★★★ Directed by Kay Cannon Starring Leslie Mann, John Cena, Kathryn Newton, Gideon Adlon, Geraldine Viswanthan, Ike Barinholtz Film Review by George Wolf Is it me, or is there an encouraging trend building here? In the last few years, mainstream teen comedies such as The Duff, The Edge of Seventeen and Love, Simon have shown more smarts and diversity, with less reliance on the same old same old pandering. Blockers starts with a cliched teen sex premise - gotta get some before college! - and turns it sideways, managing solid laughs (and some self-aware winks at romance fantasies) in the process. Julie, Sam, and Kayla (Kathryn Newton, Gideon Adlon, Geraldine Viswanathan) are three Chicago-area high school seniors who vow to all turn in their V-cards on prom night (so they can commemorate the occasion every year at the Olive Garden). The girls' respective parents (Leslie Mann, Ike Barinholtz, John Cena) uncover the plans for "sexpact2018" (after a hilarious bit of emoji code-breaking) and set their own quest in motion: less cocking and more blocking. Veteran writer Kay Cannon (30 Rock, the Pitch Perfect films) makes her directing debut, giving some nicely paced zest to the winning script from Brian Kehoe and Jim Kehoe. Even the film's most outlandish moments (a "chugging" contest gone way wrong) seem to serve the film's purpose. Young adults are capable of making intelligent choices, and young women don't need saving. Adults can be juvenile in their own self-interest, and some raunchy laughs can be had making all of those points. Yes, the points come on a bit strong time and again, but the cast (especially Mann) keeps it lively and relatable. If Blockers means this movie trend is working, keep 'em coming. Giggle. #KayCannon #GeorgeWolf #movies #film #entertainment #moviereviews #filmreviews #LeslieMann #Johnena #KathrynNewton #GideonAdlon #GeraldineViswanathan #IkeBarinholtz #comedy #comedymovies #raunchycomedymovies #tenncomedies

★★★★ Directed by John Krasinski Starring Emily Blunt, John Krasinski, Millicent Simmonds, Noah Jupe Film Review by Hope Madden Damn. So, John Krasinski. That big, tall guy, kind of doughy faced? Married to Emily Blunt? Dude can direct the shit out of a horror movie. Krasinski co-writes, directs and stars in the smart, nerve-wracking gut-punch of a monster flick, A Quiet Place. Krasinski plays the patriarch of a close-knit family trying to survive the post-alien-invasion apocalypse by staying really, really quiet. The beasts use sound to hunt, but the family is prepared. They already know sign language because their oldest, played by Millicent Simmonds (Wondertruck) is deaf. A blessing and a curse, that, since she can’t tell if she makes noise, nor can she tell if a creature comes calling. Simmonds is wonderful as the conflicted adolescent, her authenticity matched by the tender, terrified performance given by Noah Jupe (Wonder) playing her younger brother. As their expecting mother, Emily Blunt is magnificent, as is her way. Simultaneously fierce and vulnerable, she’s the family’s center of gravity and the heart of husband (onscreen and off) Krasinski’s film. But you expect that from Emily Blunt. She’s amazing. What you may not expect is Krasinski’s masterful direction: where and when the camera lingers or cuts away, how often and how much he shows the monsters, when he decides the silence will generate the most dread and when he chooses to let Marco Beltrami’s ominous score do that work for him. The script, penned by Krasinski with horror veterans Bryan Woods and Scott Beck, stays one step ahead of your complaints. Just as you think, “Why haven’t they done this?” a clear explanation floats across the screen, either as translated sign language, a prop on a table or a headline in Dad’s gadget-laden basement bunker. It’s smart in the way it’s written, sly in its direction and spot-on in its ability to pile on the mayhem in the final reel without feeling gimmicky or silly. And the monsters are kick ass. That’s a big deal. At its heart lies a sweet sentiment about family, but sentiment does not get in the way of scares. A Quiet Place works your nerves like few films can. #AQuietPlace #movies #film #entertainment #moviereviews #filmreviews #HopeMadden #horror #EmilyBlunt #JohnKrasinski #MillicentSimmonds #NoahJupe #FilmReviews #TheatricalReleases

★★★★★ Directed by: Joseph Ollman Written by: Joseph Ollman Starring: Matthew Aubrey, Jâms Thomas Short Film Review by: Chris Olson The unlikely existential ruminations that can transpire when two contrasting characters collide has never been so picturesque than in Joseph Ollman's short film Meat on Bones. Set upon a gorgeous clifftop and beach, the audience not only gets these breathtaking visuals, but also a poignant and affecting story with superb performances. Matthew Aubrey plays Gwynn, a sheltered office worker who treks his way up to the top of a cliff in order to stick an eviction notice on a caravan. Little does he know what's awaiting him inside. A surly alcoholic called Dai (Jâms Thomas) who takes matters into his own hands with this council worker by taking him hostage. As with any short film that approaches it's story with two central characters, the chemistry between the performers needs to be incredible to carry it off effectively, and in Aubrey and Thomas the chemistry is nothing short of transfixing. The characterisation has been intelligently written by Ollman, creating important depth to each, that when these actors step into the roles they have so much to work with. Aubrey is a terrific scared little lamb and also delivers some amazing one liners, such as having fajitas for dinner that night. Thomas is a compelling presence throughout Meat on Bones, exploring the various nooks and crannies of his curmudgeonly Dai with skill and aplomb. The filmmaking is done to a really high standard. Making superb use of the glorious location, as well as coping with tighter shoots inside the caravan and a cave. There is a memorable atmosphere created by Ollman's movie that starts with comedy, gets darker, and eventually moves into something more dramatically tragic and thought provoking. This is enhanced by many aspects, such as the cinematography and score, but the locations are most definitely one of the most striking. It was the superbly crafted themes of Meat on Bones that convinced me of its genius. What starts as a simple odd couple comedy becomes something far more detailed and impressive. The revelations of each character go miles in making them so much more intriguing that, without spoilers, by the final third of the film you know that this is a slice of top-tier short filmmaking that you are watching. If you can write characters as believable and engaging as this, evoke performances as entertaining as this, and strike thematic chords with an audience as intelligently as this, then yours is the world my friend. Not to mention delivering a remarkably cinematic viewing experience from an aesthetic point of view. Watch the official movie trailer for Meat on Bones below... Or watch the short film for free as part of the UK Film Channel. #ShortFilmReviews #ShortFilms #ChrisOlson #JosephOllman #MatthewAubrey #JâmsThomas #BlackComedy #Drama #UKFilmChannel

★★★★ Directed by: Ren Thackham Written by: Ren Thackham Starring: Danny Bolt, Lee Priest Short Film Review by: Chris Olson The Rover meets Groundhog Day with a touch of Mad Max in this short Australian comedy, written and directed by Ren Thackham. Round Trip is a blisteringly funny journey into the wild where anything can, and does, happen. Danny Bolt plays Constable Rose, a charming and likeable cop hoping for the easy transport of a prisoner in the back of his police car. Said prisoner, Ned (Lee Priest), is anything but cooperative though, and seeks escape at his first opportunity. However, their current location is in the massive unknown that is the Australian outback, where strange things start to happen. Brilliantly filmed, wickedly funny, and intelligently paced, Thackham steers with both hands on Round Trip for a thrilling and controlled viewing experience. The laughs come when they are supposed to, especially from the banter between Priest and Bolt. One of my favourite moments is when Bolt’s police officer talks about wanting a tattoo to the largely inked Ned. It was a perfect example of great timing and characterisation. The location is used spectacularly. With the unforgiving sun a constant menace, contrasting wonderfully with the breathtaking landscapes and endless horizons. There are also some pretty impressive stunts thrown in for good measure, with Constable Rose’s cop car being flipped a couple of times. It was fantastic to see Thackham’s script hold up to the strain of attempting multiple genres. The coalescing elements of comedy, action, mystery and horror could so easily have been too much for another filmmaker to hold their balance, but Thackham holds the reins tighter than Ned’s skin-tight vest against his bulging muscles. The lines are funny throughout and there is a genuinely compelling degree of peril and intrigue from the storyline. To say much more would spoil it but you should most definitely seek this film out. I would perhaps have liked a little bit more exposition than is given. Only to help me invest more into the two characters and the dangerous situation they find themselves in. That being said, the charisma of the performers goes a long way to assist this. The performances are excellent, Priest playing the unstable criminal with impressive amounts of humour. Bolt is utterly hilarious as the Aussie officer, delivering some of the most memorable moments in Round Trip. Everything I have said in this film review goes a way to attest to the splendour of Thackham's short film, but two words come to mind if you are looking for a more concise conclusion. Fair dinkum. #ShortFilmReviews #ShortFilms #ChrisOlson #AustralianCinema #RenThackham #Comedy #DannyBolt #LeePriest

Directed by: Meg Skaff Starring: Brit-Charde Sellers, Timothy J. Cox, and Kimberly David Short Film Review by: Owen Herman Terry Kendal and Orange Green is a dark comedy that makes many other films in that category seem relatively light hearted. It follows Terry Kendal (Brit-Charde Sellers), an optimistic and care free young woman who starts to become increasingly fearful as she finds herself the victim of stalking. The first thing you notice about Terry Kendal and Orange Green is the heavy use of narration to tell the story. This is a shame as it takes away from the visual storytelling and makes several moments feel very on the nose. However, it does establish a unique tone which gives the ending more shock value. Perhaps less narration would have been the best of both worlds. The two characters in Terry Kendal’s life are polar opposites and they give the film its extremes in terms of tone and style. Terry’s best friend, played by Kimberly David, provides some comic relief with her paranoid chats about her boyfriend. On the opposite side of things is Terry’s stalker, played by Timothy J. Cox, is really sinister and unnerving despite (or perhaps because of) his often silly requests. These characters embody what the film is going for and it works well. Music is very important to Terry Kendal and Orange Green and its used intelligently. Songs early on help establish Terry’s character and a more traditional score appears in the film’s tense moments. The highlight is an early encounter with Terry’s stalker when a series of discordant and unpleasant sounds play. It’s quite disconcerting and it really adds another layer to the scene. The film often mergers light with dark, delivering moments both make you chuckle and feel nervous. It’s through this that the film earns its nasty conclusion, had it just been swapping between jokes and serious threat it simply wouldn’t have worked. Overall Terry Kendal and Orange Green is a clever short that has some very good moments. Its interesting tone makes it immediately engaging and consistently surprising. #ShortFilmReviews #ShortFilms #OwenHerman #BlackComedy #MegSkaff #BritChardeSellers #TimothyJCox #KimberlyDavid

★★★★ Directed by Wes Anderson Starring Koyu Rankin, Bryan Cranston, Leiv Schreiber, Edward Norton, Bill Murray, Jeff Goldblum, Greta Gerwig, Bob Balaban Film Review by Hope Madden First note in my Isle of Dogs screening notebook: God damn it, I want a dog. Second note: Wait, Scarlett Johansson and Tilda Swinton are in another film that appropriates Asian culture? Come on! And that about sums up the conflicting emotions Wes Anderson generates with his latest stop-motion wonder. Isle of Dogs is Anderson’s second animated effort, coming nearly a decade after another tactile amazement, 2009’s Fantastic Mr. Fox. A millennia-long feud between the Kobayashis of Megasaki and dogs comes to a head when corrupt Mayor Kobayashi uses a dog flu outbreak to whip up anti-canine sentiment and banish all dogs to Trash Island. But his orphaned ward Atari (Koyu Rankin) steals a miniature prop plane and crash lands on Trash Island looking for his beloved Spots (Liev Schreiber). The little pilot is aided in his quest by a scruffy pack including Rex (Edward Norton), Boss (Bill Murray), gossipy Duke (Jeff Goldblum, a riot), King (Bob Balaban), and reluctant helper/lifelong stray, Chief (Bryan Cranston). Other voice talent as concerned canines: Johansson, Swinton, F. Murray Abraham and Harvey Keitel. Explained via onscreen script in typically Anderson fashion, dog barks have been translated into English and Japanese remains Japanese unless there’s an electronic, professional or exchange student translator handy. The choice shifts the film’s focus to the dogs (in much the way Peanuts shows remained focused on children by having adults speak in squawks). It also means that moviegoers who speak Japanese are afforded an enviably richer experience. But for a large number of American audiences, it means that Japanese characters are sidelined and the only human we can understand is the white foreign exchange student, Tracy (Greta Gerwig). From Ohio, no less. Between an affectionate if uncomfortably disrespectful representation of Japanese culture and Gerwig’s white savior role, Anderson’s privilege is tough to look past here, even with the scruffy and lovable cast. The animation is beyond spectacular, with deep backdrops and meticulously crafted characters. Atari’s little teeth killed me. The voice talent is impeccable and the story itself a joy, toying with our dictatorial nature, the need to rebel and to submit, and how entirely awesome dogs are. Set to an affecting taiko drum score with odes to anime, Ishiro Honda, Akira Kurosawa and every other Japanese movie Anderson watched as a kid, the film is clearly an homage to so much of what he loves. His skill remains uniquely his own and nearly unparalleled in modern film. And Isle of Dogs is a touching, flawlessly crafted animated dream. That probably should have been set in America. #HopeMadden #movies #film #entertainment #moviereviews #filmreviews #WesAnderson #GretaGerwig #KoyuRankin #BryanCranston #LeivSchreiber #edwardNorton #BillMurray #JeffGoldblum #GretaGerwigBobBalaban #animation #FilmReviews #TheaticalReleases

Directed By: Ryan Hendrick Starring: Frazer Hines, Caitlin Blackwood Short Film Review by: Jack Bottomley “Life is a gift” many have said it and many have felt it. No matter what is thrown at you in life, the very nature of experiencing the living world is a gift we all receive and make what we can of it. “Life is a gift” may be an opinion many have but it is also the opening statement in Writer/Director Ryan Hendrick’s short film Sundown, a film that very much harnesses this ethos through a tender human tale. Sundown is a meditation on what it is to live and appreciate all that comes with it. The film starts at sea, as William (Frazer Hines) travels by boat to the shores of an island community to meet young lady Abi (Caitlin Blackwood). On this trip, he learns how to cope with issues in his own life and discover more about life itself. So often films that tackle the subject of death, living or loss are very heavy and grief-stricken but it is to the testament of this short, that such subjects are undertaken in a thoughtful and reassuring fashion. Written by Hendrick and Clare Sheppard, Sundown is very philosophically inclined, narrated largely by Blackwood’s character - who comes to have even more depth and poignant relevancy in the minimal, reflective and emotional closing moments of the film – as she encourages us to think about our very existence. Chances are you will already have an idea that there is more to this visit than catching up with a friend for William but the story is so familiar because of the human burdens it deals with. Arguably echoing the experiences of many viewers, Sundown is a meaningful journey of dealing with what awaits us next by instead just respecting/living the moment. The film achieves a real solace by addressing that none of us really can say what it is like to die but all of us can say what it is like to live. The story is genuine and not over dramatized or over sentimentalised, Hendrick and Sheppard instead opt for a far slower, warm and discussion-based approach and Sundown, like the changing skies, passes welcomingly, methodically and with time for you to think about all it expresses. This is made all the more effective by the film’s gorgeous assembly, which is expert. From Hendrick and Urszula Kocol’s fantastic editing, which intercuts the dialogue with short flickers of natural peace, to Director of Photography John Rhodes’ quite sublime setting, which is rich in lapping waters, brightly coloured fields, unusual rock formations/colours and gentle breezes. Visually, this film is perfect and the soulful and calm scoring by Stephen Wright only adds to the contemplative aura of Hendrick’s short film. Sundown is an excellent viewing, made so by the aforementioned points and by a superb pair of leads in Blackwood and Hines, who many may recall appeared in Doctor Who. In fact the role of Abi was written for Blackwood and she is a powerful presence in the part and works well as a beacon of strength for Frazer Hines’ anxious and unsure William. The two help to make this a very intimate human story that picks up on feelings many of us come to encounter in our lives. The concept for Sundown apparently came about when Hendrick visited the Isle of Iona (the absorbing location in which this film is shot), on the western coast of Scotland, in 2008 and witnessed the sunset that concludes the film and inspires its title. Like Hendrick undoubtedly felt at the time, this film allows us all to bask in this beautiful event and in turn question the very nature of being alive, just like the characters onscreen. Sundown is really quite a beautiful little short, with an introspective power to it. Watch the official movie trailer for Sundown below... #ShortFilmReviews #ShortFilms #JackBottomley #MovieTrailers #RyanHendrick #FrazerHines #CaitlinBlackwood

Directed by: Jay Martin Starring: Olivia Newton, Mark Jarvis, and Matthew Duff Short Film Review by: Owen Herman “Forget it all” is the mysterious phrase that keeps reappearing in Sandra’s (Olivia Newton) life. Scribbled on a post-it note, it seems to never go away and, despite its sinister nature, perhaps it could even offer some help. This is the central riddle in Jay Martin’s Catharsis, a short that takes a dark look at recovery from tragedy. Beginning with fading memories, Catharsis follows Sandra, a woman whose life is unravelling after the loss of her daughter. The premise and mysteries of the film are interesting, but unfortunately, they are carried out in an unsatisfying way, leaving the viewer a bit cold to what should have been an emotional journey. The problem centres around scenes in a drug den. The film focuses far too much on this location. As soon as the nefarious dealer opens the door, you know exactly what is going to happen. This takes away from the eerily mysterious opening and slows the short down too much. More time should have been spent with Sandra prior to these moments, both to prolong the intrigue and further develop the character. Olivia Newton puts in a very good performance, but the supporting cast is noticeably weaker, which often makes it harder to immerse yourself into the short. One of the better elements of Catharsis is the use of colours and blur to portray memories. The blurring early on is very effective at creating that feeling of images painfully fading from memory. The sudden appearance of vivid colour adds a real layer of emotion to the recollections, showing how they were a much better time in Sandra’s increasingly problematic life. Catharsis has some great ideas behind it, and it executes some of them very well. However, it fails to be gripping, despite its brilliant opening. More could’ve been done to encourage the audience to ask questions. Early on you are led to believe this may be a thought-provoking and eerie thriller, but the ending is disappointingly simple. The film certainly has good moments, but it just doesn’t come together as it should. The overall experience can engage but is ultimately unsatisfying. #ShortFilmReviews #ShortFilms #OwenHerman #JayMartin #OliviaNewton #MarkJarvis #MatthewDuff

★★★ Directed by Gigi Hozimah Written by J.A. Marlowe Starring J.A. Marlowe, Jenny Hutton and Alexander Moitzi Indie Film Review by Hannah Sayer Shot on location in New York City, Gigi Hozimah’s feature film debut He Belongs To Us is an experimental exploration of a young man’s grief and trauma. The film is described as a surreal art house horror film and it blurs the real with the surreal in a bold and interesting way. The film opens with a familiar piece of classical music: Mozart’s “Lacrimosa (From the Requiem Mass in D Minor)”. On screen there is a figure whose face is covered with a mask who is dancing in what seems like a real world setting. This opening scene introduces the man who will continue to haunt Remy, played by J.A. Marlowe, throughout He Belongs To Us. There is a red tint to this opening shot which slowly fades away which continues throughout the film to inform the viewer visually of the transition from the real into the surreal. The colour red signals these surrealistic nightmare sequences. The film follows Remy who is haunted by memories of his neglected childhood and consumed by grief after his mother’s death. Memories of his past are haunting him as are the supernatural beings which haunt his nightmares. He has lost his job and has trouble sleeping and the film introduces us to only two people who are constant presences in his life, his girlfriend Victoria played by Jenny Hutton and his friend Roman played by Alexander Moitzi. Remy becomes paranoid as his nightmares begin to affect his everyday life and a betrayal from those closest to him leads to the film’s unsettling climax. The blurring of the real and the surreal in He Belongs To Us becomes disorientating as it is difficult for the viewer to differentiate between what is real and what is not. The film successfully implicates the viewer in the story and allows for Remy’s grief and situation to resonate. The film works well as a character study of one man’s grief and inner turmoil and through staging the majority of scenes within Remy’s apartment the atmosphere evoked is claustrophobic and intense. This reinforces that Remy’s paranoia is building and that his nightmares are gradually blurring with reality. Due to the film’s length some of the scenes in the apartment become repetitive and are not very exciting when juxtaposed with the bizarre and surreal horror sequences that are intercut throughout. At times the acting feels restrained and doesn’t grab the viewer’s immediate attention. However, this style often plays to the film’s advantage in the scenes which are meant to feel more subdued when juxtaposing the surreal scenes. Overall, He Belongs To Us is an atmospheric and experimental character study which works best when it focuses on its elements of surrealism. Watch the official movie trailer for He Belongs To Us below. #HeBelongsToUs #GigiHozimah #JAMarlowe #JennyHutton #AlexanderMoitzi #HannahSayer #IndieFilms #IndieFilmReviews #MovieTrailers

★★ Directed by Jack Brame and Zeb Lunz Starring: Jack Brame, Zeb Lunz and Alexx Brame Short Film Review by: Annie Vincent The Intruder, produced by and starring Jack Brame and Zeb Lunz, is billed as an interesting short: Jack, who has recently moved into a new apartment, begins to notice that one or two of his possessions keep moving. He grows increasingly suspicious that someone is breaking in and sets about trying to prove it. The paranoia film is a tried and tested scenario that works well in the short film medium, but it has only succeeded so far in this instance. The film opens with Jack staring at the wall, not opening the door to his friend Zeb – already something isn’t quite right. Despite them being friends, Jack isn’t exactly chummy with Zeb but the moody insolent teenager isn’t perhaps so unusual a character. As the next couple of days play out, Jack starts to notice little oddities – his clock radio seems to be moving, dust tracks proving his point; his toothbrush has been replaced in the wrong section of the holder; and the camera he sets up to watch his front door captures a slight light change: he’s convinced someone is watching him. Sadly, I’m not sure the audience is. And this is where the film comes apart at the seams a little – the best paranoia fiction insists that the protagonist could be right all along, forces us to start to believe them, pushing our reasonable doubt to one side, but that doesn’t happen here. We’re all on Zeb’s side – Jack must just be stressed out – and it means the film doesn’t have the intended impact and becomes a little underwhelming. At this point the soundtrack choices are more irritating than enhancing and the close camera work feel amateur, rather than voyeuristic. And with the audio-balancing a little unsettled in places, boredom does start to seep in. What becomes more interesting though, and rescues The Intruder somewhat, is the last few minutes when Jack caves in to his paranoia. The driving sequence displays some camera talent with a range of action shots and Jack’s vision is genuinely unsettling no matter how many times it is used and the audience will feel for this boy, who really does need some help. Jack Brame (Jack) does deliver a passable performance as the paranoid teen, though he delivers this much more convincingly in his action sequences than in dialogue; the conversation with his sister at the end being particularly awkward to watch. There are definitely engaging elements to The Intruder; but I think it probably needed a little more time to decide what it wanted to be. #ShortFilmReviews #ShortFilms #AnnieVincent #JackBrame #ZebLunz #AlexxBrame

★★★★ Written and Directed by: Robert Trott Cinematography by: Markus A Ljungberg Starring: Tommy Balaam, Sophia Jackson, Craig Haines, Tomasz Aleksander Indie Film Review by: Euan Franklin Socialising is hard, and overrated. The pressure of talking with other humans, whether you know them or not, is often grating and too much to be bothered with. It’s much nicer to stay in comfort and solitude, but often you have no choice. You’re forced into a social situation as if being pushed into a mosh-pit – such are the issues of the introvert. These are, in essence, the feelings of Douglas Courage (Tommy Balaam), the nerdy, twentysomething hero of Robert Trott’s indie film 4:00am. Dragged along by his best friend Juniper (Sophia Jackson), Doug attends his first house party – hosted by the “legendary” Cooper (Craig Haines). Doug is hopelessly in love with Juniper, but she’s in a relationship with the less-than-savoury horn-ball Jason Dunworthy (Tomasz Aleksander). At the party, Juniper is told that Jason’s been cheating on her and she leaves the house crying – leaving Doug to fend for himself. It’s refreshing to watch an online indie comedy that’s consistently funny, which is as rare as finding a diamond in a compost heap. Trott creates a lot of recognisable characters and deliciously awkward scenarios that even the most extroverted personality can empathise with. Although the focus is on Doug’s struggle to be sociable, every character has their own little story and each harbours an insecurity of their own. Maybe Doug isn’t so alone. Cooper’s house becomes a strange world, revealing weird surprises behind every door. There are many dips into the surreal with condoms in fish tanks, pork pies in discarded mugs, and toilet rolls balanced between faucets. Watching Markus A Ljungberg’s visuals is like delving into a millennial Magritte. Adding to this, Trott explores Doug’s mind as it flies in bizarre directions. 4:00am is observational without being tedious, uncommon for a film about a house party (think about the vast number of lazy student films with the same premise). The script is too good for the performances, but the actors are convincing enough – carrying us comfortably through the story. Balaan looks like a young Eddie Redmayne, and Jackson resembles Hannah Britland from the Netflix series Lovesick. There are too many speeches about Life, and Ljungberg’s talents don’t shine during daytime exteriors – but the film could easily be mistaken for a TV show. And the untied ending could pave the way for more episodes in the life of Douglas Courage. 4:00am is a funny, relatable, awkward comedy that plunges you into the grind of twenty-something existence – filled with alcohol and quarter-life crises. Doug is a strong hero for the introverts, not often seen so vividly and sympathetically portrayed, and there’s something to feel for in every one of Trott’s characters. And something to laugh at. Watch the official movie trailer for 4:00am below... #400am #RobertTrott #TommyBalaam #SophiaJackson #TomaszAleksander #CraigHaines #IndieFilmReviews #EuanFranklin #MovieTrailers

★★★★ Directed by: Sy Cody White Starring: Jeff Moffitt, Timothy J. Cox, Peter Francis Span and Kathleen Boddington Short Film Review by: Rachel Pullen Don’t you hate that feeling you get when you feel like you’re being watched, that cold spine tingle, the walls closing in on you, that gut wrenching paranoia? And then when you turn around …nothing, cool waves of relief wash over you as you slip back into the dull everyday routine you call your life, and you forget all about it. Well what if that feeling never ended, what if there was no cooling sense of relief, what if you really were being watched… “I have seen it all before” I hear you scream, and yes to an extent that’s true, the stalker idea is present in so many features, be it from the European masterpiece Them, to The Game to When a Stranger Calls, so what is going to make Sy Cody White’s short film The Watchers any different? We delve into the world of John, a 30-something businessman, going about his life in the bustling city of New York, yet from the get go we can tell this dude is unhinged, and not just the way normal people would be unhinged working in a high rise in a huge city, but unhinged in the way that he must line all his condiments up perfectly and iron his banknotes so there are no creases…creases let the evil thoughts in. But aside from the neatness and condiment arranging, John has time to fall into a world of terrifying paranoia, where at every turn he is harassed by people he refers to as The Watchers. His attempts to correct his mind are worthless, a therapist who dismisses his paranoia, a wife who never picks up the phone, a suit that he never seems to change, John is not having a good day it seems. This short is clearly on a budget, but the choice to shoot in New York is a smart one. The landscape in itself provides enough to stimulate the viewer as well as creating a bustling backdrop requires no extras or sound engineering, it’s all right there, camera action itself is of a good quality, we can see the direction that White is trying to take, action spliced with psychological thriller feels ooze through despite the tight purse strings. Jeff Moffitt, who plays our leading man John, tackles the role with a real energy, and despite it not being the most flawless performance you can’t deny that he went in there and gave the role the old college try, and the level of involvement and empathy that you feel for his suffering speaks volumes to the abilities that he possesses. The Watchers is a fun and enjoyable short, with a compelling story, interesting landscapes and competent camerawork to the point where you soon overlook its flaws and it’s small budget, becoming immersed in a world of shadows lurking and strangers watching. #ShortFilmReviews #ShortFilms #RachelPullen #PsychologicalThriller #SyCodyWhite #JeffMoffitt #TimothyJCox #PeterFrancisSpan #KathleenBoddington