★★★ Directed by: Vikkramm Chandirramani Written by: Vikkramm Chandirramani Starring: Nikita Vijayvargia, Monika Panwar, Bhupendra Singh Jadawat Short Film Review by: Chris Olson Indian short film Destiny, from filmmaker Vikkramm Chandirramani, takes a potent look at modern relationships whilst contrasting it with traditional ideas of fate. Nikita Vijayvargia plays Tanya, a young woman whom we meet at the beginning of the movie blissful with her potential new romance with Derek (Bhupendra Singh Jadawat). However, after being given the brush off by Derek, Tanya hatches a plot to seek vengeance against this man whom she believes to be using numerous dating apps and websites in order to meet women. She enlists the help of her friend Richa (Monika Panwar) and the two engage in a systematic attack on Derek using the very framework of manipulation that he uses. A little too light on the comedy, Chandirramani’s Destiny never fully realises its potential as a sharp and witty attack on the beast that is online dating. Instead his film becomes a character study in the way in which some people react to bad people or events. Tanya’s campaign against Derek, stemming from being spurned by him, is not delivered in a way that feels justified and her actions come across as petty and meaningless. That being said, and without spoiling the end, there is a lovely balance to the story which comes to fruition in the final third that beautifully highlighted the role of chance or luck in relationships that was the strongest thread to begin with, and something which needed developing. The tone is light and vibrant, in keeping with the atmosphere, with Kartik Katkar’s cinematography coming into its own during the middle section with the frenetic urban shoots as Tanya follows Derek around town. This made for a nice change to the opening section, which relied heavily on Tanya’s apartment. There was a really nice moment here, though, where Tanya walks into focus and answers her phone. A small shot that captured her profile well. The dialogue in Destiny, written by Chandirramani, is intelligent and well-crafted. There is an extended sequence where Tanya and Richa discuss the role of luck in relationships that worked brilliantly. Had the tone of the film been more adventurous or dark, there could have been a really compelling idea here, albeit familiar i.e. The Hand That Rocks The Cradle, Basic Instinct etc. Vijayvargia turns in an enigmatic display as the rejected lead, swinging through the varying emotions of her character; from her jubilant beginnings to her slightly psychotic endings. Panwar is also terrific in the supporting role, in particular during the earlier sections where she plays the wind-up merchant excellently. Overall a nicely cinematic short film with some pointed and smart commentary on love and luck, but ultimately and tragically as forgettable as swiping left. #ShortFilmReviews #ShortFilms #ChrisOlson #WorldCinema #VikkrammChandirramani #NikitaVijayvargia #MonikaPanwar #BhupendraSinghJadawat #RomCom

★★★★★ Directed by: Fred Cavender Written by: Fred Cavender Starring: Louis Hill, Mark Chapman, Kaitlyn McGill, Bess Davies, Albert Cavender, Lloyd Lewis, Louis Cavender Short Film Review by: Chris Olson In the world of film journalism you cannot say the word music mockumentary without the words This Is Spinal Tap in the same sentence. It's a golden rule. And anyone who has seen, and loved, Spinal Tap will immediately see the influence on this short film from filmmaker Fred Cavender titled California Hotdog Champions. However, what most viewers will not have seen, is this blend of rockumentary with horror, or horrockumentary...stay with me here. The movie follows the antics of a band called, well their name differs depending on which member you ask, but one of those names is California Hotdog Champions (which is glorious if you ask me). Using the fake documentary (mockumentary) style, Cavender presents a band made up of quirky and foolish characters (Louis Hill, Mark Chapman, Lloyd Lewis), a clumsy filmmaker obsessed with B-Roll (Albert Cavender), a foul-mouthed manager (Bess Davies), and an endlessly enthusiastic groupie (Kaitlyn McGill). Oh and new member Gav (Louis Cavender), whose initial friendliness and eager attitude may be cloaking something far more sinister. There is oodles to enjoy in this short film. From the wonderfully eclectic characters and clever dialogue, to the stylish cinematography and effective horror. The quick editing keeps a jaunty pace and the use of focus and zoom in the framing of the performers is a lovely touch to keep things off-kilter. This is an example of not dropping the ball once filmmaking. Fans of the aforementioned Tap will be in their element and so will disciples of a filmmaker like Edgar Wright and his Cornetto Trilogy. The blend of horror and comedy being in complete, ahem, harmony. Whilst there is no “Our amps go to 11” moment, Cavender does string together a number of big guffaws, such as Mark Chapman opening the toilet door to a gruesome scene (twice), or Bess Davies being on utterly top form keeping her effing language clean. There are also some brilliant visuals during California Hotdog Champions. A low angle camera shot of some bloody violence was particularly disturbing and I really enjoyed seeing Chapman hide on the floor of the pub in the dark trying to charge his phone. Tres magnifique. You can watch the entire short film for free below, another addition to the UK Film Channel... #ShortFilmReviews #ShortFilms #ChrisOlson #Mockumentary #Comedy #Horror #HorrorCom #FredCavender #LouisHill #MarkChapman #KaitlynMcGill #BessDavies #AlbertCavender #LloydLewis #LouisCavender

★★★★ Directed by: Alexander Williams Written by: Alexander Williams Starring: Melanie Stevens, Gareth Watkins, Catrin Mara Short Film Review by: Chris Olson A sombre and absorbing short drama from filmmaker Alexander Williams, Cari is a tale of disturbed identity, familial tension, and acceptance. Melanie Stevens plays the titular Cari, a young woman who we meet at the beginning of the short film experiencing traumatic nightmares. Initially receiving comfort from her loving mother (Catrin Mara) and farmer father (Gareth Watkins), the family home is soon awash with a troubled tension when Cari reveals a secret part of her identity. SPOILER START As an LGBT coming-out coming-of-age parable, there is a lot of familiarity in Cari. Many of the themes and issues have been explored, in greater depth, by many other filmmakers, but what Williams brings to the table is a wonderful cohesion of broiling emotions from all characters in a way which is tenderly captivating. SPOILER END As the conflict of the story is introduced, it is beautiful to witness the transformation in each character. Cari feeling both relieved and grieved to have her secret out, her mum caught between her maternal instincts and matrimonial duties, and her father being bludgeoned by his daughter’s revelation which strikes his traditional values. Throw into the mix the not exactly incognito religious paraphernalia and the glorious natural landscapes and you have a short film packing one hell of a thematic punch. Tackling a sensitive topic such as this requires some incredible performing talent to do it justice, and Cari has just that. Melanie Stevens is a terrific lead, in particular during her character’s more spiritual sequences. Gareth Watkins is excellent as the stubborn father, playing him as believably frustrated rather than cartoonishly backward, which could have just as easily been the case. But it is Catrin Mara who steals each scene she is in, delivering a memorable and affecting turn as the protective mother. There is a particularly immense scene where she first finds out about Cari’s secret which was so wonderfully performed. As mentioned, there is some glorious landscape shots in this short film, hats off to DoP Nick Perry who assimilates the natural beauty with the story’s tone expertly. There was also a splendid piano intro to the piece which suited the pathos which becomes an intrinsic part of the atmosphere, which is then enhanced by Williams’s choice to deliver his story in black and white. Any short film that turns up in black and white will immediately get inspected for motive, here, unlike many other filmmakers that choose to for aesthetic reasons, the loss of colour in the movie feels purposeful. For me, it felt like the family members and homestead were one unit, which was at risk of being torn apart by Cari’s revelation, but is ultimately stronger than any one of their identities. Whatever meaning you decipher from Cari, audiences will enjoy the appealing aesthetic, the gripping performances, the affecting themes, and the smart combination of all three. Watch the official movie trailer for Cari below... #ShortFilmReviews #ShortFilms #ChrisOlson #LGBTQ #Drama #comingofagefilms #AlexanderWilliams #MelanieStevens #GarethWatkins #CatrinMara

★★★★★ Directed by: Kalainithan Kalaichelvan Written by: Kalainithan Kalaichelvan Starring: Mark Starratt, Peter Valdron, David Richard, Jennifer Ramos, David Parisian, Kelly McDowell, Short Film Review by: Chris Olson Having delivered the impressive Stella Maris, short filmmaker Kalainithan Kalaichelvan is a true devotee to the screen. His shorts have a sumptuous power that makes them remarkable and compelling. Inland Freaks, another short film, is most definitely business as usual. Set inside a regimented treatment program, we witness a group of men in prison-like uniforms go about a series of unorthodox behavioural therapies that include chanting, memory stimulation, and emotional speeches by victims. As a doctor (David Richard) goes about his observations with his clipboard, one of the men (Mark Starratt) wonders why he has found himself in such a place designed to treat men with a particularly disturbing predilection. Superbly filmed and completely absorbing, Inland Freaks achieves the top tier of short filmmaking. The story is engrossing, the visuals are intelligently crafted, the dialogue is brilliant and intriguing, and the performances are excellent. Every frame of Kalaichelvan’s film is brutally mesmerising, sure to keep audiences darkly fascinated. Rarely do I pick out the cinematographer first in a film review, but Andrew Lau does such a magnificent job here that he must come to the fore. Using off-centre framing that was reminiscent of a Tom Hooper film, as well as intense close ups and low-angle head shots, it allowed the movie to feel painstakingly constructed. So much so that combined with the unnerving score from Kalaisan Kalaichelvan, the experience feels wholly unnatural for the viewer in a really, really entertaining way. The two lead performers, Starratt and Peter Valdron are exceptional. There is a scene where the two patients discuss the program and some of the others in the group which is so arresting in its honesty and wonderfully delivered by the two actors, that it cemented the pathos of the entire piece perfectly. Valdron is particularly great when he discusses his son being afraid of monsters, a sublime sequence and a must-watch. Given that Inland Freaks has such a tense and mysterious atmosphere, reading into the subtext of the piece can be a lot of fun, if you are so inclined, which I am. Taking the prison genre for a start, movies that depict inmates often end up making anti-heroes of their characters, and that is certainly the case here. As the group chants and gets called God’s mistakes, you can't help but feel sorry for them. However, during the memory scenes, there is a palpable unease that envelops the audience which will do the complete opposite. Ultimately, the story is too rich, too complex to fully unpick which is exactly what Kalainithan Kalaichelvan wants to achieve. A layered, engrossing, lovingly cinematic triumph that takes human discomfort to spectacular heights. Watch the official movie trailer for Inland Freaks below... #ShortFilmReviews #ShortFilms #ChrisOlson #Drama #KalainithanKalaichelvan #MarkStarratt #PeterValdron #DavidRichard #JenniferRamos #DavidParisian #KellyMcDowell

★★★★ Directed by Purabi Matin Written and researched by Saiful Islam Documentary film review by Hannah Sayer “I think it is time we appropriate our own history. We hope that through our story we will turn the lens around and it will be the weavers and the spinners who tell their story through us. And put a stamp of Bangladesh on world textile history.” - Shahidul Alam, Managing Director at Drik Legend of the Loom is an insightful and educational documentary film about the cotton fabric muslin and its 2000 year history. In a complex and wide ranging study the film recounts the production of the transparent and light cotton fabric which was woven from a unique plant, the Gossypium Arboreum Var.Neglecta, which grew only along the rivers of Bengal. The film goes on to discuss its wide ranging history with different experts and educates on how colonialism impacted the craft and had a part in its demise. The film opens with quotations from the past which reinforce muslins legendary qualities. Edward Baines (1800-1890), author of ‘History of the Cotton Manufacture in GB’, compares the trade to ‘the work of fairies’ and the French traveller Tavernier (1605-1689) states ‘Scarcely to be felt in the hand, it seem but a cobweb.’ Myths and legends often suggested that the manufacture of muslin was the work of fairies or even mermaids, due to its delicate and fine qualities meaning no human hand could have possibly created something so pristine. One legend even suggested that 6 yards of muslin could fit inside a matchbox! From this opening introduction to muslins symbolic and legendary qualities the viewer is plunged into an in depth look at the history of muslin and how it remains an important, but often overlooked, part of East Bengal’s cultural heritage. The film follows the process of making muslin, the different areas it comes from and its complex history. Muslin essentially became its own brand with different types and names which were categorised into levels of quality. Legend of the Loom takes the viewer on a journey from its past as maps show the area in East Bengal, now Bangladesh, where muslin originated. The documentary reinforces that everything that we read about muslin and its production has come through the lenses of the West and the filmmakers believe it is time to change that. This film acts as a way of reclaiming muslin and its heritage back by educating about where muslin originated from. The film goes on to follow how muslin began to be traded around the world, including how it became introduced in England in the 1600's to huge demand and how it influenced fashion across the world. Historic figures including Jane Austen and Marie Antoinette are reported in the documentary to have favoured muslin. The documentary explores how the subcontinent began to be connected to the rest of the world through the establishment of empires and the opening of trade routes. This goes on to show how the effects of trading with the East India Company, increased mechanisation of textiles in Britain and British colonial rule in India led to the demise of traditional and handcrafted muslin production in East Bengal and how this resulted in loss of livelihoods and much more. The documentary is successful in being accessible for all audiences. It is well researched and covers the history of the fabric in a great deal of detail yet explains everything thoroughly to ensure accessibility. Having interviews with different experts interspersed throughout the film adds a greater level of context and the recreations of events, the animation and the imagery used makes this story engaging as well as educational. Legend of the Loom certainly has a broad scope and there is an overwhelming amount of information detailed in the film that provides a fascinating exploration of the craft, history and trade of muslin. It is designed to inform and educate and it is successful in conveying a complex overview of Bangladesh’s rich history of production. Legend of the Loom is an important story that will be new to many. This is a history of the muslin trade that will have often been overshadowed by British colonial rule and abject trading rules. By bringing the true story and the history of muslin to life on screen the film successfully tells the story from Bengal’s perspective, subverting the traditionally Western lens. Watch the official movie trailer for Legend of the Loom below. #DocumentaryFilmReviews #PurabiMatin #SaifulIslam #MovieTrailers #HannahSayer #FilmFestivals #Documentary

★★★ Directed: by Christopher Carson Emmons Starring: Nick Kordysh, Sam Koze, Alida Lacosse, Valerie Lightheart and Matthew Nichols Short Film Review by: Rachel Pullen The Road, I Am Legend, Mad Max...Mad Max 2, the list of apocalyptic films is endless and for good reason, they provide a sense of creativity, scenarios, places and the rules of the land can be manipulated and developed to suit the needs of the storyline, without being as far fetched as certain sci fi plots. And so welcome to the stage Christopher Carson Emmons’s short film The Survivor, the tale of a post apocalyptic world where oxygen and water are in short supply [so going to the gym is out] where a young boy must travel across the land in order to barter for some medical supplies for his sick mother. Nick Kordysh who plays our young leading man seems to be a mute, either that or he just is not really into chit chat, and once sent out into the wasteland that is their home, must dodge a collection of threats that lay in his path, from the cops to a group of religious extremists, run by a man who has made a stylish ‘’Miss World’’ style sash out of crumpled dollar bills. Kordysh portrays his sense of determination with his body language, but you also feel his nerves and confliction in certain scenes, for a role with no dialogue we are still invested in his journey, speaking volumes to the performance of this young actor. Carson Emmons has had a good stab at creating a believable world for his audience and characters to be invested in but it is just that ...a good stab. The challenge of creating an atmosphere is one thing, but with the sci fi genre, the director must build a world that is not only believable, but is engaging, compelling and importantly consistent. The Survivor’s first problem for the audience is going to be the lack of consistency, we are given no real reason as to why the world and its oxygen has become toxic, and so it’s no surprise when our leading character only leaves the house with a gas mask on [no reason, no cure right? ], yet when he runs into several other characters they are not wearing them and seem to be breathing confidently. As well as that the police choose to and also choose not to wear masks also, like it’s a fashion statement that they have just grown tired of half way through the scene. Secondly so many things are left unanswered, but that may not be a negative, perhaps this is a build up to a longer piece, like a preface to a full length feature, and if that’s the case then I can imagine it to be an interesting watch as this short has a well driven and strong storyline to keep viewers wanting more. The Survivor has much to offer the sci fi community but let’s face facts it needs some development, this aside the imagination that has gone into the landscape and its residents is not without its charm and substance, but you will always be wondering, do you need a gas mask or not? #ShortFilmReviews #ShortFilms #RachelPullen #ChristopherCarsonEmmons #NickKordysh #SciFi #AlidaLacosse #ValerieLightheart #MatthewNichols

★★★ Directed by: David Bradburn Written by: David Bradburn, Nick Kryzcka Starring: Craig James Jr., Jake Moore, Jeannette DiGiovine Short Film Review by Hannah Sayer “What happens when we unfetter ourselves from the chains of our own oppression?” Fork the Man Productions presents a superhero film with a twist. Superhero Me is a short film about a normal man who just happens to have superhero like powers. He saves lives and prevents accidents from taking place. This short film has a surprisingly unique central plot point as this hero is someone that struggles with his own self-doubt and perception of himself. Superhero Me opens with a plane having to undertake an emergency landing due to engine failure. Liz, played by Jeannette DiGiovine, is watching news coverage of the event which details how this is not just an isolated incident. There is a local legend whose identity is unknown who has been placed at the scene of multiple near tragedies. Matt, played by Craig James Jr., is Liz’s boyfriend and happens to be this local hero. While archival footage is being shown in this news broadcast about these recent events he is looking at himself in the mirror and contemplating. This a clever way in which the viewer is introduced to Matt’s anxieties and self doubt moments before he discusses these events with Liz. She believes that he should let the world know that it is him who is saving all these lives and preventing these tragedies. However, he argues that “I’m just at the right place at the right time”. He doesn’t want people to see himself for who he really is as he fears they will be disappointed by what they see. The film shows a number of everyday situations, for example Matt trying to get involved in a conversation with his co-workers at the office and going to dinner with friends, where he is uncomfortable and struggles to fit in. Brad, played by Jake Moore, is the villain of the short film and is introduced when Matt and Liz go to dinner with their friend Sarah, played by Emily Barber, and her new boyfriend, Brad. An incident occurs at dinner and the film follows how Brad and Matt join forces to become Strategic Emergency Crisis Management Operatives. Brad takes advantage of Matt’s character and what follows is Matt’s journey to self-acceptance. Matt is overwhelmed by social anxiety which is explored in a scene when he goes into a cafe to order and is taken aback by a sudden rush of people entering the cafe, so he leaves. The behaviour of the film’s hero is at odds with what the viewer expects of a normal superhero movie. The short film successfully contradicts our usual perceptions and portrays this familiar tale of heroic actions being overshadowed in a different and intriguing way. In a scene when Matt is explaining to Liz why he doesn’t want the public to know that he is the local hero, intimate and close up camera angles are used on Matt’s face. This enables the film to present to the viewer Matt’s isolation and just how restrictive his self-doubt can be. Overall, Superhero Me is a short film which works well as a character study of one man’s journey to discovering his true perception of himself. It is refreshing to see an exploration of self-doubt and anxiety explored in a film of this subject matter. Watch the official movie trailer for Superhero Me below, or the WHOLE film after the synopsis underneath the trailer. SYNOPSIS: Not your ordinary superhero movie: no lycra, no costumes. Our hero is loved by his community for his heroic deeds, but he's not loved by himself. Watch as he attempts to reconcile his extraordinary gifts and his self-perceived social awkwardness. His journey leads him to have to decide who has the truest perception of him; himself or those around him. Enjoy watching short films for free? Watch another on the UK Film Channel. #UKFilmChannel #FreeShortFilms #DavidBradburn #NickKryzcka #CraigJamesJr #JakeMoore #JeannetteDiGiovine #HannahSayer #ShortFilmReviews #ShortFilms #Drama

Directed by: Dan Ollerhead Starring: Charles Streeter, Johnny Vivash and Ben Syder Short Film Review by: Annie Vincent Jagwar Films brings us one of their latest projects from director Dan Ollerhead: Radio Silence; and while the title might be cliché, the premise and the tension certainly are not. Hosting the late late night, or perhaps it’s more early morning, show, is Mike: a well-spoken, well-meaning radio DJ who hosts the local radio talk show. But even Mike, amiable and chirpy on microphone, is not fooled into thinking his show is popular, when even his technician rolls his eyes at just about everything he says or does. Mike’s first call tonight offers him the opportunity to chat with a man who hates his neighbours – juicy perhaps – until the caller reveals himself to be a racist and the call accidentally-on-purpose gets cut off. The second call comes from a group of youths chanting ‘your show is shit’ down the line – this could be another long night for Mike. But then caller three dials in. Caller three is also called Mike, and he wants to kill himself ... Ollerhead has created a wonderfully dark bubble both visually and emotionally in Radio Silence, forcing us to join DJ Mike in this nightmare ten minutes of radio. The set is close and dark with only the light from the ‘on air’ sign and the tech-table illuminating the action. Mike and his technician are uncomfortably close to each other in this small space. Incessantly, the ticking from Mike’s watch can be heard throughout the film, grating on you throughout and intensifying the anxiety that builds as DJ Mike desperately tries to find out anything he can to help him alert the police to caller Mike’s whereabouts. As the tension in the conversation heightens, the camerawork gets closer, placing DJ Mike and his microphone centrally, a spotlight above reflecting this metaphorical moment when he is the only one who can help. The cuts to various listeners (a taxi driver, a nurse, a student) is really effective, providing some relief from the intensity of the radio studio, but also reminding us of the passivity of the situation – no one knows who this man is – no one can help stop what he is going to do, and our empathy for both characters increases. The acting from Streeter is excellent throughout, particularly as he dawdles between believing this call is real and believing its a wind-up, but slowly, slowly, through the real-time, ten minute conversation, Streeter helps build that tension to the climax, confidently and with genuine feeling for the desperateness of the situation. Vivash should also be commended for conveying the desperation, but also determination of a man at the end of his wits, using just his voice and the sound quality of this is excellent – it sounds like we are listening to our own radios. This is a quality piece of filmmaking which offers a genuine experience for the audience – not easy in under twenty minutes! #ShortFilmReviews #ShortFilms #AnnieVincent #DanOllerhead #CharlesStreeter #JohnnyVivash #BenSyder

★★★★ Directed by Steven Spielberg Starring Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Mark Rylance, T.J. Miller Film Review by Hope Madden Ready Player One may be the most Spielbergian of all Spielberg movies. It’s Spielberg on Spielberg. Meta-Spielberg. You get the idea. It’s 2045 in Columbus, Ohio and the world is so miserable for so many that they spend all day, every day inside their video games. OASIS is a virtual world where you can play anything against anybody at any time. The creator of OASIS and every devoted gamer’s hero, James Halliday (Mark Rylance), died several years ago and has built a challenge into the game. The winner will own OASIS (and its trillion in worth) outright. And that’s it. A ragtag group of nerds (led by Tye Sheridan and Olivia Cooke) must learn to work together so they can defeat the megalomaniacal tech firm run by a guy who doesn’t even like gaming (Ben Mendelsohn). What? Misfit kids teaming up to learn from a master nerd and beat the suits? Smells like Spielberg! Ready Player One is a celebration of gamer culture in the same way that The Lego Movie indulged in the sheer joy of building with Legos. It is also an 80s pop culture nerd’s wet dream. You want to see a guy wearing Buckaroo Banzai’s while driving Marty McFly’s DeLorean romance a girl on Tron’s bike or run across a bridge made of the Iron Giant? Done. Want to know what the Zemeckis Cube does? (Bill and Ted know.) The entire assortment of John Hughesisms is set to righteous beats from Bruce to Blondie. And that’s where the film could easily have become fluffy nonsense were it not for the genius move of taking an 80s fanboy icon (Spielberg) and allowing him to simply provide an undiluted version of every nostalgic gimmick he has ever hatched. Every time he borrows from himself or leans on old tendencies—tendencies he’s been trying to shed since 1985’s The Color Purple—it feels like it’s meant to be. It’s basically a Spielberg movie inside an ode to Spielberg movies. Plus, oh my God I want a The Shining video game! Unfortunately, that’s all it really is. The performances are hammy fun but certainly not revelatory. The story is thin enough that it doesn’t get in the way of all the cool FX and callbacks. You’ve seen it all before, you just haven’t seen it quite this unabashed, with frame after frame nearly bursting with the exuberance of some kid whose parents just demanded he put down that homework, crank up the tunes and start gaming already! #ReadyPlayerOne #StevenSpielberg #TyeSheridan #OliviaCooke #MarkRylance #BenMendelsohn #TJMiller #SciFi #sciencefiction #fantasy #movies #film #moviereviews #filmreviews #HopeMadden #FilmReviews #TheatricalReleases

★★★★ Directed by: Fred Cavender Written by: Fred Cavender and Lloyd Lewis Starring: Fred Cavender, Albert Cavender, Mark Chapman, Emil Karimov, Anne Sinagra Short Film Review by: Chris Olson A short thriller to compete with, Fred Cavender's Trust Me is an absolute frenetic masterpiece that combines creative modern filmmaking with classic action cinema. Told in the first-person using a pair of spectacles, Cavender plays the lead role of Norman, a man who is awoken from his blissful slumber one night by a team of goons who break into his house. Attempting to elude his pursuers using only his wits and a voice on the end of the phone (who seems to be clued in on the reason for Norman’s peril), our hero goes on the journey from hell trying to escape their clutches. This is what short cinema should be. Thrilling, intelligently crafted, and attempting to create a new, pulse-racing experience for the audience. Trust Me does all this within 15 minutes and with what I'm guessing was a humble budget. Cavender made a ton of short films last year and this has to be one of the very best. The plot, whilst simple, has enough enginuity and mystery to grip the audience by the shoulders, whilst the aesthetic is like having a defibrillator strapped to your torso on loop. There are certain sequences that are visually majestic. Such as the scene where Norman attempts to hide from the goons in his kitchen and garden. This was reminiscent of an immersive video game or intense virtual reality experience, an unforgettable moment for me. As was the insanely engrossing car journey Norman takes through the country lanes in the dead of night. Cavender's long take here serving as cinematic adrenaline. The performances, whilst brief, are mostly efficient in supplying the viewer with enough momentum to stay glued. Albert Cavender as the helpful barman was particularly convincing. I found the dialogue of the phone conversation between Norman and his unknown rescuer the only weak point. It felt perfunctory at times rather than contributing to the wild and racing atmosphere that was being built by the other aspects of the filmmaking. That being said this is an exceptional short film and a must-see for fans of action films, inventive cinema, and anyone looking for an early heart attack. You can watch the entire short film for free below, as part of the UK Film Channel... #ShortFilmReviews #ShortFilms #ChrisOlson #Thriller #FredCavender #LloydLewis #AlbertCavender #MarkChapman #EmilKarimov #AnneSinagra

★★★★ Directed by Steven Soderbergh Starring Claire Foy, Joshua Leonard, Jay Pharoah, Amy Irving Film Review by Hope Madden Sawyer Valentini (Claire Foy) is living your worst nightmare in Unsane. Having recently moved 400 miles from Boston to suburban Pennsylvania to escape her stalker, she begins seeing him everywhere. Shaken and without a support network, she visits an insurance-approved therapist in a nearby clinic. She’s grateful for the ear, but upon completing her paperwork Sawyer finds that, due to the therapist’s diagnosis that Sawyer is a danger to herself or others, she is held involuntarily for 24 hours. After punching an orderly she mistakes for her stalker, that 24 hours turns into one week. And now she’s convinced that the new orderly George is, in fact, her stalker David (Joshua Leonard—you know, doomed Josh from The Blair Witch Project!). There a number of factors hard at work in Unsane's brisk 98-minute ride. Director Steven Soderbergh, by way of Jonathan Bernstein and James Greer’s script, lays bare some terrifying facts about our privatized mental health industry. Seriously and deeply alarming. He structures this critique with a somewhat traditional is-she-or-isn’t-she-crazy storyline. Anyone who watches much horror will recognize that uneasy line: you may be here against your will, but that doesn’t mean you shouldn’t be here. And the seasoned director of misdirection knows how to toy with that notion, how to employ Sawyer’s very real damage, touch on her raw nerve of struggling to remain in control of her own life only to have another’s will forced upon her. Part of the film’s success is Soderbergh’s ability to put you in Sawyer’s headspace, which he does primarily through the use of iPhone 7. He claims to have filmed entirely on these phones, and whether or not that’s true, the shallow, oversaturated aesthetic creates the sense of delusion. Foy’s performance is refreshingly unpleasant. Sawyer is tough to like, but she’s damaged and savvy in a way that feels authentic. Leonard's cloying neediness and bursts of violence match Foy's formidable if brittle performance and a strong supporting cast including Juno Temple, SNL's Jay Pharoah, Amy Irving and a spot-on Polly McKie. Soderbergh relies on familiar tropes with Unsane to say something relevant and in doing so creates a tidy, satisfying thriller. #Unsane #HopeMadden #movies #film #entertainment #moviereviews #fillmreviews #StevenSoderbergh #ClaireFoy #JoshuaLeonard #JayPharoah #AmyIrving

★★★ Directed by José Padilha Starring Rosamund Pike, Daniel Brühl, Eddie Marsan Film Review by George Wolf A film that sells the importance of negotiation while it details a harrowing plan of action, 7 Days in Entebbe gets caught in the awkward space between show and tell. In July of 1976, Israeli Defense Forces invaded Uganda's Entebbe airport for a daring rescue of hostages from a hijacked jetliner out of Tel Aviv. Bolstered by the support of Ugandan dictator Idi Amin, the terrorists were seeking the release of 40 Palestinian militants - as well as 13 other prisoners around the world. As Israeli Prime Minister Yitzhak Rabin (Lior Ashkenazi) weighed his options, Defense Minister Shimon Peres (Eddie Marsan) led the chorus calling for military intervention. Director Jose Padilha (Elite Squad/the Robocop reboot) assembles the drama with precision, beginning with the motivations of German hijackers Wilfried Bose (Daniel Bruhl) and Brigitte Kuhlmann (Rosamund Pike). Padilha's approach is detailed and informative, but often prone to favoring exposition over illustration. Leading an outstanding ensemble cast, Bruhl and Pike both give terrific performances, letting us glimpse the early commitment of their characters and a growing disillusionment when the ordeal drags on. As the weight of the hijackers' German heritage grows heavy amid their Jewish captives, the pair deal with their guilt in different ways, both finding an effective authenticity thanks to Pike and Bruhl. Gregory Burke's script has moments of bite ("You're here because you hate your country. I'm here because I love mine.") but retraces its steps too often, and the film feels like it's running in place. Even more problematic is a curious approach to the actual rescue, when tension is undercut by the need to draw parallels with a well-rehearsed dance performance. The payoff the film needs to resonate as more than a well-produced history lesson never materializes, and it leaves shrugging its shoulders at the elusive nature of peace. #GeorgeWolf #EddieMarsan #DanielBrühl #JoséPadilha #RosamundPike #movies #film #entertainment #filmreviews #moviereviews #basedontrueevents #thrillers #7DaysinEntebbe