★★★★ Directed By: Alec Ybarra Starring: Alec Ybarra, Tamara Hutchins, Kyle Gray, Darcy Orrok Indie Film Review by: Jack Bottomley Bullying, as a subject is often one that makes for uncomfortable viewing and of the many that feature it, only select films have picked apart the injustices of this systematic torment. Bullying has life long impact and at an age where most of us are finding out who we are and what we want to be, it is sad that such essential life experiences are tarnished by the inhumanity of specific people. However, there is this bizarre notion that once we leave the classrooms and halls of school life bullying becomes a distant memory of a rough n’ tough childhood. Many of us know different. Bullying knows no age limit and in 13-year-old writer/director Alec Ybarra’s true story, this is shown in the largest way possible. Unmarked sees young actor Alec Diaz (Ybarra) fall prey to the jealous rage of bully Marcus (Kyle Gray) but in an attempt to stop her son being exposed Marcus’ unhinged mother Lynda (Tamara Hutchins) starts an obsessive campaign to vilify Alec and turn the entire school (and teaching staff) against the young man. As somebody who was bullied, this story made for uneasy viewing for me and as Ybarra tells his story you feel justifiably angry and upset at the system and how easily manipulated it can be. While some points are heavily hammered, Unmarked is a film by a young filmmaker with a lot to say and its message is one vital and important to the Internet age. Unmarked depicts a schooling structure susceptible to prejudice and lies and shows how an adult can be even more abusive and poisonous than a mean child. Lynda flicks a few emails at high speed and puts on some crocodile tears and it is enough to get everyone onside in her aggressive campaign against the boy that is wronged. One particular scene also picks up on the racially motivated injustice of the tale and makes this story a disconcertingly palpable reflection of Trump era societal biases. The film is very short but its running time feels greater thanks to the challenging content and confrontational material, which shows us how incendiary hatred is and how people with a nasty agenda can be believed on a whim, even if evidence points other ways. This is a film that is very well made, with some fine editing (also by Ybarra), cinematography (by Dan Nimmo) and a strongly atmospheric score by Mark D’Errico. The performances themselves are largely effective as they seem to double down on the cruelty, although it must be said some are very over the top (though perhaps this is intentional) and at times wonky lines. Although Ybarra is particularly gifted in the lead and, as Alec, gives the film a very realistic portrayal that helps in furthering its messages and stance. Unmarked is a concise film about a complex subject and as it sheds its light on the age-defying nature of bullying from the eyes of a young victim, its story admittedly goes to extremes and while some may struggle to sit through it even tempered, this is a subject that needs more of a spotlight. On the evidence of his craft here Alec Ybarra is another new voice in cinema that could advance on to a lot of great things. Watch the official movie trailer for Unmarked below... #IndieFilmReviews #IndieFilms #JackBottomley #MovieTrailers #Bullying #AlecYbarra #TamaraHutchins #KyleGray #DarcyOrrok

★★ Directed by Deon Taylor Starring Paula Patton, Omar Epps, Dawn Olivieri, Missi Pyle Film Review by Hope Madden A mid-budget action thriller sees a handsome couple alone in an isolated home suddenly at the mercy of a biker gang. Well, hell, this could be just about any mid-to-low budget thriller from the Seventies. Writer/director Deon Taylor borrows some of the ideas and themes from Seventies exploitation, updating it with a more contemporary style, slicker editing, modern problems and Paula Patton. That last one might be the real trouble. Patton plays Brea, a Seattle journalist who may have just lost her job because she’s too interested in telling the whole story. She’s just not one to turn a piece around quickly enough for today’s 24/7 news cycle. She takes her mind off things with the surprise trip her boyfriend (Omar Epps) planned. Traffik builds slowly with overly familiar tension, and Taylor makes a handful of interesting choices. These bikers aren’t just racist and bloodthirsty (although they are that). They are the goons of an international human trafficking organization and Brea, her boyfriend and this pointless second couple are in for some real trouble. The women in Taylor’s film get every opportunity to make a difference, participate in the action and make reasonable decisions—definitely not a staple of Seventies exploitation. Problematically, Paula Patton cannot act. A lot of action stars can’t, that’s true, but the film really depends upon Patton’s emotional journey and the woman cannot emote. Taylor makes up for that by simply ogling her body with his camera for 90 minutes. I have never in my life seen a film more preoccupied by one performer’s nipples than Traffik. It would be problematic anywhere, but in a movie where the heroine hopes to save women from sex slavery, it feels wildly wrong-headed. Given a couple of turns in the script and the film’s overall Seventies vibe, you wonder whether Taylor sees Patton as the new Pam Grier. She is not. The film is not terrible. Dawn Olivieri’s turn as a truck stop druggie will haunt you, and even though you basically know what’s coming, Taylor’s game direction keeps you interested nonetheless. There are a couple of decent action sequences—nothing to write home about—and the pace is quick. Take Paula Patton (and Taylor’s leering filming of her) out of the movie and it’s not a bad little piece of throwback exploitation. #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #Traffik #PaulaPatton #OmarEpps #DeonTaylor #exploitationfilms #actionfilms

★★ Directed by Jay Chandrasekhar Starring Jay Chandrasekhar, Brian Cox, Rob Lowe, Paul Soter Film Review by George Wolf If you've been holding your breath for another Super Troopers, let's face it, you're long dead. But after 17 years, the Broken Lizard gang is back with more of the same stupid gags from that doofus crew in the Vermont Highway Patrol. Well, technically, the crew has been relieved of duty since the "Fred Savage ride-along incident," but destiny finds them at the Canadian border. After a rare border reassessment, a small Canadian town (with a winning Rob Lowe as the local mayor/bordello owner) must begrudgingly accept that it will soon become a small American town. To ease the jurisdictional switch from Mounties to VHiPs, Captain O'Hagan (Bryan Cox) reaches out to his old cohorts with the defiant cry of "stoners assemble!" He really doesn't do that, but you get the idea. The guys are still stoners. Apparently inspired by an actual border situation, the film digs in for plenty of sophomoric antics about polite Canucks, boorish Yanks, body parts, bad puns and how each side pronounces "sorry." There are easy targets and cheese aplenty, but some laughs do get squeezed out, mostly from sheer commitment to the familiarly low bar of the original. The writers/director/stars in the BL gang are aiming to please, and understandably so. They're here thanks to cultish fans and a crowdfunding boost, so giving the Troopers troop what they want, including at least two inspired callbacks to that first film, is a sound strategy. It's just not a consistently hilarious one. The verdict is pretty simple: if you liked the first one, you'll like Super Troopers 2. Either way, stay for the Fred Savage thing. #JayChandrasekhar #GeorgeWolf #PaulSoter #RobLowe #BrianCox #movies #film #entertainment #moviereviews #comedies #SuperTrooprs2 #BrokenLizard #FilmReviews #TheatricalReleases

★★★★ Written and Directed by Stephen Portland Starring Jane Rowen, Michael Gazin, Joel Clark Ackerman, Eric Roberts Indie Film Review by Hannah Sayer Stephen Portland’s debut feature Something is a horror mystery film that explores how a couple’s life begins to unravel as they adjust to life with their newborn baby. This is an unsettling and at times jumpy film which explores themes of parenthood, fear and paranoia. The film opens with a frame narrative to a flashback as a Cop, played by Joel Clark Ackerman, arrives at the house that we later learn is the home of this couple and their newborn baby. He keeps knocking to no answer from inside the house. When he looks through the window, the blinds are obscuring his view yet he can see what looks like a body. This introduces us to the eerie and sinister story to follow. The couple in the film aren’t credited with names. They are simply called Man (Michael Gazin) and Woman (Jane Rowen) in the credits. The film shows scenes of them parenting and looking after the child together but the husband has to go back to work in a couple of days. The wife remarks that she wishes things would go back to the way things were before the baby and this exploration of her difficulty adjusting to her new life is an intriguing aspect of the story. The baby is constantly crying meaning the couple are sleep deprived and feeling very low. In one scene when the husband looks after the baby while the wife goes to run a bath for a brief moment of relaxation, there’s no hot water and she seems concerned about having to invite the person round again who fixed it previously as he gave her the creeps. What follows is one thing after another going wrong for this couple and the viewer begins to anticipate that this is all building up to something awful that is about to happen. The couple both begin to see a figure in the house either in reflections or on the baby monitor. The film asks the viewer to consider whether this is all in the couple’s mind or is it something more? Something explores how this all begins to cause tension between the couple as paranoia builds as the viewer and the couple themselves question whether what is happening is real or imagined. The film’s score is effectively used throughout to heighten moments of tension and this makes the viewer anticipate something is wrong, especially during the opening police scene and when the couple believe the intruder is in the house. This adds to the foreboding atmosphere which is also reinforced through the film taking place almost entirely within the confined setting of the couple’s home. This adds to the claustrophobic intensity and creates a slow-burn effect as the couple’s paranoia and anxiety builds to a climactic moment. The film plays with rational fears and there is something so frightening about being confined within this house with the baby non-stop crying. This heightens their paranoia and makes the film even more unsettling. I like how the film has explored parenthood and the feelings of postpartum depression experienced by the mother. The underlying awareness of this issue elevates the material. At times the acting feels slightly wooden and over-acted. Yet, this is only reinforced due to the claustrophobic and intense atmosphere as these are only the only characters seen on screen for the majority of the film. Something is slightly overlong yet it is still enjoyable. It takes a long time for the mystery to unravel but it is an intriguing premise which keeps the viewer interested. Overall, Something is an entertaining horror mystery film which has genuine scares as well as exploring genuine fears of parenthood and home intruders. The clever twist at the end answers many questions but also leaves a lot of the mystery open and for the audience to decide whether everything that has happened is clearly real or imagined. This great ending reinforces the smart storytelling of Something. Watch the official movie trailer for Something below. #Something #StephenPortland #JaneRowen #MichaelGazin #JoelClarkAckerman #EricRoberts #IndieFilms #IndieFilmReviews #Horror #Drama #Mystery #MovieTrailers #HannahSayer

Film Festivals > Press Releases To celebrate the 10th Anniversary of GRIMMFEST, the Manchester based genre festival is pleased to announce the first GRIMMFEST AWARDS, a new scheme to celebrate the very best genre titles selected for the annual festival and the creative teams behind them. This year’s GRIMMFEST film festival takes place in Manchester UK from the 4 th –7 th October and the award winners will be announced at the end of the festival. “We are launching the awards, to promote and celebrate ground-breaking new talent in Genre filmmaking,” said festival director and founder of GRIMMFEST, Simeon Halligan. “For the past decade, we have showcased the work of filmmakers from all around the world, keen to discover the next generation of cinematic mavericks and genre masters.” Co-director Rachel Richardson-Jones added, “as filmmakers ourselves, we have become increasingly aware that festival recognition is not merely an acknowledgement from peers of a job well done, but also a vital means of gaining increased profile and attention for your film. Therefore, as one of the Genre world’s key festivals, we have decided to reward excellence where we see it.” This year’s awards jury has been selected to offer a rebuff to the widespread misconception that Horror and Sci-Fi are male-centric! The all woman Jury includes a selection of some of the brightest lights in Genre cinema right now, including Joanne Mitchell (Writer, Actress and Producer), Caroline Couret-Delegue (Film sales), Lauren Ashley Carter (Actress and Writer), Andrea Subissati (Executive editor at Rue Morgue), Annick Mahnert (Acquisitions Consultant, Festival Programmer and Producer) and Anya Stanley (Journalist at Dread Central). Grimmfest will also be partnering with HORROR CHANNEL to present a “Lifetime Achievement Award” to honour a very special guest on their body of work within genre film. The recipient will be announced over the coming weeks. To further cement the position of women in senior roles at Grimmfest, Laura Scott has been appointed as Festival Manager. GRIMMFEST 2018 will take place 4 th - 7 th October 2018, Manchester UK. #PressReleases #FilmFestivals #Grimmfest #Grimmfest2018 #UKFilmFestivals

★★★★ Directed by Lynne Ramsay Starring Joaquin Phoenix Film Review by George Wolf Two killers lie on a kitchen floor, gently singing along as the radio plays "I've Never Been to Me," surely on of the cheesiest songs of all time. Only one of the men will get up. It's a fascinating sequence, one of many in Lynne Ramsay's bloody and beautiful You Were Never Really Here. In 2011, Ramsay turned We Need to Talk About Kevin, a spare novel that was not especially big screen friendly, into one of the most devastating yet necessary films in recent memory. Her gifts keep on giving, as here she adapts Jonathan Ames's brisk novella into a dreamy, hypnotic fable, an in-the-moment pileup of Taxi Driver, Taken and Drive. Joaquin Phoenix delivers an intensely powerful performance as Joe, a combat veteran whose been wounded in various ways. Joe lives with his mother in suburban New York, whetting his appetite for violence as a vigilante for hire who specializes in rescuing kidnapped girls and exacting brutal justice. A New York senator (Alex Manette) wants his daughter's (Ekaterina Samsonov) disappearance kept quiet, so Joe gets the call, only to find this case comes with unexpected complications. Together, Ramsay and Phoenix ensure nearly each of the film's 89 minutes burns with a spellbinding magnetism. While Phoenix lets you inside Joe's battered psyche just enough to want more, Ramsay's visual storytelling is dazzling. Buoyed by purposeful editing and stylish soundtrack choices, Ramsay's wonderfully artful camerawork (kudos to cinematographer Thomas Townend) presents a stream of contrasts: power and weakness, brutality and compassion, celebration and degradation. Much like Ramsay's Kevin, You Were Never Really Here is no feel good garden party. It is darkly surreal, and ironically exacting in its impressionistic study of taking hits, and hitting back. Still, it offers a rich cinematic experience, with a filmmaker and actor working in glorious tandem to soak each frame with meaning. #GeorgeWolf #movies #film #entertainment #moviereviews #filmreviews #YouWereNeverReallyHere #JoaquinPhoenix #LynneRamsay #independentfilm

★★★ Directed by: Joston Theney Starring: Edward Gusts, Arielle Brachfeld and Melissa Mars. Indie Film Review by: Annie Vincent Theney and Gusts’ latest offering is The Letter Red, an update of Shakespeare’s Macbeth, which brings our protagonists, John and Jane Macbeth, into 21st century America. Following a tragic miscarriage, they have just moved into a house they cannot really afford, but such is their ambition and their confidence in the promise of promotion that John has been offered at work, that they go for it anyway, rubbing up against the Joneses next door. Of course, things never went particularly well for success-seeking Macbeth in Shakespeare’s day and it doesn’t here either, as John realises that capitalism really sucks. He and his wife exact their revenge on his boss, Duncan (yes, the Macbeth references continue throughout the film), whilst Jane picks up her own little revenge plot on the side as she plays the sweeter-than-sweet housewife. In the end, the threads of the plot all come together in a dark and twisted ending. This film starts off as a precocious child: confident, capable and with a little flair. The camera work is good, the literary references solid, and the tension palpable. But about a third of the way through, it starts to morph, desperate to become the popular kid, trying anything and everything to be liked. Plot decisions take a drastic, and frankly weird, turn, the soundtrack becomes painful, and the flair and elegance is lost among the darkly comic, slasher-movie conventions. Perhaps it is all part of Gusts’ plan; perhaps it is beautifully ironic that the film loses its way, much like its protagonists. But it jars and leaves this film open to a criticism it wasn’t facing in the first thirty minutes: it doesn’t know what it wants to be. Which is sad really. Edward Gusts clearly knows what he’s doing in terms of characterisation. Placing Macbeth and his wife in the 21st century, providing them with 21st century issues like childlessness, miscarriage and office politics, is great. Gusts is pretty good at acting too, as is Arielle Brachfeld who is positively cringe-worthy as Jane Macbeth – all at once the pretty little whining submissive under her husband’s wrath, and yet the calculating, sweet-on-the-outside, rotten-to-the-core in the inside vixen, directing his every move towards promotion and ultimate control of his company. But when the plot gives way to petty arguments with the neighbours which result in an unlikely death and a knife attack, the credibility of this story starts to give way and rather than philosophise over those ancient questions of human power and greed, we start to question if that much blood really would result from that type of punch, and that is not the sort of question you want your audience to be asking. There are a good number of things to like about The Letter Red, but sadly they may be overshadowed by the fundamental flaws, not of Macbeth and his wife, but of the film-making, if you manage to see it through to the end. #UKFilmReview #EdwardGusts #JostonTheney #TheLetterRed #Psychological #IndieFilmReviews #IndieFilms #ArielleBrachfeld #MelissaMars #AnnieVincent

Directed by: Patcharaphon Napapornpipat Written by: Patcharaphon Napapornpipat Starring: Chananat Nimbuatong Short Film Review by: Evie Brudenall A young man meanders around a museum. He’s solitary and the entirety of the museum seems similarly abandoned. He doesn’t shield himself behind a smartphone or a gadget and he completely immerses himself in the experience, thus allowing the audience to as well. One Day at the Museum is shot and captured beautifully in black and white; the camera lingers over the museum’s exhibits and numerous displays and as the young man becomes engrossed in deep thought, stock footage of technological moments and advancements in history is played. An aviator plane ascends off the ground. A vinyl record turns slowly. A rocket ship is launched into space. Hundreds of concert goers revel in live music. A young child licks an ice cream cone. All of these visuals serve as a reminder of the incredible work and inventions of mankind. The score, composed by Peter Roe, that accompanies the swelling and moving montage is perfectly matched and procures the feeling of awe and pride in what we have achieved over the years. Although the facts that are presented during the end credits are shocking, they will hopefully prompt its audience to take action so we can continue creating. Comparable to Samsara (2011) in many ways, One Day at the Museum marvels at our achievements but won’t let us forget about the work that needs to be done to secure our future. #ShortFilmReviews #ShortFilms #EvieBrudenall #PatcharaphonNapapornpipat #ChananatNimbuatong

★★★★ Directed by: John Reyer Afamasaga Starring: Tim Huebner Documentary Film Review by: Chris Olson A thought-provoking and sensitive exploration of the racially notorious legacy of Southern USA that attempts to topple myth and half truths by honouring the reality of one city member’s real past. Filmed in Memphis, The Yard refers to a space that is now a parking lot behind a church but was once a slave market, one that was lucratively owned by Nathan Bedford Forrest. Instead of being listed as so on any of the town’s public markers, they just simply say the man was a General in the Confederate army. One history professor called Tim Huebner, who is also a member of the aforementioned church, and a group of other motivated citizens decide to challenge the fiction which has made its way into the public mindset by proposing a new marker is erected, one which acknowledges the way in which Forrest made his fortunes. Any documentary film that tackles the reputation of the Southern States is going to have to do so in a manner which is intelligently crafted and balanced if it hopes to avoid a bombastic array of mudslinging and finger pointing. Director John Reyer Afamasaga brilliantly achieves the correct levels of insight, intrigue, and examination whilst staying respectful of the area's proud attitudes. It's also a documentary film that has a largely positive and hopeful approach, not afraid to posit the idea that a more harmonious community could be reached if we free ourselves enough to challenge our own ideas of the past and what it means to us now. Whilst the specific details in The Yard are local, the film has universal themes that are hugely compelling. One section explores the place of religion during the slave trade which was utterly fascinating, looking at how a slave could be baptised as a Christian but still not gain their earthly freedom. There are so many other threads which are travelled, mostly split using helpful title cards, and Afamasaga is particularly skilled in his pacing that none of the hour feels sluggish or preachy. Huebner is a great presence on screen, passionately discussing the issues with Forrest’s legacy whilst bringing in his own emotional standpoint and baggage as a Christian and semi-Southerner. Many of the other figures who appear in the film are equally as stimulating. I had two small grievances with The Yard, one was the music. The choices were distracting at times and often ill-suited to the tone and atmosphere. The second was the awkward use of zoom in Huebner’s office. It only happens a couple of times but when it does it felt goofy and reminiscent of The Office. These were only minor though and for the majority of the viewing I was absolutely immersed. Viewers interested in history and the racial divide will be in their element with this film, as will audiences looking for an emotionally gripping watch. The tributes paid to the slaves are unforgettable, as is the lasting impact on one’s conscience as we consider the idea of truth in our supposed heroes and how important it is to never stop questioning the “reality” we are presented with. Watch the official movie trailer for The Yard below... #DocumentaryFilmReviews #Documentaries #ChrisOlson #Racism #JohnReyerAfamasaga #TimHuebner

★★★★ Directed by Anthony Russo, Joe Russo Starring Chris Evans, Chris Hemsworth, Chris Pratt, Robert Downey, Jr., Scarlett Johansson, Chadwick Boseman, Josh Brolin, Zoe Saldana Film Review by Hope Madden and George Wolf Let’s say you recently penned Captain America: Civil War, an exceedingly successful comic book franchise effort weighed down by the mushrooming of heroes. So. Many. Heroes. And let’s say it went so well that you are now tasked with the new Avengers movie—the film that takes very nearly every hero from your last effort and tacks on, say, 7 or 8 more. You would almost have to immediately think about thinning the herd, right? Yes. Christopher Markus and Stephen McFeely (who’ve penned all three Captain America films) weave a Marvel Universe-spanning tale that asks whether or not things would work out better if we had about half as many people to deal with. That seems like writerly self-reflection right there. Thanos (Josh Brolin, who villains it up for Deadpool 2 next) believes in balance. He’s been collecting Infinity Stones across all the different Marvel movies so he can create this Justice Friends adventure and rid the universe of half its inhabitants. Wait, Thanos is a Guardians of the Galaxy villain, right? Does that mean Starlord’s entire rag-tag crew will join the Avengers (and Dr. Strange and Black Panther and Spiderman and on and on)? So, Chris Pratt, Chris Evans and Chris Hemsworth? Correct. All we need to defeat Thanos is Chris Pine. No way six Infinity Stones can outshine the wattage of all the Chrisses! The screenplay offers smart comic moments that suit individual characters (Drax! Teenaged Groot!) and never undermine the drama, of which there is plenty. And balance is clearly on the minds of the writers as well as directors Anthony and Joe Russo (who helmed the last two Captain American films and love Cleveland). The storyline divides up nicely to allow the plethora of personalities to shine, each in their own way. Though the film runs a full 2 ½ hours with the end-of-credits stinger, it never drags. Plenty happens, all of it rooted in character and held together by a Brolin, who gives the film a layered epicenter through his memorable CGI/voice performance. The Thanos facial effects rank somewhere between Planet of the Apes and Superman’s mustache, while the outlying worlds and creatures sport satisfactory shine. But we cannot get behind what they’re doing with Hulk. Not digging it. The very best films in the Marvel universe excel in nuanced big thinking (Black Panther, Winter Soldier) or bullseye tonality (Spider-Man: Homecoming). Avengers: Infinity War gets close on both battlegrounds, but lays up to bet on its own long game. True, that sounds like cliched word salad, but we're steering clear of planet spoiler. Avengers: Infinity War tackles some big ideas and makes some brave choices that may cause you to reassess the entire Marvel franchise. Not everyone will be pleased. But props to Markus, McFeely and the Russos, for being unmoved by the Last Jedi fanboy uproar and following an ambitious vision. And their film does entertain. There’s not a minute of bloat and there is plenty of thought-provoking story likely to make this a movie earning more respect through time and space. #HopeMadden #GeorgeWolf #AnthonyRusso #JoeRusso #ChrisPratt #ChrisHemsworth #ChrisPrattZoeSaldana #JoshBrolin #ChadwickBoseman #RobertDowneyJr #ZoeSaldana #AvengersInfinityWar #actionmovies #Marvelmovies #comicbookmovies #superheromovies #FilmReviews #TheatricalReleases

★★★★ Directed by: Avery Cohen Starring: Chris Russo, Isabella Hartman, Saranda Krkuti, Seth Kaliroff and Scott Cohen Short Film Review by: Rachel Pullen Who doesn’t love the calming sensation of running away from your problems, it solves nothing really but let’s face facts sometimes tackling things head on is lame, reality is lame and so wouldn’t it be nicer if we could all just live in our little warm bubbles of safety? I think that’s what Valium is all about but I’m not really into promoting pharmaceutical abuse. Denial is not just a river in Egypt [yeah I just went there] but is also a well known coping method when dealing with the loss of a loved one. Sometimes we cannot face the truth, or we don’t want to, running for as long as we can from the things that tell us that person is no longer with us, and that is what Avery Cohen decides to explore in the short The Horizon. The Horizon tells the story of Henry [played by Chris Russo], a young man who is going to great lengths to avoid going home, but he is not alone, joined by his female friend they drive the streets of their home town through the night, talking about the little things, creating a connection that seems deeper than its surface appearance, all the while never really addressing the problem at hand, that Henry is running from something. We as an audience are blessed with the visual stimulation of Cohen’s directing skills, confidently taking simple locations and actions of his cast and filling them with rich colours and exceptional use of lighting, be it natural or manmade. All these effects allow for complete submission to the ideas and feelings that you are right there along for the ride, wasting your youth and time in the back of a friend’s car, it’s a memory we can all tap into. The strengths of this short film are many, as I said it offers up a buffet of interesting camerawork and lighting choices, music is well timed and beneficial toward the scenes and as for the storyline, The Horizon tackles denial and grief from an interesting angle, giving this short its own confident style. Some of the weaker points would have to be the performances, despite being adequate you are very aware that you are watching an act, it’s hard to lose yourself entirely in their performances, but they are young, dealing with an emotionally driven script, it does not go without saying that they gave the roles their best efforts. Overall this short is a well designed and fluid piece of cinema, with a storyline that engages well and the constant sense of atmosphere and emotional charge Cohen delivers up is an enjoyable watch for a diverse and wide audience. #ShortFilmReviews #ShortFilms #RachelPullen #AveryCohen #ChrisRusso #IsabellaHartman #SarandaKrkuti #SethKaliroff #ScottCohen

★★★★ Directed by: David Moya Written by: David Moya Starring: Jason Thorpe, Toby Longworth, Zephryn Taitte Short Film Review by: Chris Olson Does white privilege extend to heaven and hell? Would an all-powerful God or gods (or at least their administration) show favouritism to white people when they get to the pearly gates which are guarded by squirrels? And what about reincarnation? Could you choose to come back as someone of a race that has a much easier ride on Earth? All this and more gets explored in the brazen short comedy film White, written and directed by David Moya. Inside an overworked servant of heaven’s office we see a white guy (Jason Thorpe) in a suit typing away at a computer. So instantly we know he is the one with the power. In comes an overweight middle aged white guy (Toby Longworth) wearing an unbearably bright Hawaiian shirt, clearly representing white privilege, whom we learn is in the process of transitioning, meaning he is dead and now finds out who he will come back as when they plonk him back on Earth. As our dead guy bemoans his fate and turns down the numerous, racially diverse identities that could await him (even Irish is not “white” enough for him), he brings in a fellow dead guy (Zephryn Taitte) who reveals the harsh truth of being black in a White world. Told with all the levity of a Monty Python sketch, Moya’s film strikes that necessary and elusive balance between outlandish comedy with a straight face brilliantly. The subject matter never falls foul of the offensive boundary and instead remains a cheeky and exuberant piece with just the right amount of pointed social commentary. The denunciation of white privilege is clear whilst poking fun at a whole smorgasbord of cliches and stereotypes. The tone of White from a filmmaking and mise en scéne perspective was just right. The use of an isolating waiting room, governmental style posters, and darkened office was excellent, as was the framing of each character, which allowed their lines to take centre stage without unnecessary frill. The script was largely a success. There are some howlingly funny bits of dialogue, especially when delivered by Thorpe's oppressed management type. My only issue with the script was the sweary section given to Taitte, which felt less witty and scathing than it could have been. The moronic things that White people have said to him were so funny but they got muddied by his aggressive language. Of course I understand the filmmakers wanted to convey his frustrations after a lifetime of minority abuse, but they robbed him of the audience’s sympathy with so much effity jeffity. The performances were great. As mentioned, Thorpe is excellent and I could easily have watched more of his daily activities in the transitioning trade. Longworth is very good as the “I'm not racist, but…” type, as was Taitte who does steal the scene during his tirade. Overall a biting and brutally honest send-up of white privilege and the ridiculousness of how races have emerged to gather varying levels of power and entitlement. As well as a comedic examination of the stereotypes which have been cemented in the popular mindset that determine so much of our opinions and identities. All wrapped up in an ethereal quandary in the afterlife, what else can you want? Watch the official trailer below. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #Racism #DavidMoya #JasonThorpe #TobyLongworth #ZephrynTaitte