★★★★ Directed by: Sebastian Lelio Starring: Rachel Weisz, Rachel McAdams, Alessandro Nivola Film Review by: George Wolf Upon creation, men and women were given the choice of free will, and with that comes the unique "power to disobey." An Orthodox Jewish flock in London hears that message from a beloved rabbi, and then lives it in Sebastian Lelio's quietly compelling Disobedience. Ronit (Rachel Weisz) was raised in that devoutly religious community, and then shunned for her attraction to childhood friend Esti (Rachel McAdams). After building a life in New York, Ronit is called home for the burial of her father. She's greeted by a less than warm welcome and the news that Esti has married Dovid (Alessandro Nivola), another longtime friend who is now also a respected rabbi. Gracefully adapting Naomi Alderman's novel, Lelio (A Fantastic Woman, Gloria) continues his interest in stories of women struggling to be free and live as their true selves, exerting their power to disobey. Weisz, McAdams are Nivola are all wonderful, crafting resonant characters as Lelio slowly builds the drama of a conflicting, scandalous triangle. Little backstory is provided early on, giving more weight to pieces that are picked up from characters carefully dancing around old wounds. The message is love and mercy, and how these basic tenets of religion are often forgotten in the name of enforcing a preferred social order. Lelio and his committed actors make it intensely intimate but never salacious, a parable with a powerful grip. #GeorgeWolf #RachelMcAdams #RachelWeisz #AllesandroNivola #Disobedience #SebastianLelio #movies #film #entertainment #moviereviews #filmreviews #independentfilms #FilmReviews #TheatricalReleases

★★ Directed by: Eddie Bammeke Starring: Lynn Lowry, Eddie Bammeke, Paul Sutton, Eirian Cohen, Rachel Brownstein and Ricky Matthews Short Film Review by: Rachel Pullen Being an actor must suck in the early days, audition after audition for roles you don’t even want, people rejecting you time and time again, always the small fish in a big pond of thousands, all wanting the same thing, easy to say I would never do it. Short film First Impressions Can Kill is Eddie Bammeke’s tale of the highs and lows of trying to make it on the big screen through the eyes of one hopeful actress who for some reason does not seem to understand her own range in regards of the roles to audition for. We see our leading lady facing an audition for an aggressive male role within a film, yet she is a meek middle aged women, and after some disagreement with the casting director, she gets the chance to strut her stuff...which is not a lot. Yet not wanting to take no for an answer she is aided in murdering the other actors as well as the casting director to ensure that she is able to score the part she wants, we see her go on to repeat this pattern throughout Bammeke’s short film. Confused, yeah you should be, sadly there is little to explain the reasoning behind this desperate actress’s desire to be cast in roles she cannot play, this becomes frustrating, distracting and leads to the attention from the viewer becoming strained and distant. There are a lot of things that seem to fall short with First Impressions Can Kill; sounds quality being the main issue. I viewed the film on different devices to ensure it was not my software, but sadly no, it seems muffled and lacks consistency, and if anyone knows anything about making film, it’s ensuring a high quality of sound production as it can make or break when it comes to keeping the attention of the viewer. As for the performances from the actors, they are acceptable across the board, no one in particular stands out as a new and upcoming talent but at the same time they are not unbelievable to watch, we are able to get a sense of the world they are living in and their enthusiasm for the storyline which makes for a comfortable watch. This short is not something I would jump to watch again, but that’s not to say it’s terrible, with its quirky sense of comedy and interesting, if not somewhat confusing storyline. It’s hard to deny the originality of the script, and in a day and age where so many things are remade or storylines are churned out over and over in the same manner originality speaks volumes. #ShortFilmReviews #ShortFilms #RachelPullen #EddieBammeke #LynnLowry #PaulSutton #EirianCohen #RachelBrownstein #RickyMatthews

★★★ Directed by: Borja Moreno Written by: Borja Moreno Starring: Ryan Stillman, Bella Popa Short Film Review by: Chris Olson The self-annihilating anxiety which can only come from having a bad haircut gets explored in this quick-fire comedy from filmmaker Borja Moreno. Simply titled A Man, this short film explores the innate human ability to convince ourselves of anything, good or bad, as long as we keep telling ourselves to just accept and embrace. Self-help author Paul (Ryan Stillman) is in the throes of an awful day when we are first introduced to him. He has attempted to get a stylish new haircut based on a stock model photo of “A Man”, only for it to turn out like a tribute to some of the worst 80’s glam rock bands in history. Giving himself a dose of the ol’ self-deprecating inner torture whilst in an elevator, things get worse when the neighbour he has a crush on called Lara (Bella Popa) gets in. Whom, as fate would have it, is a big fan of Paul’s self-help books but, due to his new coiffure, has no idea that she is now in an elevator with him. Energetic from the start, A Man keeps a lively pace throughout and audiences will feel the thrill of the snappy dialogue and sharp editing for sure. Both performances are solid, especially Stillman whose tortured narration is probably the funniest aspect of the piece. The chemistry between the two is believable and engaging. The sound design was a little heavy-handed, contributing well to the tempo of the short but also keeping the audience from feeling any sense of connection to either character. The atmosphere was too chaotic and frenetic to allow a stronger sense of empathy to emerge. Instead, the tone of Moreno's movie is lighter, going for quick laughs and shallower characterisation. One such example is the phrase that Paul refers to his inglorious hairdresser by, “Tits Mcgee”. Aesthetically, Moreno brings some compelling spectacle. Mostly utilising the small elevator space, he manages to maintain the vibrancy and aforementioned pace even without a multitude of locations. By layering the piece with Paul's overvoice, depth is created, as well as using an almost dreamlike sequence when he goes in for a [SPOILER START] smooch [SPOILER END] which played with the lighting superbly. The use of a self-help author as its main character was a smart move, and had Moreno explored this in a more substantial manner I would have been ready to...ahem...embrace. I think there is a wonderful screenplay out there that could take this and get something really intelligent and biting as well as being funny. As it is, A Man is happy being a glossy and impressive poster that is, ultimately, flat. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #BorjaMoreno #RyanStillman #BellaPopa

★★ Directed by: Bill Holderman Starring: Diane Keaton, Jane Fonda, Candice Bergen, Mary Steenburgen Film Review by: George Wolf Book Club offers up a boatload of veteran Oscar winners and nominees, but limps to its final chapter as a ninety minute catch-22. So many roles for senior stars: good! What this movie makes of those roles: not so much. Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen are Diane, Vivian, Sharon, and Carol, lifelong friends who began a monthly book club back in the 70s with the scandalous Fear of Flying. With all four friends now comfortable in their golden years, the randy Vivian chooses Fifty Shades of Grey as the group's next assignment. The girls are a bit hesitant at first but right on cue, Christian and Anna's naughty romps reignite some fires down below. Laughing at older people being sexual is beyond lazy, it's ignorant. Thankfully director/co-writer Bill Holderman, in his debut feature, does seem actually interested in laughing more with his stars than at them. But too many of those laughs are leftovers from every episode of Three's Company, when Mr. Roper overhears Jack and Chrissy in the bedroom saying something like "It's not big enough!" while we know they were just trying to hang a curtain rod the whole time! Ribaldry! While the ladies juggle possible boyfriends (Richard Dreyfuss, Andy Garcia, Don Johnson) and a disinterested husband (Craig T. Nelson), contrived antics and double entendres go straight to the unfunny bone. If you were checking off boxes, all the rich, white characters and romantic fantasies would seem like Nancy Meyers material. But Book Club can't dig any more than surface deep, and even with all this talent, it never shows the confidence in character that elevates Meyers's best (It's Complicated, Something's Gotta Give). And then, a surprisingly subtle metaphor built around the comeback of vinyl albums gives you reason to believe Holderman's heart is in the right place here, he's just in over his head. #BillHolderman #DianeKeaton #JaneFonda #CandiceBergen #MarySteenburgen #GeorgeWolf #movies #film #entertainment #moviereviews #filmreviews #BookClub #FilmReviews #TheatricalReleases

★★★★ Written and Directed by Skip Shea Starring Sean Carmichael, David Graziano, Beatrice Di Giovanni, Aurora Grabill Indie Film Review by Hannah Sayer Skip Shea’s feature length debut is a deeply personal story. Trinity is based on an event that happened in Shea’s life when he ran into the priest who had abused him when he was a child who was now working in a local bookstore. This random encounter triggered a dissociative experience and Trinity explores the devastating impact this trauma and abuse of power can have within a brilliantly conceived and surreal narrative. The film follows Michael, played by Sean Carmichael, who is an artist. It is evident from the opening alone that this is an extremely personal film as Michael reflects on winter being a time to embrace the past and be consumed by it. He has a chance encounter with the priest, played by David Graziano, at his sister’s coffee shop. This meeting is extremely triggering for Michael and his mind begins to think up terrifying and surreal images which leads the real to be blended with the surreal in an eerie and unsettling way. The use of colour in the film is particularly interesting. Parts are filmed in black and white while others are in colour yet are drained and unsaturated, giving the film a bleak aesthetic which mirrors the narrative unfolding. This mix of colour and black and white imagery adds to the experimental quality of the film. It is reinforced that this is a deeply personal account when Michael directly addresses the camera, as if the viewer has been granted access to the inner workings of his psyche. The repetition of moments and images in the film is disorientating and adds to the heightened sense of reality evoked. This is also explored through the effective use of flashback and the haunting music which is used to great effect to heighten moments of intensity, especially when paired with the surreal imagery on screen. The narrative is intricately constructed. The visual imagery stands out from the narrative, which is slightly muddled, as if to reflect Michael’s own mind after this triggering experience. This is not an easy watch but a rewarding one. This is a complex exploration of Michael’s psyche which feels poetic at times. Trinity carries a powerful and important message about reflecting on the past and how to move forward. With a stand out central performance from Sean Carmichael, this is a deeply reflective and profound piece of work. Watch the official movie trailer for Trinity below. #Trinity #SkipShea #SeanCarmichael #DavidGraziano #BeatriceDiGiovanni #AuroraGrabill #HannahSayer #IndieFilms #IndieFilmReviews #MovieTrailers

★★★★ Directed by Andy Nyman and Jeremy Dyson Starring Jeremy Dyson, Martin Freeman, Paul Whitehouse, Alex Lawther Film Review by Hope Madden Billed as a return to the old-school British horror anthology, Ghost Stories takes us through three paranormal cases passed from the chief investigator to a colleague he's hoping can prove them false. Ghost Stories is based on a popular stage play written by the film’s own co-writers and co-directors, Andy Nyman and Jeremy Dyson. Nyman also stars as Professor Goodman, the paranormalist who agrees to look into the trio of cases that muddled his hero and mentor. The movie invests far more in this set up than expected, developing a fascinating connecting tale rather than a simple framing device that holds together a handful of otherwise disconnected shorts. Instead, we get a deeper story, one that influences and is influenced by the shorts in ways more organic than the run-of-the-mill anthology. And though the three individual shorts contain nothing extraordinary in the way of scares, each offers a richly developed world full of detail and shadow. Every short has its own personality and style, although they all contain puzzle pieces that provide a coherence to the overall story, little items that range from the peculiar to the outright spooky. A great deal of the success lies in the wonderfully human portrayal delivered by Nyman, who conveys humility, pomposity, self-righteousness, pity and terror in turns without ever hitting a false note. Other solid performances pepper the film. Martin Freeman is particularly engaging. Paul Whitehouse and Alex Lawther also bring uniquely high-strung characters to life. As scares go, the first short packs the biggest wallop. A night guard at a dilapidated old asylum for women sees and hears strange things, leading to horror. If that sounds like well-worn territory, that’s because it is. In fact, the three short films themselves don’t deliver much in the way of new scares, but that isn’t Nyman and Dyson’s intention. The terror here is far less paranormal than existential, and clever clues combine with crisp writing to create a full picture that’s more satisfying than it should probably be. #GhostStories #AndyNyman #JeremyDyson #horror #horrormovies #movies #film #entertainment #moviereviews #filmreviews #HopeMadden #MartinFreeman #PaulWhitehouse #AlexLawther #FilmReviews #TheatricalReleases

★★★ Directed by: David Leitch Starring: Ryan Reynolds, Josh Brolin, Julian Dennison, Zazie Beetz, Morena Baccarin Film Review: by Hope Madden Machine gun fire gags, self-referential comments, foul language, meta laughs, gore for the sake of comedy and fourth-wall bursting—it appears the sequel to 2016’s surprise blockbuster Deadpool cometh. Since we left Wade/Deadpool (Ryan Reynolds), the avocado-faced super-anti-hero spends his days dispatching international criminals and his nights snuggling tight with his beloved Vanessa (Morena Baccarin). When tragedy strikes, Wade spirals into suicidal depression and finds himself in the titanium arms of X-Man Colossus (voiced by Stefan Kapicic), by the side of troubled adolescent mutant Russell (Julian Dennison, Hunt for the Wilderpeople), and then in the path of time-traveling mercenary Cable (Josh Brolin, having a good year). In the midst of all this, Reynolds never stops cracking wise on every comic book or pop cultural reference that can be squeezed into two hours. Busts of laughter pepper the film’s landscape like mines. It’s fun. Hollow, but fun. Origin stories are tough, but following a fresh, irreverent surprise of an origin story might be even tougher. Deadpool's laughs came often at the expense of the gold-hearted, furrow-browed, money-soaked superhero franchises that came before it. Now a cash machine of a franchise itself, riffing on that same bit is a difficult sell. Deadpool 2 has essentially become the butt of that very joke. Writers Rhett Reese and Paul Wernick return, sharing the pen with Reynolds this go-round. Atomic Blonde director David Leitch takes the helm, promising the inspired action that made his Charlize Theron spy thriller so very thrilling. But Leitch’s action feels saddled and uninspired, and Reese and Wernick’s screenplay is basically a reimagining of a truly excellent time-travel flick from a few years back (that will remain nameless to avoid spoilers). Deadpool 2 is very funny, often quite clever, and sometimes wrong-minded in the best way. An Act 2 parachuting adventure feels magical, and the new blood brings fresh instinct to the mix. Dennison straddles humor and angst amazingly well, and Zazie Beetz brings a fun energy to the film as the heroically lucky Domino. Brolin, for the second time in a month, commands the screen with a performance that has no right to be as nuanced and effecting as it is. Ryan Reynolds is Ryan Reynolds, but he’s just so good at it. The film’s cynical, hard-candy shell makes way for a super-gooey inside that Reynolds doesn’t have the capacity to carry off. Worse still, it undermines the biting sensibility that made the first Deadpool such an antidote for the summer blockbuster. But I guess that’s what happens when you become the thing you mock. #DavidLeitch #RyanReynolds #JulianDennison #ZazieBeetz #MorenaBaccarin #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #blockbusters #MovieReviews #FilmReviews #TheatricalReleases

★★ Directed by: Konstantin Vlas Starring: Eric Saleh and Shannon Reynosa Short Film Review by: Annie Vincent An addict goes in search of his missing girlfriend in this short film from Konstantin Vlas and Olympiad films, but that is not all he, or the audience, are left searching for as the sanity slips from his mind and the film’s structure. Initially, short film Spoonful is quite gripping. A young girl wakes up in a hospital; a young man wakes up from a dream in which he’s drowning, a missing poster on his wall: all intriguing so far. In his flashback, (a dark, intimately lit scene in which silhouette and shadow create both passion and unease) he and a female, presumably the one who is missing, are in bed getting high together. The scene is intimate, but graphic too and she pulls the tourniquet around his arm and injects him. It’s disturbing, but they clearly love each other and who doesn’t love a flawed hero? But sadly, Spoonful doesn’t lead us where we might like to go, as two plot ideas seem to converge, with no answers for either forthcoming. In the first, scenario this man, El, played by Eric Saleh, takes a gun and shoots a number of men protecting a scientist from making some kind of poison. This scientist has the same missing poster on his desk and we assume his missing lover, Kori, played by Shannon Reynosa, has run into trouble because of the drugs she has been taking – El is on the war path to find her. We settle in for a rescue mission – he’s got to find his girl. Within minutes, this idea is shattered – only El he thinks he is out to rescue his love, because actually in the next scene we find Kori in the hospital, being counselled into realising that her relationship with El is toxic. In a later scene, another drug addict tells El he isn’t a man, but a devil and Kori is better off without him and so now we have a twist – a damsel who perhaps doesn’t want saving. Now we have a relationship drama – again, an interesting direction that we’re happy to follow. The relationships of addicts is a pretty interesting dynamic for a film after all. El heads to the hospital to find Kori, but here the film really starts to fall apart because somehow El doesn’t make it to the hospital, eventually ending up washed up on a beach. It’s clear this section is all part of El’s deteriorating mental state and the cumulative effect this poisonous drug is having on him, but this is yet another plot strand and is another one left without a concrete resolution. The end scene is entirely confusing, with El's message about dreams having no link to anything he's previously said or done. Because of all this, the film is a little self-indulgent. It clearly knows where it is going and heaps on the intimate camera work, moody lighting, unsettling soundtrack, and eventually a motivational speech by the doctor worthy of an Oscar-nominated war film; but the problem is, the film doesn’t communicate that direction to its audience and whilst we can praise the technicality, we really have no clue what has happened to our protagonists or what their motivations are – a crucial element of any successful film. No amount of gun fights, dimly lit underwear scenes, drug den shoot outs or heart-felt hospital scenes can make up for this most basic of mistakes. Overall, the premise of Spoonful is interesting, but sadly the outcome is just plain confusing. #KonstantinVlas #AnnieVincent #ShannonReynosa #Olympiadfilms #spoonful #EricSaleh #ShortFilmReviews #ShortFilms

★★★ Directed by Ron Howard Starring Alden Ehrenreich, Joonas Suotamo, Woody Harrelson, Emilia Clark, Donald Glover Film Review by Hope Madden and George Wolf Are Han and Chewie your favorite characters from the Star Wars franchise? And if not, why not? They were the cool kids in a galaxy of nerds, and if any single Star Wars offshoot deserves the edgy, thought-provoking, dare-we-even-say dangerous treatment, it’s the origin story of this duo. And nothing spells danger like director Ron Howard. Actually, most everything does, but Howard does manage to steer Solo in satisfactory, though not quite thrilling, directions. The film catches the scent of a young street rat, in love and in need of a ticket off his home planet. Complications arise, friends are lost, found and lost again, there's gambling, smuggling and risk-taking, and a future legend finally getting his wings - plus a big, furry co-pilot. Aldren Ehrenreich makes for a fine young Han. He mixes enough of Harrison Ford’s mannerisms (and the scar on his chin - nice touch) with an unvarnished naivete that suits the effort. He’s more than matched by Donald Glover, whose Lando is a smooooth amalgamation of Billy Dee Williams, youthful swagger and some sweet capes. Fun new characters, including a rebellious droid who steals the show, round out a rag-tag group of misfits to root for. Woody Harrelson cuts exactly the right figure to be the mentor Han needs, while Paul Bettany's brand of slippery villain (Josh Brolin busy?) offers an excellent foil. Howard famously picked up the Solo mantle after executive producers canned Phil Lord and Christopher Miller, the charming rogues behind The LEGO Movie, 21 Jump Street and Cloudy with a Chance of Meatballs. He’s working from a script by the father and son team of Jonathan and Lawrence Kasdan. Kasdan the Elder, of course, penned Force Awakens, Empire Strikes Back and Return of the Jedi. All of which sounds perfectly calculated and terribly risk-free. And it is, but it's also a lot of fun. The imagery (speeders, desolate planets, weapons, casinos) looks simultaneously retro and futuristic, beat up but cutting edge. And there are plenty of warm nods to Han and Chewie's future that will bring a knowing smile while honoring our long investment in these characters. So what's missing? The rogue spirit that let Han steal scenes in A New Hope so easily. Solo is a film that takes no chances, which feels ill-at-ease with who Han is as a character. After a couple of installments in the Star Wars saga that were unafraid to make dangerous decisions, chart new courses and stir up the fanboys, this one just feels too safe. Solo's got plenty of space, just not enough balls. Watch the official movie trailer for Solo: A Star Wars Story below... #RonHoward #AldenEhrenreich #JoonasSuotamo #WoodyHaEmiliaClarkrrelson #DonaldGlover #HopeMadden #GeorgeWolf #movies #film #entertainment #moviereviews #filmreviews #SoloAStarWarsStory #StarWars #summermovies #blockbusters #sciencefiction #FilmReviews #MovieTrailers #TheatricalReleases

★★ Directed by James McTeigue Starring Gabrielle Union, Billy Burke, Richard Cabal, Ajiona Alexus Film Review by Hope Madden Breaking In — the latest in a line of Liam Neeson movies — sees a desperate parent doing whatever it takes to save their tender offspring. This time around Gabrielle Union plays Liam Neeson. Well, she plays Shaun, a woman who’s brought her two children with her to her recently-deceased father’s wooded property to get the place ready to sell. Problem is, somebody’s already there. Shaun suddenly finds herself in the situation of trying to save her children from the men who’ve come to rob her late father’s safe. The film was penned by Ryan Engle, who’s written two of Neeson’s own Liam Neeson movies (Non-Stop, The Commuter). The man likes a formula. Union convinces as the family’s level-headed, savvy matriarch. She’s locked out of her dead father’s tech-dense fortress while her kids are locked in with baddies. The clock is ticking until the cut phone cable brings the cops. Shaun’s indeterminate experiences at her shady father’s secluded property have apparently better prepared her for this event than the villains would have expected. There could be something here. Though little more than a mishmash of domestic thriller clichés, still, with a bit of style and a little creativity, it could make for a tense and brisk 90 minutes. If only the bad guys moved quickly, as if they were working against a timer. Show a little urgency, fellas. Or if all that tech—the cameras, the motion-sensor lights, the door locks—worked consistently rather than conveniently. Or if director James McTeigue (V for Vendetta) brought any style to the project. Any at all. Home invasion movies can become pressure cookers of tension and diabolical possibility. Too bad McTeigue has no idea how to exploit any of the tenser elements Engle gives him, nor does he have the skill to draw your attention away from any of the gaping holes littered throughout this plot. Union’s fighting against more than seedy criminals. #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #reakingIn #GabrielleUnion #RyanEngle #JamesMcTeigue #FilmReviews #TheatricalReleases

★★★ Directed by Masaaki Yuasa Starring Kanon Tani, Shota Shimoda, Christine Marie Cabanos Film Review by Rachel Willis To give away too much of the plot of Lu Over the Wall would be to steal the joy of experiencing this unique, quirky film. Director Masaaki Yuasa has crafted a sweet fantasy that explores the moving friendship between a boy and a mermaid. The first half of the film offers an unpredictable journey that follows Kai as he gets to know the buoyant Lu. Along for the ride are Kai's friends, Yuho and Kunio. Before Lu, Kai is sullen and morose, having recently moved from Tokyo to a small fishing village with his dad following his parents' divorce. Yuho and Kunio try their best to engage Kai, even talking him into joining their band. But it isn't until Lu appears, drawn by Kai's music, that he begins to open up to the world around him. Though the first half of the film is unusual, and, at times, downright weird, the second half falls into a more predictable pattern. However, the shift into a more traditional story doesn't detract from the film. And though the second section is more certain, the quirks and oddities of the story are maintained through the animation. Lu and Kai, along with Yuho and Kunio, face challenges as old prejudices and new curiosities are aroused by the arrival of Lu. At times, the animation is reminiscent of Hayao Miyazaki's work, but it also occasionally has the slapstick style of Tex Avery's old Bugs Bunny cartoons. The blending of styles, along with the film's own specific elements, merge together to serve the unconventional story well. From the monstrous creatures to the everyday people to the village's shops and streets, the visuals are the most memorable part of the film. Music also plays an important role, but the soundtrack is a little stale when paired with the rich animation. Too often, the score and soundtrack fade forgettably into the background when the movie would be better served by sound that enhanced the animation onscreen. Though often strange and unusual, Lu Over the Wall is a touching tale. #movies #film #entertainment #moviereviews #filmreviews #LuOvertheWall #anime #animation #familyfilms #MasaakiYuasa #ShotaShimoda #KanonTani #AnimatedFilmReviews #FilmReviews

★★★★ Directed by: Noah Stratton-Twine Starring: Mike McKenzie, Daz Martin and John Kinory Short Film Review by: Annie Vincent There can’t be many documentaries that track resident genies in their last days before retirement, but if there are, none can be as heart-warming at this, Noah Stratton-Twine’s third film, Cadabra. As a documentary crew follow the ‘genie’ around in these last days, he discusses what it means to be a genie in the modern world, confronts his competition and muses on his life after the lamp. The documentary makers allow the ‘genie’ to introduce us to his home, a South London park, which he describes as ‘magic, ironically’. Whilst passers-by might recognise him as a resident homeless man, they would be mistaken, as his little tin lamp surely proves ... As people go about their daily lives, he jumps out from bushes and offers them wishes. But, wishes aren’t as good as they used to be, he tells us, and it’s not just the millennials who request meaningless wishes; even the elderly can’t be relied upon to ask for anything worthy. There are competitor genies to fend off each day too: scammers and fraudsters who only grant wishes for a short time before scampering off, but our genie makes sure to handle them when they encroach on his turf. Whilst the premise of a genie, nearing retirement, having an existential crisis is unusual, Stratton-Twine manages to capture some profound soundbites about life in an amusing and touching way through this character. Worried about retirement, ‘genie’ seems likely to give up, considering there to be nothing after his last day on the job, but his fierce defence of ‘his customers’ and the kindness of a stranger at the end of the film forces him to find his strength and brings him hope and promise for the future. The scripting is lovely in this film, with the subtle puns delivered bluntly and in earnest by Mike McKenzie; an actor Stratton-Twine has returned to, and with success. The cinematography is quite raw, capturing the autumn scene beautifully and very much reflecting that documentary style. This chosen genre also forces us to view this character’s life as real; without any cynicism the audience whole-heartedly follow the genie’s story, no matter how mad that might sound, and it’s a pleasing watch which leaves a little warm feeling inside. Cadabra won’t be like anything else you have seen before, but it will bring a little sparkle to your day. Watch the official movie trailer for Cadabra below... #Cadabra #AnnieVincent #geniefilm #ShortFilmReviews #ShortFilms #NoahStrattonTwine #MikeMcKenzie #DazMartin #JohnKinory