Film Feature by Chris Olson We recently launched a brand new version of the UK Film Channel with the idea to promote the work of the indie filmmakers we support whilst offering our fans the chance to watch free short films online. I get the honour and privilege of watching a lot of short films for free in my role as Editor and critic for UK Film Review and often get asked where audiences can see the films I review. Whilst many filmmakers have their own plans for distribution and reaching an audience, it gives me immense pleasure to share with you some new arrivals on the UK Film Channel. April Free Short Films The Damned Directed by Fred Cavender, this sci-fi short film has some incredible visuals as well as a nice deep and meaningful story. It has plenty of spectacle for fans of bigger budget science fiction blockbusters, all packed into a tight running time. We gave it four stars and thoroughly recommend you head over to the Film Channel and check it out. Fighter This is one of our featured films on the UK Film Channel menu page, so scroll down to see it because it's so worth it! Or alternatively use the videos in this post. A boxing genre film from the perspective of a Down’s Syndrome fighter who wants to compete but faces tons of obstacles in order to even get the chance. Told with an immersive aesthetic and smart filmmaking, this is a ferocious and formidable short film to enjoy. Hold Me Down One of my recent film reviews, I was so happy to be able to add this short film for people to watch for free on our channel. It is beautifully filmed with a heartbreaking story and an incredible central performance from Tianna Allen. Allen plays a single mother who dances in an illegal New York club. The film explores her tragic situation made worse by the uncaring people around her. So there you have it, three free short films to watch. All heartily recommended by me and all on the UK Film Channel in April. #ShortFilms #ChrisOlson #Watchshortfilmsforfree #FreeShortFilms #UKFilmChannel

★★ Directed by Steven S. DeKnight Starring John Boyega, Scott Eastwood, Cailee Spaeny, Charlie Day Film Review by George Wolf I like to think it went down this way... After hours, in a dimly lit Hollywood bar, the makers of Pacific Rim Uprising met up with Michael Bay and his crew (let's call them the Bay-o-nettes) for a good old-fashioned excess-off. As the final challenge was accepted, Pacific Rim Uprising director/co-writer Steven S. DeKnight had agreed to break the record for use of the phrase "save the world," AND include a bit of the "Trololo" viral video guy. Done and done. And there's some Transformer-type robot fighting. This unnecessary sequel to Guillermo Del Toro's lackluster original picks up 10 years after the invading kaiju were defeated by giant Jaeger robots and their skilled pilots. Stacker Pentecost (Idris Elba) died cancelling that apocalypse and now Stacker's son Jake (John Boyega) and his frenemy Nate (Scott Eastwood) must whip a rag-tag bunch of new recruits into shape just in time to battle a brand new threat and ...pause for close up and crescendo...save the world (ding!) After a number of TV projects, Pacific Rim Uprising marks DeKnight's feature debut, and it shows. Most every frame succumbs to an invasion of empty dialogue and the cliche of least resistance. The actors pose more than they move, and even the cheapest of attempts at emotional manipulation seem too much for this film to handle. But hey, who cares, we're here for the robot throwdown, amirite? Probably, but even that, minus Del Toro's stylish pizzazz, becomes a confusing and repetitious snooze. Seriously, the guy down the row from me at the screening was snoring (which was confusing at first and then repetitive). Too bad, he totally missed the part when Pikachu showed up and slaughtered everybody. Okay, that didn't happen. Dammit. #StevenSDeKnight #CharlieDay #CaileeSpaeny #ScottEastwood #JohnBoyega #PacificRimUprising #GeorgeWolf #film #movies #entertainment #moviereviews #filmreviews #actionmovies #kaiju

★★★★★ Directed by: Chris Overton Written by: Rachel Shenton Starring: Rachel Shenton, Maisie Sly, Rachel Fielding, Philip York, Anna Barry, Sam Rees, Annie Cusselle Short Film Review by: Chris Olson In what can only be described as a work of cinematic artistry, short film The Silent Child manages to do that thing that few other movies are able to do; combine a phenomenal story, spectacular visuals, and a political agenda without alienating the audience. Written by Rachel Shenton (who also stars) and directed by Chris Overton, The Silent Child focuses on the life of deaf child Libby (Maisie Sly). Surrounded by a family with no hearing difficulties, her existence seems a lonely one, until she meets endlessly caring Joanne (Shenton), who opens up of a world of possibilities for Libby's future. Far from a simple story of friendship overcoming all troubles, Libby's situation seems completely impaired by a culture that avoids her and a mother who won't accept her for secret reasons. Cinema is often described as a universal language, especially silent cinema, but this is not true. Nothing is truly universal unless extra support is given to accommodate all needs. Fortunately many cinemas do have options for audiences that need them, such as subtitles for deaf and hard of hearing viewers, or audio description for those with poor or no vision. But it is this attitude that The Silent Child seeks to promote whilst highlighting the irrational blockades that are sometimes thrown in the way of people like Libby. One example is a classroom seating chart on the laptop of Joanne which illuminates her face with the simple but brilliant idea that it is - having children sit in a half-moon in order to facilitate lip readers. And then witnessing Libby’s mum vehemently refusing to learn sign language, something which would enable them to have a conversation, instead choosing to see her daughter’s lack of hearing as an abnormality that cannot be overcome. By exploring the ideas of language in society through a short film as versatile and powerful as this, the message could not be clearer. From a filmmaking aspect, this is a stunning movie. From the wonderful opening overhead reverse tracking shot to the glimpse through the school railings, immersion is the only option when you are in the hands of a DoP like Ali Farahani. The score is sumptuous without becoming an obstruction, and the use of focus in certain sequences was smartly done to pick out the pathos and isolation felt by key characters. Most likely 2018’s greatest short film and one of the decade’s best, The Silent Child will go down as a monumental achievement in filmmaking, heroic storytelling, and a stark reminder that we all hold within our own grasp the power to ease someone else’s suffering. #ChrisOlson #ShortFilmReviews #ShortFilms #5StarFilm #Drama #AcademyAwards #ChrisOverton #RachelShenton #MaisieSly #RachelFielding #PhilipYork #AnnaBarry #SamRees #AnnieCusselle

★★★★★ Directed by: John Carlin Written by: Aaron Gray and Paul Skillen Starring: Katie Goldfinch, Antony Achaempong, Nigel O'Neill Short Film Review by: Chris Olson Full of dark intrigue and compelling science fiction, short film Echoes, written by Aaron Gray and Paul Skillen is also a tale of humanity in the face of uncertain peril. Told aboard a futuristic transport carriage, we are quickly introduced to the three characters. Remy (Nigel O’Neill) is a somewhat morose sort, hoping to get through the lengthy journey with as little fuss as possible. With him is Sa’im (Antony Achaempong), a younger and far more curious type who spends the majority of his trip trying to unlock the many mysteries that surround him. And in the corner, locked behind a glass door, sits Goudine (Katie Goldfinch), whose presence aboard the train is the most fascinating. As the trio engage in what can only be described as taught banter, a few secrets reveal themselves including a mysterious ball that could hold all of their doom. From an aesthetic point of view, Echoes shares a lot of stylistic points with it's sci-fi brethren. There are the arm patches with industrial-looking logos, dark lighting, dry ice effects, and claustrophobic quarters. Far from being a negative, though, it is this super atmosphere which allows for the film’s greatest strength to emerge: the performances. I've seen Katie Goldfinch in short films previously (she was particularly great in Animus) and here she is no less terrific. Instantly commanding the frames she is in with a turn that completely pulls off the balance between victim and possible threat. Antony Achaempong is also superb as the story’s moral compass. I saw him in short film Squares not long ago and was really impressed. Here, he is given a lot of great material to work with and genuinely shines. O’Neill turns in a wonderful performance as the surly grouch and is also able to show off his chops in the final section of the film with skill and aplomb (not to give any spoilers away). If I have a gripe with Echoes, and it's only a small one, it would be the fact that the short film, like many others of the science fiction short genre, felt like a precursor to something bigger. Perhaps this is intended as a dry run for a feature length (if so, sign me up), but as a short film the plot lacks structure and too much intrigue is built with not enough payoff. That being said this is a high end production with fantastic visuals, atmosphere and characters. Given the immense talent of the performers and director John Carlin’s knack for sliding bums to the edges of seats, there can be no outcome other than to fully recommend this to audiences. One of the best sci-fi shorts of the year. #ShortFilmReviews #ShortFilms #ChrisOlson #SciFi #5StarFilm #JohnCarlin #AaronGray #PaulSkillen #KatieGoldfinch #AntonyAcheampong #NigelO39Neill

Directed by: Mike Manning Written by: Mike Manning and Tom Anderson Starring: Brooke Butler, Sebastian Vallentin, Laura James, Bayardo de Murguia, Brittany Richards and Lindsey Ginter Short Film Review by: Hannah Sayer In Nano, a concept is explored that does not seem far from a possibility in reality. In the near future, invasive technology is all the rage. Nanotechnology administered into the bloodstream can sync with computer apps to augment the human genome. A new law mandating and regulating this once elective procedure meets resistance from hacktivists who are conspiring to thwart the impeding roll-out of “Nano version 2.0”. Blade Runner meets Black Mirror, this Sci-Fi proof-of-concept short film is an ambitious and bold production which has the potential to work well as a film or television programme where a longer running time would enable an expansion of ideas. The viewer learns from a news broadcast that opens the short that the Nano 2.0 is being used to change the way America does law enforcement. In this future world the second amendment has been repealed and the Nano’s remote paralysis function is being used against criminals. The character watching this broadcast, a special agent working for the Biotechnology crime division, is waiting for his date to arrive that he has connected with on the Date Night app. This app does not seem far from reality in a world where the majority use technology to form human connection. Piper, the woman the secret agent has sent for, is attacked on the way to his apartment by one of the hacktivists who uses the technology to paralyse her and disguises herself as Piper to get into the room with him. What follows is a tense and exciting spectacle where the hacktivists attempt to thwart the roll-out of the technology. The futuristic feel and look of the short film is reinforced by its bold and effective production design. The score is also effective at establishing this futuristic world and heightening the unnerving atmosphere of a world not far from reality. Nano is an ambitious short film which deals with such a complex concept that it would benefit from a longer running time to fully develop its storyline. In just fifteen minutes the short is successful in establishing its concept and it’s certainly engaging. Overall, Nano has an interesting concept at its core which with a longer running time would allow the viewer to fully get to grips with its complexities and for the filmmakers to bring this story to life. #ShortFilmReviews #ShortFilms #HannahSayer #MikeManning #TomAnderson #BrookeButler #SebastianVallentin #LauraJames #BayardodeMurguia #BrittanyRichards #LindseyGinter

Written and Directed by Dan Gage Starring Paul Barber and Paul Casar Short Film Review by Hannah Sayer Trainchaser Films’ new short Souls marks Dan Gage’s debut into short form drama as both writer and director. In this non-dialogue short film which has a running time of only eight minutes, Gage succeeds in creating a moving yet hopeful story which explores love, loss, friendship and the overwhelmingly positive power of human connection. Barrie, played by Paul Barber, goes to scatter his husband’s ashes at their favourite mountain peak. When he arrives at his destination, he is confronted with the sight of Will, played by Paul Casar, who is about to jump to his death off the cliff edge. What follows is a beautifully shot and poignant interaction as the two sit together and contemplate without saying a word. At the beginning of Souls a short scene follows Barrie making sandwiches to take with him to the mountain peak. A brief glimpse of a framed photograph of Barrie and his late husband in this scene gives small details of the plot away through imagery rather than the spoken word. By forgoing dialogue in this way to explain details of the plot, Souls becomes more contemplative and poignant. The everyday and the mundane action of these two strangers sharing these sandwiches later on in the short is something so simple yet so human. This captures how powerful human connection can be in moments of sadness and hopelessness. The film was shot on location in Curbar and Froggatt Edge in Derbyshire and the importance of the vastness and the beauty of the outside world is captured exquisitely through the cinematography. The film explores the importance of place for capturing memories of the past and acting as reminders of people and moments who are gone and no longer with us, yet not forgotten. Souls opens and closes with a shot of the wide open expanse of the mountain peak which further reinforces the powerful importance of place in this film. The isolation and loneliness of these two characters is also compared through showing Barrie alone in his dimly lit house and Will alone in the vast open space on the cliff edge. Hope comes to light and dissolves their loneliness when they meet on the mountain peak and a friendship is formed. Souls has been successful during its festival run and it became a firm favourite on the LGBTQ festival circuit. The film was nominated for Best British Short at the Iris Prize Film Festival in 2016 where it received a high commendation. This resulted in Souls making the BAFTA long list in 2017. The film and Dan Gage also won the first prize for Best Editing at Flicker’s Rhode Island International Film Festival in 2016. Souls delicately captures a melancholy and hopeful exploration of loss and a celebration of life. Hope and friendship is found even in the worst of times through this beautiful moment shared between these two strangers. There is something extremely powerful about the symbolism surrounding this encounter between Barrie and Will and Souls explores these universal themes which everyone can relate to. Souls will be available on iTunes from the 4th April. Watch the official movie trailer for Souls below. #ShortFilms #MovieTrailers #HannahSayer #Drama #LGBTQ #DanGage #PaulBarber #PaulCasar #ShortFilmReviews #FilmFestivals

Directed by: Gaelle Mourre Starring: Katie Leung, Joan Walker, Jonathon Kemp, Anthony Tayo, Kieran Slade, Short Film Review by: Chris Olson Based on a short story by L. P. Lee, The Feast is a sumptuous mystery of the gluttonous kind, with an appetising premise and a rich aesthetic. Not only this, the performances are simply delicious. After being cordially invited to dinner by the Count (Jonathon Kemp), aspiring artist Hayley (Katie Leung) makes her way cautiously to his manor house planning to further the careers of herself and her friend. Upon arrival, she is greeted by the Count's disagreeable attendant (Joan Walker). Hayley quickly dons the outfit selected for her and makes her way to the dining room, where The Feast awaits her. Told with a delectable sense of mystery and suspense, director Gaelle Mourre (who also co-wrote the short) knows how to pace herself in order to get the maximum impact of this tale of greed and sin. The dialogue is short and sharp, whilst the visual landscape is deep and rich, and it is in this variety that The Feast is so enjoyable. The main sequence between Leung, Walker and Kemp is phenomenal, reminiscent of that marvelous scene in Pirates of the Caribbean where Geoffrey Rush gets Kiera Knightly to scoff down a hearty meal aboard The Black Pearl. There was something more sinister to The Feast as well, bringing to mind the cautionary coming of age thriller Raw and the superb performance from Garance Marillier. Here, though, the majesty of the film is found in the more graceful succumbing to influence than the unrelenting savagery of youthful urges. Leung is a phenomenal presence throughout the short, able to combine the vulnerability of her character alongside her voracity with deft skill. Seeing the transformation over the course of The Feast and beyond is terrific cinema. Kemp is excellent too, if only for his seductive diction and graceful poise. And as far as Walker goes, I could have watched her misanthropic attendant all day. Audiences wishing to explore the depth of meaning in The Feast will find, ahem, a lot of meat on the bones. The nature of the story touches upon numerous enduring themes of innocence, greed, ambition and more, coalescing into an immersive viewing experience that will leave you swirling if you let it. If you can get an invitation to see The Feast, I wholeheartedly recommend that you accept with eager pleasure. It's an all-you-can-eat experience for the willing movie-goer. #ShortFilmReviews #ShortFilms #ChrisOlson #Mystery #GaelleMourre #LPLee #KatieLeung #JoanWalker #JonathonKemp #AnthonyTayo #KieranSlade

Directed by: Michael Cristian Greene Starring: Jacob Lentfer-Maguire, Zana Rockwell, and Jasper Lloyd Short Film Review by: Owen Herman The Grand Palaver is a nostalgic sci-fi short centred around three children trying to solve a mystery. It’s certainly playing to the current popularity of this style and genre but has enough of its own charm to just about stand on its own. Tommy, Chilli, and Dill are become obsessed with finding out what their neighbour is mysteriously building in his backyard. Inspired by a longing for adventure, they spy on him and begin to come up with their own theories behind his mad scientist activities. The short gets that nostalgic sci-fi feel just right, with the sense of adventure and a room cluttered with not-too-in-your-face references, from Star Wars to X-Men. The use of child actors is always risky, and The Grand Palaver manages to demonstrate both the positives and negatives. There is certainly a young charm to the characters, and they are believably curious, but their lack of experience shows with wooden delivery of lines that is unfortunately common. The Grand Palaver shows a surprising amount of technical polish for a short film. The score sets the mood well and evokes all the emotions usually associated with the genre. The special effects are also impressive, thankfully not overused, and better than some recent big screen efforts. The camera work is solid but encounters problems early on with the overuse of focus. When the children are spying on their neighbour through the binoculars the focus is constantly shifting. The effect the director was going for was achieved but it is at the cost of enjoyment as the scene is genuinely difficult to watch. Although it may just be the fading eyesight that I’m experiencing at the ripe old age of twenty-one. Overall, The Grand Palaver is a bright and fun sci-fi short that although problematic at times, has enough charm to see it through. #ShortFilmreviews #ShortFilms #OwenHerman #SciFi #MichaelCristianGreene #JacobLentferMaguire #ZanaRockwell #JasperLloyd

★★★ Written and Directed by: Tim Laubscher Starring: Susie Power, Amilia Stewart, Olivia O’Gorman, Jack Hudson, Joan Thorpe, Oisin De Lange, Emma Claire Long, Dave Corcoran, Tim Laubscher Short Film Review by: Chris Olson The heartbreaking reality of domestic abuse told from the perspective of a young girl called Ellie (Susie Power). As she narrates the brutal and isolated struggle of her childhood in the face of an abusive step-dad (Tim Laubscher) a powerless mother (Amilia Stewart) and a confused system, a harsh tapestry of social dysfunction reveals itself for the audience. By presenting his kitchen sink drama with a veneer of emotional cajoling, writer and director Tim Laubscher doesn't so much want to pluck at your heartstrings as to nail them to your forehead. There is nothing subtle about his approach with short film Ellie, and as such the result is both effective and familiar. Like many of the video appeals one would see in a Children In Need program, Laubscher’s movie takes a heavy-handed approach in delivering his tale of child abuse. All the ingredients are there: the sombre piano score, the close-ups of broken and battered faces, the emotionally charged dialogue made all the most impactful by a child’s voice, the distorted camera angles - one particularly great one was actually from inside a sink (either a happy coincidence or a clever comment on the genre itself). So why should you watch it? Well, for one his message is an important one that frankly must keep being repeated until it's no longer necessary. Secondly, there are some really smart moments of filmmaking that deserve the attention of the avid viewer. Such as the aforementioned sink shot, or a close up of Ellie’s hands and eyes to frame both her victim hood and her resilience. There was also a poignant thread about the behaviors which Ellie ends up displaying being a direct result of her trauma which serves as a beautiful reminder to be tolerant towards members of our community who may have had a rough time, and who may very well struggle to find a place among people she cannot trust. There are definitely aspects of this short film which could be improved. The dialogue is quite clunky for Power to read, and it could be argued that the confusing array of adults in Ellie's life could have been better explained for a stronger impact, however, it is this confusion that makes Ellie's suffering all the more harrowing. The performances are generally sturdy, Power is great and Stewart is a particularly wonderful screen presence. Laubscher as the villain felt a little unbelievable, his drug addiction felt cartoonish and his violence lacked fire. All that being said, a worthy piece on the defenceless victims of domestic abuse from their perspective, with new themes of consequence and disarray being mixed in with the classic ones of helplessness and pathos. Watch the official movie trailer for Ellie below... #ShortFilmReviews #ShortFilms #MovieTrailers #ChrisOlson #Drama #TimLaubscher #SusiePower #AmiliaStewart #OliviaO39Gorman #JackHudson #JoanThorpe

Directed by: Josh Cox Starring: Sarah Butler and Siobhan Shea Short Film Review by: Annie Vincent Directed by Josh Cox, short film Honey is a relevant teen short, which explores the emerging sexual feelings the female protagonist, Lily, has for another girl. Shortly after moving to college, Lily meets Maia, who casually introduces her to marijuana. Maia seems nice and takes a clear interest in Lily, immediately getting close to her and using a variety of flirtatious signals in their first meeting. The tension rises and they end up kissing, which somewhat shocks Lily, who, until this point, hadn’t felt this way about girls before, only boys. Lily is quickly quite struck my Maia too, thinking about their encounter after Maia has gone and her sex life with her boyfriend takes a dive as she can’t stop thinking about Maia. The filming for Honey was interesting, with the actors given an overall brief for each scene by Cox, but the actors completely improvising the whole thing. Sarah Butler does extraordinarily well here, conveying the dilemmas and difficulties her character faces in this challenging time. I think her bravery as an actress is also great here, particularly as she performs two sex scenes with the camera close to her and it may garner her some attention from other filmmakers looking for that rawness that coming of age films tend to try and create. Cox has chosen close ups for the majority of the film. Initially this works well to capture the intimacy of the girls’ relationship and create a sense of awkwardness, however as this continues for such a long time, it becomes a little monotonous and finally, hard on the eyes. Whilst it is easy to see the justification for this decision, it does begin to feel like an overused technique and a step back from the actors faces would be welcome in places. The audio balancing is also a little ropey here, with white noise coming through in a couple of places. As a film contributing to the exploration of the LGBTQ community, this is highly relevant and reflective of the experiences of many teens across the world. It is difficult to capture the complexity of such feelings, the mix of shock and confusion and pleasure they bring and the suffocating feeling of questioning some of the fundamentals of your identity: short films aren’t always the place to be able to explore these complexities because of their length, but this is an interesting addition and will resonate with young audiences. #ShortFilmReviews #ShortFilms #AnnieVincent #JoshCox #SarahButler #SiobhanShea

★★ Directed by: Roar Uthaug Starring: Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu, Kristin Scott Thomas Film Review by Kieran Freemantle Lara Croft is arguably the most famous female video game character and she receives her third adaptation with an origins story reboot. Lara Croft (Alicia Vikander) is a rich girl playing poor, working as a bike courier in London and training in Mixed Martial Arts. After an incident with the police she returns to her father's company and family home and discovers her missing father, Lord Richard Croft (Dominic West), had been researching Himiko, the legendary first Queen of Japan and bringer of death. She sets out to follow in her father's footsteps to find a lost island in the middle of the Devil Sea and soon discovers that a mysterious organisation called Trinity are already on the island. Since the success of Batman Begins many franchises have gone down the gritty and realistic origins route. This happened to James Bond, Spider-man, Superman, Fantastic Four and the Power Rangers, all to various degrees of success. Tomb Raider sadly is on the lower scale. Tomb Raider copies Batman Begins more than most reboots. Like Bruce Wayne, Lara has given up her wealth and living a 'common life', she has trained herself, has parental issues and has to come in from the cold or risk losing the family company and its assets. There were also some elements of the TV show Arrow, a person with archery skills is stuck on an island filled with mercenaries. When Lara arrives at her family company’s reception it gave me flashbacks of how Netflix's Iron Fist opened. Tomb Raider was clearly a star vehicle for Alicia Vikander. Vikander is a talented actress, she has already won an Oscar and playing an iconic character like Lara Croft will allow her to parley her fame for future roles. Vikander was clearly committed to the role, she was introduced by sparring in an MMA fight and showing off her six-pack - she got into shape for the role. Vikander was perfect casting, she already looked the part and her English accent was flawless. It was a role she had some fun with. During the first third of the film Vikander’s Lara showed she had spunk and a cheek about her and she does get to show off her comedic timing. Yet during the second act her performance devolves into grunting, groaning and screaming in pain as she survives a set-piece taken from the 2013 game. It made me think of Ben “Yahtzee” Croshaw's reviews of the rebooted games and his criticisms of Lara’s characterisation. The new film has been compared to Raiders of the Lost Ark but it really shares more with Temple of Doom and The Last Crusade. Like Temple of Doom the hero is confronted by a group of evil men who enslave people to mine and excavate - whilst Lara is forced to work Trinity Agents when they go into the legendary tomb like Indiana Jones being forced to work with the Nazis in The Last Crusade. Like Indiana Jones in The Last Crusade, Lara has daddy issues. Tomb Raider final act also borrows heavily from the first two films where Lara has to beat a shadowy organisation to the legendary artefact. It shows that there are some limitations of the Tomb Raider setting. The way the film twists the legends and plays the archaeological mystery to be more realistic is really well done. But it does paint the film in a corner for any sequels because there is a limitation to how much mileage for any sequels because there are only so many stories that could be done where a woman can loot and ruin a culture’s relics. Because of the creation of a shadowy organisation with people everywhere any future Tomb Raider films would more likely turn the series into a spy-thriller like Bond or Mission Impossible films. The final five minutes was sequel-baiting involving the Trinity organisation. Tomb Raider does have a solid cast and Dominic West and Walton Goggins were perfectly fine in their roles whilst the casting of Daniel Wu was clearly a case of pandering to Chinese audiences. The biggest surprise in the cast was Kristin Scott Thomas as Lara’s guardian – it was a small role for a serious actress who rarely appears in action films. The filmmakers were also able to rope in Derek Jacobi in an even smaller role. Tomb Raider was Norwegian director Roar Uthaug’s first Hollywood and this seems to be a warning sign because his Norwegian films have unimpressive IMDB ratings. Yet he is somehow given a big tentpole film. Uthaug does a workmanlike job - the action sequences are solid and felt like they would fit in a video game such as a chase at Hong Kong harbour: when the ship crashes and Lara escapes down the river. A sequence where Lara stumbles onto a plane hanging over a waterfall looked like it should have been a quick-time event in a video game. If the aim was simply to sell the games then it succeeds because I want to play them. However, other action scenes were shot in the dark making it hard to tell what’s happening. Film adaptation adaptations are a nut that Hollywood has still not been able to crack since they rank from terrible to decent. Tomb Raider is a better adaptation than most but that is mainly because Vikander was able to elevate the material. Without her the film would be completely forgettable. #FilmReviews #KieranFreemantle #TheatricalReleases #Action #VideoGameMovies #AliciaVikander #RoarUthaug #DominicWest #WaltonGoggins #DanielWu #KristinScottThomas

Directed by: Fred Cavender Starring: Melissa Rindell, Mark Denieffe, Dan Rock, Roxanne Brumachon, Didier Delahais Short Film Review by: Chris Olson Welcome to Somewhere In France, the stoner, road-trip, Western, heist-movie from director Fred Cavender that plays fast and loose with its plot, its characters, and it's tone to create an uneasy yet passable comedy. Somewhere in France a drug deal is going down and that's where we enter the story and are introduced to a menage á incompetent in the form of three would-be drug dealers. Their plan to buy some narcotics goes awry when the dealer turns out to be with the fuzz, leading to an improbable stand-off which ends with the trio fleeing across the countryside with one of the police officers (Roxanne Brumachon) handcuffed to them. Think Seth Rogen getting dropped onto the set of a French reboot of Lock Stock and Two Smoking Barrels with Harold and Kumar as directors and a script penned by a nine-year-old child. It's not that the short film is terrible, it's that it's a terrible mess. There are too many plates spinning that not only do they all smash, they never really get spinning. Cavender sets up one thread and then immediately drops it for another before ditching that in favour of something else equally as banal. None of it feels believable, even in the baggy realm of stoner comedy, with each character feeling like a sketch from a different movie. The performances are quite poor but I will bring attention to Mark Denieffe who plays a smart-talking Irishman who is decent and provides the short’s most redeemable scenes, as well as Melissa Rindell who is at the very least fiery when dealing with the terrible lines. From a filmmaking and technical level, Somewhere In France has a nice pedigree. Cavender has proven himself to be a formidable craftsman when it comes to the aesthetics of his short films, and here it is the same. I particularly enjoyed a hazy, fog-filled montage where the villains attempt to subdue the undercover officer with second hand smoke. This sequence felt the most consistent with the stoner comedy approach. Take away the lazy dialogue and silly plot and characters and you aren't left with much, but if you could apply Cavender's filmmaking panache to something more intelligent, then I would happily sojourn for an escapade. As it is, however, this is one place in France you can avoid. Join the UK Film Channel revolution and watch this short film for free below... #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #StonerComedy #FredCavender #MelissaRindell #MarkDenieffe #DanRock #RoxaneBrumachon #DidierDelahais #UKFilmChannel