be a significant discovery for the Allies, or the harbinger of even more peril. Anyone familiar with Ryder as a filmmaker knows they can go into a screening of any one of his films confident in the knowledge that the visual spectacle will be in plentiful supply. With Richard Oakes providing the sublime cinematography in The Code, audiences can rest assured that their eyes will not be left wanting. On top of that, Ryder brings his own take on the war genre, with an intelligently constructed narrative (written by Cheryl Neve) that is as poignant as it is thrilling, and daring to go bolder with each scene. Some of the performances are melodramatic, running through a predictable formation of honourable intentions without much variation to any other wartime movie. The dialogue was clunky and wooden at times. That being said, Dukes was particularly memorable in his scenes with Mulvin, the two creating a palpable sense of tension as the mystery of the code is discussed with intriguing dynamics given they are both pawns in a much larger game. It was the mystery surrounding the plot which drew me in and something I wanted more of. Although The Code is based on true events, it doesn't quite reach the levels of Ryder's previous works in terms of being a fascinating premise (such as Human) or an original ideal (such as Flux) but you do get a rock solid piece of short filmmaking that dares to tell another war story using bold cinema and consistently impressive visuals. The gutsy approach to the violence and smooth filming (look out for the wonderful dance hall sequence) make this a notable entry into the top short films of the year. Watch the official movie trailer below... #ShortFilmReviews #ShortFilms #ChrisOlson #PatrickRyder #CherylNeve #RichardOakes #RobertDukes #KevinLeslie #JacobAnderton #KellyBrowne #NealWard #ChristopherMulvin

★★★ Directed by: Thiago Dadalt Written by: Thiago Dadalt and Dru Miller Starring: Robert Solomon, Piercey Dalton, Jeff Marchelletta, Martin Dorsla, Tammy Kaitz, Zack Kozlow, Sofia Gijarro Short Film Review by: Hannah Sayer D. Ellen Miller Productions strive to create and develop productions that entertain and educate, while representing awareness and social impact in today’s ever changing, multi-cultural and socially diverse society. Their latest short film Duke follows a 17 year old non-verbal autistic teen whose family is falling apart. Duke is based on the story of a real person who began to type messages after 17 years without communicating with his family. The short film boasts great central performances and successfully captures Duke’s struggle to communicate when those around him are quick to dismiss him. The short opens with a quote from The Little Prince by Antoine de Saint-Exupéry: “What makes the desert beautiful, is that somewhere it hides a well... What is essential is invisible to the eye.” A part of Duke (Robert Solomon) is hiding out of sight: his voice. The film shows him taking a psychometric test where he has to type out his name, yet he fails to do this. He is rejected from the school his mother (Piercey Dalton) is desperately trying to get him into because of this. His mother shows the teacher some messages Duke wrote previously, yet no-one believes he actually wrote those messages himself, not even his family. People struggle to believe that Duke is capable of doing things by himself and the film focuses on the pressures this has on Duke as someone struggling to get his voice heard. The film is successful in showing the effect that this is also having on Duke’s mother and more widely the impact this has on their family life. Duke is strengthened by its two great central performances from Solomon and Dalton, especially in the final minutes. Dalton is great in her role as a mother wanting to prove Duke’s capabilities to all those who have dismissed her belief in him. There are several instances where close-up shots are used and these capture, and intensify, Duke's reactions at certain points in the short. These reinforce Solomon’s great performance as the viewer gets a sense of the struggle this character is facing internally. The opening close-up shots of Duke show him at the beach seeing, hearing and feeling what is around him. These sensory moments capture Duke naturally when he is at peace, which can be juxtaposed with the times when he feels trapped within the confines of his family home. Overall, Duke raises awareness of those living with special needs and the benefits that special education can have for children with severe disabilities. It is a heart-warming account of the perseverance of Duke’s mother and Duke and their struggle to get others to see Duke for who he really is and allow for him to grow within society. Watch the official movie trailer for Duke below. #Duke #ThiagoDadalt #DruMiller #RobertSolomon #PierceyDalton #JeffMarchelletta #MartinDorsla #TammyKaitz #ZackKozlow #SofiaGijarro #HannahSayer #ShortFilmReviews #MovieTrailers

★★★★ Directed by: Farbod Ardebili Starring: Adam Karnow Chefitz, Aaron Sylvan Gordon, Sam Stern, Molly Dominick, Jesse Alvarez, Chauncey Mabe, Tom Musca Short Film Review by: Jack Bottomley Fan films are often derided by certain critics for being uncreative and taking someone else’s ideas as their own but this is an unfair reading because in many ways all filmmakers and artists start off as fans. See the recent wave of indie directors jumping to franchise work (Gareth Edwards, Colin Trevorrow, Taika Waititi, Jordan Vogt-Roberts, Jon Watts) and how they take their youthful influences and loves and apply them to all their work. Fan films are more an expression of passion than anything else and in Bats & Jokes; writer/director/animator/scorer Farbod Ardebili takes Batman in some very dark directions. Clearly inspired by Alan Moore’s “Batman: The Killing Joke” in terms of tone and delivery (the film really reflects on the multiple choice nature of the Joker character’s backstory), this short film sees Batman and Joker come head to head once again, only this time Batman discovers the true beginnings of the clown prince of crime and what he finds shakes the crime fighter to the core. Right out of the gate the violent imagery by illustrator Jacob Newell and animator Ardebili sets the scene and this visually striking take on Bob Kane’s iconic creation is a darkly arresting watch. Ahead of a planned live-action Joker origin movie, and with current DC projects taking risks aplenty (some paying off, some not), this short film feels quite timely and reminds a bit of the kind of story that might have made it into the 2008 animated anthology film Batman: Gotham Knight. In many ways a post-apocalyptic tale wrapped in a story of crumbling psyche, this film acts as a tribute to the relationship between Batman and The Joker, who have always been the opposite sides of one coin. The film features time-jumping, limb butchery, symbolism and a wealth of character cameos and for fans and followers of DC, there will be a lot here to entertain across the 15 minute duration and indeed lots to think about. The ending in particular is quite memorable and, while the story does have to rush towards it, the impact of the brazen climax is still felt and in many ways it recalls the bold changes of lore in Moore’s aforementioned work, Tim Burton’s 1989 film and last year’s interesting animated ripper era yarn Batman: Gotham By Gaslight. The voicework is solid; if a little too distant to the characters at times, but it is quite an undertaking to see Batman, Joker and Alfred all voiced by one actor in Adam Karnow Chefitz and he has a good go at it. While Aaron Sylvan Gordon also makes an impression as a legendary DC character that briefly makes an appearance, leading up to the twist finish. However, this film is more of a visual journey and the animation is very well done, as is the gravitas-filled scoring and the impressive sound design by Ailin Gong. In spite of some faults, films like this continue to show such ambition and whether they are fan films or original features, the diverse array of artists presenting their work nowadays is brilliant to see and it is no mystery why the big blockbusters are increasingly recruiting independent voices, many of whom are huge fans already. Bats & Jokes is another of those projects that feels like it will get another talented team of Bat fans noticed. Bats & Jokes is stylish, dark and – considering the length – quite complex. #ShortFilmReviews #ShortFilms #JackBottomley #Superheroes #FarbodArdebili #AdamKarnowChefitz #AaronSylvanGordon #SamStern #MollyDominick #JesseAlvarez #ChaunceyMabe #TomMusca

★★★★​ Directed by: Alexander Tuschinski Starring: Roger Ball Documentary Film Review by: Chris Olson In the Mojave desert in California there is a small shop owned by one Roger Ball. A former worker of a gold mine that has since picked up sticks and left, Ball is relatively unconnected to the outside world, needing no telephone or computer. His premises is filled with wall to wall signs, hand painted, depicting any manner of wording, theme, or idea that has particularly struck Ball. Many are taken from films that have particularly struck the man. Over the course of filmmaker Alexander Tuschinski's short documentary Caligari in the Desert, we see this shop-owner-cum-artist start to represent something more poignant than an eccentric local, instead lending credence to the need to study film history, and in particular the silent movie era. Having recently watched and reviewed Tuschinski's other short documentary Mission: Caligula, I cannot help but find parallels and comparisons with at the very least the themes of Caligari in the Desert. Both have a profound love of movie making at their core even, if in the latter it is less obvious. Both also have a fantastic narrative that is expertly sculpted through Tuschinski's intelligent editing skills. This short, however, does not feature Tuschinski and all his eager enthusiasm. The film relies heavily on Ball as a misfit character, his specific nature and speech being compelling elements to his presence on screen. Whether he is regaling the viewer with his “product of the sixties” origin story or simply reading aloud one of his hand painted signs, the result is still a strangely intoxicating piece of visual cinema and documentary film. As the topic turns more to the silent movie era, and Ball's growing passion, viewers will be able to connect the dots between this story of compulsive signage creation and the artform that is perhaps the most expressive visual storytelling we have and how it can transform anyone’s outlook, no matter their age. Some of Tuschinski's aesthetic choices are peculiar. There are frantic sweeps of the camera inside Ball’s shop with barely enough time to read the wording on a sign before the camera zooms off again. Classic Western-style imagery of empty landscapes and dusty roads are used to cement this atmosphere of the old being at odds with the new, furthered by numerous shots of abandoned or broken buildings that pepper the Mojave desert like tombstones. All combined, Caligari in the Desert has an unorthodox and striking visuality that beautifully accompanies the story of its central character. Watch the official movie trailer below... #DocumentaryFilmReviews #Documentaries #ChrisOlson #MovieTrailers #AlexanderTuschinski #RogerBall #silentfilm

★★★ Directed by: Baltasar Kormakur Starring: Shailene Woodley, Sam Clafin Film Review by: George Wolf Opening with an extended take that efficiently moves us from confusion to desperation, director Baltasar Kormakur sets the gripping stakes of Adrift with scant dialog. His closing is equally effective, showcasing a touching humanity with nuance, and hardly a spoken word. The journey in between is literally harrowing but cinematically uneven, a sometimes gritty testament to survival that is too often satisfied with the path more traveled. Adapted from a memoir by Tami Oldham (Ashcraft), the film recounts her incredible ordeal surviving over month at sea in the aftermath of 1983's Hurricane Raymond. Oldham was traveling the world through odd jobs in exotic locales when she met fiancee Richard Sharp during a stay in Tahiti. Englishman Sharp, an experienced sailor, docked his own vessel and accepted a lucrative offer to sail a friend's 44-foot yacht back to San Diego. Oldham, a San Diego native with limited sailing knowledge, came aboard. Shailene Woodley, also earning a producer credit on the film, stars as Oldham, instantly establishing an important and authentic chemistry with Sam Clafin as Sharp. The nautical metaphors (with Oldham drifting though life until Sharp becomes her anchor) may be hard to miss, but they go down easy through the talents of the lead actors. A true life adventure such as this brings some inherent challenges to the big screen, and Kormakur meets them with understandably familiar narrative choices. The time alone at sea is layered with flashbacks to how Tami and Richard's bond was formed, both deepening our connection to them and breaking up the lonely stretches at sea through crowd-pleasing fun and romance. As the situation grows more desperate, pleasing flirts with pandering, and Kormakur weakens the emotional impact with some unnecessary spoon-feeding. When the couple sails into the teeth of the hurricane, it bites hard, giving Kormakur (Everest, 2 Guns, Contraband) the chance to flash his action flair via a breathtaking storm sequence. The film's tale is truly compelling, and it does deliver satisfying stretches while staying cautious of any narrative risks that might seem disrespectful. Even at its most dangerous, Adrift feels ironically safe. #movies #film #entertainment #GeorgeWolf #Adrift #ShaileneWoodley #SamClafin #BaltasarKormakur #GeorgeWolfadventuremovies #truestoreis