Directed by Bernard Kordieh Starring Maisie Richardson-Sellers, Maja Laskowska, Dudley O’Shaughnessy Short Film Review by Jack Bottomley What is it to truly live? Living cannot be easily defined, as different people have different viewpoints on what being alive really means and in writer/director Bernard Kordieh’s hypnotically shot coming of age story Melody, we are taken into the world of midnight adventure and free-spirited lifestyle. Although, as we soon discover, this way of life is often on a periphery of internal conflict and most certainly is complicated. Melody tells the story of Leah (Maja Laskowska), a young woman recovering from a recent break-up and seeking the advice and company of her maverick mate 'Melody' (Maisie Richardson-Sellers of DC’s Legends of Tomorrow). As these two friends experience the delights of the nightlife, their sisterhood is challenged by wild emotions. The plot is told in a very free and easy fashion, with the structure being less sound and more spontaneous in approach, as evident by a script comprised of a lot of improvisation. Melody is a short film that is very stylish and unorthodox in its presentation of the conflicted characters and feelings. On one hand it is a coming of age story, on another it is a film about what it is to live this way and seek out the appetites of love in the moment without regard or concern for the consequences that soon follow. Thanks to Samuel Pierce’s photography, this is a visually intoxicating watch with characters that are every bit as vibrant as the aesthetic presentation and every bit as free-roaming as the narrative. Laskowska as Leah is great, as the character seeks her place with the aid of her much stronger willed friend and hopes towards the future come the climax of the film. Meanwhile Richardson-Sellers as the title character Melody is wonderful as the free thinking and thrill seeking character but in one scene we get an idea, as to how she came to have this ethos, when her inner emotions bubble over uncontrollably. Love is a key component of this divisive film and the love in question revolves around Dudley O’Shaughnessy’s pleasure obsessed Francesco, a character that is unfussed with stability and whose way of life really centres on flimsily structured and ultimately destructive relationships. Some may well lose patience with Kordieh’s film, which undoubtedly gets as submerged in the presented lifestyle as the character’s do but the film has this flicker of hope beneath all the fractured emotions and party time living, it has an element of living the way you choose and discovering who you are in the process. Melody is very engaging, well acted and alluring, if not for everybody, and you get the feeling that it is an accurate snapshot of how many people go about this strange thing called life, either seeking pleasure or purpose, or even a mixture of the two. An interesting watch. #ComingOfAge #Drama #BernardKordieh #MaisieRichardsonSellers #MajaLaskowska #DudleyOShaughnessy

★★★★ Directed by Joe Wright Starring Gary Oldman, Lily James, Kristin Scott Thomas, Ben Mendelsohn Film Review by Hope Madden Back in the day—before the mustachioed Commissioner Gordon or the bewitching Sirius Black—back in the way back of the 80s and 90s, Gary Oldman was known for disappearing into real-life characters. Whether it was his Sid Vicious or Lee Harvey Oswald or Ludwig Van Beethoven, Oldman could cease to be, leaving nothing behind but the most amazing reimagining of true life. So the fact that he’s magnificent in Darkest Hour should come as no surprise. Besides his physical transformation, thanks to what may be the single greatest achievement in fat suits in all of moviedom, Oldman convinces by capturing the spirit of Winston Churchill. In retrospect we know Churchill’s fighting spirit was desperately necessary— his nation was facing unfathomable odds and dealing with an establishment’s inclination toward surrender. But it’s Oldman’s performance that makes us understand why so very few were able to trust not just Churchill’s vision, but Churchill. With the aid of an excellent turn by Kristin Scott Thomas as Churchill’s wife Clementine, Oldman makes the Prime Minister knowable: driven, insecure, passionate, drunk, uncertain, romantic and somehow lovable. The performance is effortlessly layered and authentic and honestly the best work the veteran actor has done in decades. Credit a crisp screenplay by Anthony McCarten for providing context by way of illuminating points of view, each one deftly animated by an understated ensemble delivering nuanced performances. Ben Mendelsohn’s King George and Stephen Dillane’s Viscount Halifax, in particular, quietly but assuredly manifest the uneasy but shifting perspective of a nation on the brink of possible annihilation. Joe Wright’s direction sometimes feels fanciful given the seriousness of the story, but he works mightily with his poetic camera to enliven what could otherwise have been a claustrophobic chamber piece. Instead, he’s crafted a fine bookend to Christopher Nolan’s Dunkirk. Darkest Hour glimpses the backroom politics that led to the ingenious and breathless rescue of England’s armed forces the summer of 1940. It lacks the gut-punch or cinematic mastery of Nolan's film, but it does boast one hell of a performance. #movies #film #entertainment #moviereviews #HopeMadden #filmreviews #GaryOldman #DarkestHour #historicaldrama #basedontrueevents #LilyJames #KristinScottThomas #Dunkirk #Britishhistory #WarFilms

★★★★ Directed by Aaron Sorkin Starring Jessica Chastain, Idris Elba, Kevin Costner, Michael Cera Film Review by Hope Madden As screenwriters go, few have as noticeable a presence as Aaron Sorkin. A Sorkin screenplay = smart people saying smart things really quickly, over top of each other, often while walking. His are dialogue-driven character pieces where brilliant people throw intellectual and moral challenges at one another while the audience wonders whether the damaged protagonist’s moral compass can still find true north. That struggling hero this time around is Molly Bloom, played by the always-sharp Jessica Chastain. On first blush, the idea that Sorkin—directing his first feature—would choose to focus on a gossip-page celebrity criminal seems wrong. Bloom became tabloid fodder after her arrest made her high stakes, celebrity-filled poker games big news. Gossip is not Sorkin’s wheelhouse, but unsung, solitary brilliance is and that’s what he hopes you see in Bloom, an Olympic-class skier with Harvard Law plans who found herself hosting insane poker games before realising she had the wherewithal to build an epically lucrative business. This is clear movie-of-the-week stuff elevated to something worthwhile because Sorkin is more interested in the evolution and entrapment of a brilliant mind than he is in movie stars playing poker. Although there is some of that, too, and it is provocatively handled by Michael Cera. Playing against type and relishing the opportunity, Cera’s “Player X”—the Big Movie Star who just likes to ruin lives—is a spoiled brat and the performance is stand-out nasty. The always underused Idris Elba is underused but excellent as Bloom’s reluctant-but-coming-around attorney Charley Jaffe. His slower, looser style counters Chastain’s machine gun cadence and the chemistry helps to keep the courtroom preparation interesting. The problem with Molly’s Game—aside from its sometimes amazing similarities to Chastain’s 2016 courtroom drama Miss Sloane—are its many Sorkinisms. Chastain opens the film with an incredibly lengthy voiceover monologue providing all Molly’s backstory in the film’s first big misfire, but the almost dream-sequence bad scene between Molly and her psychoanalyst father (Kevin Costner) on a park bench is nearly insurmountable, Sorkin fan or no. Appreciating Molly’s Game helps if you are a Sorkin fan. He has a particular style and, since he's directing this one as well, there is no getting away from that style. There’s no David Fincher or Danny Boyle to supply a bit of visual flair to offset all of Sorkin's writerly tendencies. Sorkin is everywhere, which is not necessarily a bad thing if you like sharp performances about smart people doing fascinating things. #HopeMadden #AaronSorkin #JessicaChastain #IdrisElba #film #movie #entertainment #moviereview #drama #basedontrueevents #KevinCostner #GoldenGlobenominee #MichaelCera

Written and Directed by James Dethick Starring Clare Bright, James Dethick, David Robinson, Joseph Dethick, Rachel Gay, Max Hall, J. N. Dethick and Dean Medley Short Film Review by Chris Olson Told with a degree of barminess and charm, James Dethick's short film Flake! is a comedy/mystery that utilises wonderful performances and and an eccentric filmmaking style that is compelling and entertaining. Clare Bright plays Joan, a woman on a mission to track down her missing fiancé using any means necessary. She enlists the help of Dennis (James Dethick) and Keith (David Robinson), two drunkards who offer up an array of slurred philosophical musings in between their searches for self-advancement and sporadic support. Once their journey sees them exit the seedy watering hole they frequent and into the countryside and beyond, Joan's mission becomes increasingly mysterious and perilous. Enjoyably theatrical, Flake! is a very entertaining short film, but one that could work equally, if not better, as a play. The mile-a-minute dialogue with endless humour and banter is excellent, and Dethick's blocking of the scenes is minimal, allowing the audience to attempt to pierce the baffling storyline at their leisure. Moments of smile-inducing weirdness are thrown in for good measure, such as a very intense singer, who opens and closes the movie, as well as a man dressed as a newt...yes, a newt. The performers had a nice chemistry and the interaction between them felt jovial and convincing. Bright was a particularly formidable presence on screen, navigating the nooks and crannies of her character's motivations well and offering up a much-needed seriousness to the comedic aloofness of Dennis and Keith. That is not to say that the latter pair were anything but wonderful, I could easily watch future adventures and stories of them getting unwittingly wrapped into strange scenarios. The aesthetic and mise en scène of Flake! again leant itself to something of a playhouse production. The costumes were a delightful spectacle of period tastes, and the locations had a purposefulness to them that made them equally relevant and efficient, such as the drinking table that Dennis and Keith are getting smashed at. Where Dethick does get more cinematic is in his exterior shots of the threesome riding bikes to the next location. Joseph Dethick's cinematography during these scenes was immersive and impressive. As was the original music and score. Whilst the storytelling may be underwhelming (the narrative becomes as unclear as the ending is impotent), there is an enormous amount of enjoyable comedy and engaging filmmaking that viewers will descend into the chaos and emerge revitalised by the experience. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #JamesDethick #ClareBright #DavidRobinson #JosephDethick

Directed by Charlo Johnson Starring Paul Hughes Documentary Film Review by Chris Olson A fascinatingly personal documentary of wildlife photographer Paul Hughes that explores not only the dramatic images he has captured over the years, but also his shifting attitudes towards life and society. Over the course of a quarter of an hour, we hear him wax lyrical on a range of topics, from fox hunting and being published in the Irish newspapers, to his former life of drink, drugs and women. Told with a beautiful balance between dramatic imagery and sobering personal reflection, director Charlo Johnson weaves a mesmerising journey for the audience. As Hughes reveals more and more about his personal take on his craft, a deeper sense of understanding becomes clear about the fascination he has with nature. At times the commentary from Hughes can seem rambling, jumping quickly from one theme to another, there is also a degree of repetition to his anecdotes, but this is all cemented by his immense passion for his photography, a passion which the viewer will inevitably fall victim to. With the huge popularity of Blue Planet II currently sweeping the nation, a documentary like Sober Minds is a wonderfully relevant piece of cinema in particular to a British audience. The social commentary which emerges is meaty and expertly explored. Hughes talks about the effect of man-made problems for our wildlife, and his attitudes towards foxes and how that has changed. This is done without damning sermons or explicit rhetoric, instead a calm and personal rumination that is more like the confession of someone who has undergone a transformation. There are a few moments of archive footage used to punctuate the narrative. One involving a music video felt jarring and unnecessary, whilst the use of a video clip showing a woman protecting a fox from a group of hounds was intelligently spliced in. It's the striking footage of Hughes in his riverside habitat, though, that provide the most enjoyable aspects of the visual filmmaking. The autobiographical tone of Sober Minds benefits hugely from getting very up close and personal with its subject. On top of this, a wonderful original score from Rob Smith and The Swedish Railway Orchestra completes a massively enjoyable documentary viewing experience. Profoundly human and crafted with the perfect balance of delicate introspection alongside thoughtful insight, Johnson's depiction of the world of Paul Hughes is immersive cinema. Behold the clash of the urban and the natural, or embrace the inseparable complexion of both, either way Sober Minds will have you contemplating. #DocumentaryFilmReviews #ChrisOlson #ShortFilmReviews #ShortFilms #Nature #Wildlife #AnimalFilms #CharloJohnson #PaulHughes

Directed by Austin Collings & SR Cherry Starring Brexit the Monkey, Short Film Review by Chris Olson Devoid of dialogue or a conventional narrative, abstract short film 2000AD is a Cine-Poem from filmmakers Austin Collings and SR Cherry, that screws together some classic cinematic moments, incoherent rage, and some pornographic snapshots, to create an uncomfortable viewing experience full to the brim with ideas bigger than its budget or scope. Starring Brexit the Monkey (someone in a costume), a supposed amalgamation of post-separation anxiety, who fills the screen in a variety of outdoor locations, as well as some disturbingly dark close-up sequences. Moving from a field to a fun fair and then to an abandoned building, Brexit's aimless wandering gets interspersed with creative visuals that depict him in a more macabre setting, culminating in a dramatic increase in tension as his emotions get released. All to the sound of a scrapey score. With references to Stanley Kubrick, Planet of the Apes, and the European Union, 2000AD was always going to be controversially divisive. On the one hand, audiences will find the short film's concept and themes monumentally difficult to connect with or care about. On the other, there is something remarkably frank about its approach, an honesty in filmmaking, that is not only topical but at times compelling. A particularly effective scene involves Brexit behind some wired construction fencing, where the person in the monkey suit rages with unbridled passion against the cage-like restriction around, perhaps a condemning metaphor? There was also a lovely moment using focus that preceded this that was visually impressive. It was a shame that 2000AD didn't not manage to maintain a consistent tone of abstract intelligence. Instead, several jolting moments appear that instantly undermine any sense of gravitas being established. Such as Brexit attempting to shovel candy floss into its masked gob only to have it fail to get through the mask and hit the floor instead. Or some deep-staging and slow-motion experiments in the field which looked tragically amateur. Much like Brexit itself, 2000AD suffers from a lot of noise and clowning around without much intelligent thoroughness. As ideas go, there have been worse abstract short films. The costume of Brexit the Monkey is fun, there are some really nice cinematic moments that pay homage to filmmaking legends, and the undercurrent of boiling rage that seeps in at times is enough to merit a watch. #ShortFilmReviews #ShortFilms #ChrisOlson #abstract #silentfilm #AustinCollings #SRCherry #Brexit #StanleyKubrick

Written and Directed by Ajay Abalaka Starring Tracy Adjei Short Film Review by Rachel Pullen In life we all need to escape our own realities, be that through holidays, drinking, spending money on stuff we don’t need, mine’s the strip club, but is that really enough? What if the safe utopia of escapism begins to escape its own charm? The Sublime is the story of a young woman played by Tracy Adjei who can no longer find the sense of freedom and calm that she once had from her imaginary utopia, and when her reality becomes even more unbearable she takes it upon herself to create a new safe space, The Sublime. This short is more like an accompaniment to a poetry piece, we see our leading lady going about her day and trying to find a place where she can feel calm and at one with herself [maybe she should try a yoga class?], but she does not engage with the camera or anyone else, in fact she does not really engage with her surroundings a great deal, she is simply there as a guide to the spoken word. We are taken through her home town [which to my surprise is only a 20 minute drive from where I live] following her, watching from behind buildings, like a peeping tom trying to decipher her moves, The Sublime keeps us as an audience on the outskirts of the leading lady’s life but with full access to her internal desires, making for an interesting juxtaposition. Director and writer Ajay Abalaka works with a wide range of camera styles, which is useful as we are limited to where our character takes us, and as I said before with no interaction from anyone in the piece Abalaka has used her skills as a director to make for a visually stimulating journey around this seaside town. This is a short though that has very little appeal to the wider audience, most would find it lacking in any kind of stimulation and so might not pick up on the true meaning behind the film, but for those who have an interest in cinematography or poetry this has great appeal. Visually entertaining and thought provoking The Sublime is an interesting investigation of the human mind, condition and desires. #ShortFilmReviews #ShortFilms #RachelPullen #AjayAbalaka #TracyAdjei

Directed by Frederik Gøtske Starring Aksel Schilling Andersen, Frederik Markus Rytoft Gotske, Jacob Elias Vinther Pedersen, Thomas Sørensen Short Film Review by Annie Vincent A cool, retro short which merges comic book sketches, a great synthesiser soundtrack and some fun nods to the 1980s, Drawn Away is an enjoyable watch. Made by a group of Danish students, Drawn Away follows the imagination of a young boy, told by his Dad to give up the empty frivolity of his comic books and ‘get it together’. But the boy just loves comic book stories, particularly the stories about Valor, and left to his own devices in his room, his imagination draws him away to one of Valor’s capers. Tracking down the evil Blake and his cronies, disguised behind masks reminiscent of the Halloween films, he tries to stop them destroying all of the Valor comic books, which they are furiously burning. After some hiccups, Valor finally confronts and ends the bad guys, saving the last remaining copy of the comic. Whilst the premise may seem basic, the way this film is shot and edited is really appealing and thoughtful. There is some great camerawork from the get-go with a lot of close camerawork to introduce us to the young boy who dreams of comic book heroism. As a silent film, it relies heavily on sound effects and the synthesiser tracks throughout are a great accompaniment. Typical space tunnel graphics are used in the opening credits, alongside a frequent but gentle shift between comic book pencil sketches and live action scenes, as a constant reminder of the comic-dream world we are a part of. And the film sustains that world so well, with nods throughout to the late 1970s and 1980s, including Valor’s ghetto-blaster radio and the Pet-Shop Boys-style glasses. Drawn Away is an engaging and amusing film. It would be patronising to say this is all the more impressive because of how young the creators are; the film is impressive anyway, but it is hoped this young talent will continue to produce such charm. #FrederikGøtske #ShortFIlmReviews #ShortFilms #AnnieVincent #Retro #AkselSchillingAndersen #ThomasSørensen

Directed by Kel Webster and Steve Lawson Written by Helen Crevel Starring Colin Baker, Helen Crevel, James Parnham, Skye Lleshi Short Film Review by Chris Olson As old as science fiction itself, time travel stories are a cinematic mainstay. For decades, filmmakers have dared to embroil themselves with complex narratives that intertwine scientific theories on the possibility of traveling into the past and/or future, with the human impact this can have emotionally, physically, morally and more. Time and Again, a short film written by and starring Helen Crevel, balances both halves of the equation brilliantly, with co-directors Kel Webster and Steve Lawson delivering a compellingly rich and layered movie. Colin Baker plays Theo, a professor whose penchant for physics sees him acquired by Maggie (Helen Crevel) when she needs assistance with a rather remarkable discovery. Interested piqued, Theo follows Maggie into a room with a glowing hole in the floor, which she claims may hold the key to time travel. At first cynical, Theo is soon convinced when he becomes part of the experiment. A movie of two halves, short film Time and Again revels in the science during the first half and unearths the drama and conflict in the latter. Once we discover more about the motivations of the characters, the narrative suddenly feels incredibly layered. The emotional core of the story gets slowly pieced together, making the extraordinary risks that the two characters take even more impactful. Crevel's story then goes further to serve up thematic and philosophical quandaries for the audience, such as the nature of reality and the concept of destiny. Overall, a wonderful assortment for the viewer to ponder. Baker is a great lead, lending a nice sense of gravitas to the role, and his chemistry with Crevel is solid. Crevel feels a little less comfortable on screen, a touch wooden next to Baker, but by the latter section of Time and Again becomes a more engaging presence. The final sequences of the movie, in which she features heavily, are the most affecting of all. The cinematography from DoP Jon O'Neill is excellent, bringing a wonderful richness to each frame which kept the story from feeling too clinical and detached. Indeed, his efforts meant that the powerful turn of events in the second half were all the more effective. Fans of time travelling movies will be in their element with short film Time and Again. It takes audiences on a journey that is not only intelligently crafted, but also emotionally charged and humane. #ShortFilmReviews #ShortFilms #ChrisOlson #SciFi #ScienceFiction #TimeTravel #KelWebster #SteveLawson #HelenCrevel #ColinBaker #JamesParnham #SkyeLleshi

Written and Directed by Elizabeth Beckett Starring Courtney King, Tina Jones, Andrew Botsford Short Film Review by Chris Olson Told with a raw energy, debut short film Hush from writer and director Elizabeth Beckett is a tenacious exploration of familial abuse, utilising stark and brutal visuals with a dark thematic depth that is compelling if a bit rough around the edges. The story follows a young girl who appears to be stuck between this world and the next. Numerous signifiers show themselves with horrific connotations, as we see her in various locations and around her house, sometimes involved in the action and sometimes not, such as when the man of the house is abusing the girl's mother. We also see her in the throes of attempting suicide, offering a disturbing sense of life, death and the in between, coupled with the haunting voice of a younger female voice that seems to be an integral piece of this traumatic puzzle. As a psychological thriller, Hush is a short film that brings a certain imbalance for the audience that is unsettling throughout. First of all, the timeline is used to baffle, and the interaction between the characters seems impossible to dissect. All this creates a fantastically troubling atmosphere that highlights the nature of the plot perfectly. Sequences involving the violent dad are the most affecting, something which Beckett executes with boldness and respect. Where the film suffers slightly is the audio. Such is the way with many indie short films and Hush was made with barely any budget or resources, but it would be remiss of me not to mention it as an area that can definitely be improved. Another aspect is the storytelling. Whilst the atmosphere is impressive and the themes are really strong, the plot structure is too nonsensical. The viewer will struggle to pick up on the details therefore limiting the emotional connection to the characters, which is a shame because it definitely feels like there is an immensely intelligent story there. It just seems shrouded in too much ambiguity. From a filmmaking stance, in particular the visuals and sound, there is a lot to celebrate here. The contrast of engrossing exterior locations against the uncomfortable, claustrophobic interiors of the house is delightful, whilst the original soundtrack from Sydney Adams provides a striking accompaniment to Hush's visual storytelling. Overall, an impressive and compelling debut short film from filmmaker Elizabeth Beckett, showing a huge amount of promise, in particular in the aesthetics of thriller filmmaking. #ShortFilmReviews #ShortFilms #ChrisOlson #PsychologicalThriller #ElizabethBeckett #CourtneyKing #TinaJones #AndrewBotsford

★★★★ Directed by Jake Kasdan Starring Dwayne 'The Rock' Johnson, Karen Gillan, Kevin Hart, Jack Black, Rhys Darby, and Bobby Cannavale Film Review by Niall Maggs Jumanji: Welcome to the Jungle is an (apparent) sequel to the 1995 classic Jumanji starring Robin Williams, surrounding a mysterious board game. The 2017 film has the same premise, except this time it’s not a board game, but a video game from the 90’s. Four students at a school receive detentions for different reasons, and end up together having to staple booklets. Spencer (Alex Wolf) discovers an old video game called ‘Jumanji’, the students set up the game and play it, but end up being sucked in, turning them into the form of the characters they chose. Spencer’s character takes the form of Dwayne Johnson. The other characters actors’ consist of Karen Gillan, Kevin Hart, and Jack Black. From here onwards, there is non stop fun, action, great humour, and a glorious soundtrack! The premise here really works well. The plot takes unexpected twists and turns that keeps the audience on their toes. But what makes it thrive, is the great chemistry between the actors, in particular Dwayne Johnson and Kevin Hart; this type of chemistry can’t be scripted. The one liners exchanged between both are hilarious and they work really well together. We’ll definitely be seeing these two together in more movies in the future. It’s not just these two that have great chemistry, Karen Gillan and Jack Black also really fit in with Johnson and Hart. All of them each have their own style and bring something different to the crew, Whether it’s Johnson’s charisma, Hart’s comedy, there is something for everybody to enjoy in Jumanji: Welcome to the Jungle. Karen Gillan is hilarious and a vital asset to the rest of the team. All of her scenes are memorable, whether she’s dancing to Big Mountain’s Baby, I Love Your Way while beating soldiers up, or taking flirting advice from Jack Black, she’s constantly the star among the popular likes of Dwayne Johnson, which demonstrates her strength as an actor if she can outdo The Rock! Her performance is brilliant, and the video game character is a complete opposite to the real life Martha, played by Morgan Turner. In real life she’s shy, anxious and unpopular. However in the game she’s a complete badass! The way the filmmakers handled each character is really great. The tough Spencer is a nerdy guy in real life. Completely different to Fridge (Kevin Hart) who is a strong, tough, popular football player, but in the game, he’s quite cowardly, small and weak. This aspect I really liked. Henry Jackman’s score is used really effectively. Every scene benefited with the heart pounding music. In particular, there is a lot of sequences where the tension and suspense is just incredible. The score also resembles the whole jungle premise, making the scenes feel real and not just seem like a movie set. The sound still stayed a reasonable volume and you can still hear the dialogue. In a lot of films, the booming sound is unpleasant, but in Jumanji: Welcome to the Jungle the music is a great addition to the already-intense scenes. The action was almost non stop. You’re on the edge of your seat constantly and there is a great supply of thrills. The action direction was also very good. The lack of shaky-cam worked well, and even when it was used, the scene wasn’t ever jarring or jerking. The sequences stayed enjoyable and you CAN actually see what’s going on. These types of scenes were also shot brilliantly and the cinematography was simple but effective. There were some instances where a couple of scenes went on for too long however, and the runtime could’ve been shortened by about fifteen minutes. The pace was also sometimes clunky and jumpy. It rushes the ending but spends too long on a couple of scenes in the second act. However, the majority of the film stays consistent and smooth. There is also a lack of character development, and there are no real arcs to follow. We don’t see any of the characters change throughout except for the end scene, but there is no gradual shift of attitude toward each other, they just start off disliking each other one moment; then just start loving each other… The film also suffers from a painfully weak villain, who we learn very little about nor do we know why he’s there in the first place. He isn’t particularly fear inducing or scary, and is just a complete cruel idiot for no reason whatsoever. The climax is also rushed, underwhelming and a slight let-down. Jumanji: Welcome to the Jungle is great fun and the comedy is brilliant and clever. The actors are excellent and their perfect for their role; they’re most definitely likeable! The action is great and so’s the chemistry between the characters, but does suffer from typical action clichés, however in the end, Jumanji: Welcome to the Jungle is absolutely great! #FilmReviews #TheatricalReleases #NiallMaggs #ActionFilm #Sequel #JakeKasdan #DwayneJohnson #KevinHart #KarenGillan #JackBlack #RhysDarby #BobbyCannavale

Directed by Stephanie Zari Starring Stephen Graham, Adam Perryman, Ryan Barr, Kieron Bimpson, Elena Stephenson Short Film Review by Jack Bottomley Our mistakes can sadly linger as prominently as our fondest memories. No matter how much time passes and how many happy moments we live, there will always be those perceived mistakes that spring to mind at points and for some this can be worse than it can for others. Being Keegan, adapted from Jilly Gardiner’s award winning play (and written by Gardiner) and directed by BAFTA shortlisted Stephanie Zari, is about a mistake but is also about the spiralling effects loss and loneliness can take. The plot focuses on Jay (Stephen Graham), a lonely man wandering the street and plagued by memories of his youth. A youth with early fond memories of friendship but one which was all changed by one tragic mistake. Opening with Trainspotting esque eclectic camerawork early on, Being Keegan immediately captures the attention and initially reminds of T2: Trainspotting with its flashes of childhood footballing memories. Indeed, the title of the short film does take some time to truly sink in, despite the Liverpool setting and early archive footage of Kevin Keegan, it is not really until the latter third that the title’s true meaning comes to focus (though by then some may have guessed). Admittedly Zari’s film takes some time getting there and its constant jumping throughout Jay’s boyhood and adolescence, alongside his isolated adulthood does mean the film feels to meander a tad before getting to the point. It does seem as though the style occasionally takes over the relatively simple plotting but the key is really in the narrative tie-up and once it arrives, some of what came before is validated. The pacing may not be for everybody but Being Keegan is ultimately a story with an honest amount to say about how a life can be afflicted by guilt and the pain of loss. The film presents a depressing but relatively truthful story of being attacked by your memories and allowing them to isolate and strand you from living life. Stephen Graham as Jay is pained and beaten down by life, his dialogue is relatively indecipherable (a tonic of a strong accent and muffled whispering) but physically his character is very well displayed. Jay’s soul and inner turmoil is evident in his sorrowed gaze and worn down, sleepless, shuffling mannerisms. Graham is great (as he usually is, be it in Pirates of the Caribbean or Boardwalk Empire) but it is the younger cast that deliver some of the film’s most striking performances. Despite having less screen time, Kieron Bimpson as a teenage Jay is very emotive and harnesses the troubles of his character’s turbulent street life and inner feelings very well. While Adam Perryman as a young Jay and Ryan Barr as his friend Sean are the standouts, bringing to screen a realistic young streetwise brotherhood, moulded by adventure, defiance and footie. Both youngsters really sell the films poignant punch and while tenured viewers of coming of age tragic dramas will have a good idea where the film is heading after a while, when it arrives, the results are still powerful thanks to Graham’s tortured commitment and the youngsters’ established scenes of friendship (the shorts most effective scenes bar none). Zari’s film has its faults but is a strong look at grief, loss and the destructive power of guilt and memory and with a setting well realised by Brian Strange’s photography and a story given a degree of gravitas by Stephen Gallagher’s score, Being Keegan works well, even as it occasionally goes about getting to its destination in a long-winded and style centric fashion. #Drama #Football #JackBottomley #ShortFilmReviews #ShortFilms #StephanieZari #StephenGraham #AdamPerryman #RyanBarr #Kieronbimpson #ElenaStephenson