Directed by Phillip Crosby Starring Shanice Stewart Jones, Alan Thorpe, Dan March, Lainey Shaw, Kathryn Worth Short Film Review by Rachel Pullen The evolution of man is something we have all pondered about, whether you be of the scientific persuasion, believing that we developed from apes, or you might indulge in the idea that a divine invisible being designed two of us and said not to eat any apples...do candy apples count? Well wonder no more fair reader because Phillip Crosby brings you his latest short film Saturday, an exploration into the frustrations that God and his angels felt whilst creating Adam and Eve. This comedic piece is shot with documentary styling, think The Office but with more white clothing, where we see a collection of God’s employees discussing some the issues that they faced when helping to build man, be it from misplacement of limbs to testing whether he could withstand fire or drowning. From the start this is a very well-written and funny short film, employing that classic British style of comedy, subtle and not too in your face, the jokes are well timed and well thought out, making not only good laugh out loud moments but the kind of ones that also make you think about the subject at hand. Colour plays an obvious but important role in Saturday as a short film, everything is of course white, fulfilling that childhood ideal of what heaven as well as angels would look like, maybe angels didn’t have a brummie accent but you get the idea, this obvious choice almost adds to the comedic effect as Crosby pokes fun at all those interesting Christian beliefs that have been around for thousands of years. But that’s where the genius lies, we see these angels working hard all in their white garments but surrounded by working class situations, be it in a factory or a bit more white collar and sat behind a desk taking calls from customers or prayers as they are referred too. Watching the so-called creation of man played out within such humble settings makes us think, did God have a staff of people on the case? Were they all sat around a glass conference table eating Oreos deciding where boobs were gonna go? Are we all a product of a think tank session? Witty, smart and thought-provoking, Saturday is a must see for anyone who enjoys religious based comedy...maybe not one for the Mormons though. #ShortFilmReviews #ShortFilms #RachelPullen #Comedy #Religion #Religious #PhillipCrosby #ShaniceStewartJones #AlanThorpe #DanMarch #LaineyShaw #KathrynWorth

Written and Directed by Stacey Stone Interviews by Diane Mellen Documentary Film Review by Chris Olson In an enhancement of Stacey Stone's collective documentary works on Post Traumatic Stress Disorder (PTSD) comes her most affecting piece yet. Forever Under Siege is a brutally honest exploration of the reintegration process experienced by American war veterans, examining a plethora of aspects and issues; from the physical and psychological impact of warfare, to the political culpability of sending troops into a needless war. If, like me, you have been fortunate enough to see some of Stone's previous documentaries such as My Own War and Gander: America's Hero Dog, you will instantly see in Forever Under Siege some recognisable faces. In fact, Stone and producer Diane Mellen, who also conducts the candid interviews, use a lot of the same footage. Instead of robbing any of the films of their potency, this reexamination, along with new footage, provides a probing and virile cinematic experience. One of the most interesting aspects of Forever Under Siege is the documentary's penchant for waging its own war on the politics behind conflict. We hear about how many years the young nation has been at war since its inception, and the ludicrously large numbers of fatalities and injuries in locations where the enemy had never launched an attack against the U.S. Furthermore, the movie does not dilute the emotional impact of these statistics. By having war vets explain their stories directly alongside these harrowing truths, each scene is like a dropkick to the chest, culminating in an overwhelming sense of tragedy. It was also interesting to see a few speeches from prominent American politicians who spoke passionately about the cost of conflict for Americans. Balancing this heavy condemnation is a strikingly contrasting insight into the numerous and creative ways that American veterans and civilians are producing to combat PTSD and it's heartbreaking effects. There is a notion made during the documentary about the need for vets to experience as many rituals coming home from war as the army provides when they send them there. The countless ways in which we see former soldiers and service men and women coming together and partaking in an activity such as singing or sculpting is a joyous thing to watch and an honour to be a part of. This is then further emboldened by several of the talking heads who express the dire need for so many coping mechanisms and treatment options in order to provide at least some kind of relief from the anguish and suffering which PTSD causes. Evoking the same stomach-churning emotional impact of her previous films, Stacey Stone's Forever Under Siege is a compelling and affecting contribution, not only to her own body of work, but the PTSD genre as a whole. The immensely moving scenes and sombre subject matter create a thoroughly engaging experience for the audience, who will also feel enriched by the honesty, pathos, and relentless spirit of the interviewees. Watch the official movie trailer for Forever Under Siege below... #DocumentaryFilmReviews #Documentaries #ShortFilmReviews #ShortFilms #PTSD #ChrisOlson #WarFilms #StaceyStone #DianeMellen

★★★★ Directed by James Franco Starring James Franco, Dave Franco, Seth Rogen Film Review by Hannah Sayer The making of one of the worst films ever made transforms into one of the best comedies of the year in James Franco’s The Disaster Artist. Based on Greg Sestero’s novel The Disaster Artist: My Life Inside The Room, The Greatest Bad Film Ever Made, James Franco directs himself as the bizarre and mysterious Tommy Wiseau. Greg Sestero, played by Dave Franco, is nineteen years old and an aspiring actor when he meets Tommy Wiseau during an acting class in San Francisco. They become friends and Greg decides to move to Los Angeles with Tommy where they begin looking for acting jobs. When both of their careers in Hollywood are failing to take off, Tommy takes matters into his own hands and decides to write, direct and star in his own movie: The Room. The Disaster Artist follows the chaotic production of the film which has since become a cult hit fourteen years since its initial release. It is not necessary to have seen The Room to be thoroughly entertained by The Disaster Artist yet it’s worth being aware of the story to appreciate how James Franco expertly captures the character of Tommy Wiseau in his performance. His comedic timing as Tommy is excellent and the film perfectly captures a balanced tone which doesn’t allow the film to verge too closely to ridiculing Tommy. The script and the direction maintain a balance which encourages laughter constantly but it is not aimed too much at the character. It is more concerned with laughing at the events of the bizarre making of the film and the odd experiences that take place behind the scenes. It seems like the production of The Disaster Artist would have been a lot of fun for all involved as it reunites friends and collaborators. This is the first time that James and Dave Franco have worked together and their bond works well in establishing the friendship between Tommy and Greg. They recreated up to twenty five minutes of footage of the original film and it is a wonder that the cast and crew managed to get used to James Franco directing them when putting on Tommy’s voice, as he reportedly kept this up throughout the shoot. Seth Rogen is hilarious in his role as the script supervisor and the film is a star studded affair with a supporting cast which includes Alison Brie, Zac Efron, Josh Hutcherson and Jacki Weaver. The film also boasts a tremendous array of celebrity cameos including Bryan Cranston, Judd Apatow and Sharon Stone. This is James Franco’s best performance since his Academy Award nominated role in Danny Boyle’s 127 Hours (2011) and there’s a strong chance he could make his way into the Best Actor race again for the second time. He has previously directed film adaptations of John Steinbeck and William Faulkner, as well as directed for television including two episodes of this year’s critically acclaimed HBO series The Deuce. However, The Disaster Artist is his first real triumph as a director. He succeeds in making the film accessible for both cinemagoers that are new to the story as well as fans of the original film. The comedy and the story itself is enough to surprise and be entertaining for general cinemagoers but the intricate details and references to The Room which are included will delight fans of the original film. The Disaster Artist received a well deserved standing ovation after its premiere at the South by Southwest film festival in March 2017. It could have been a making of story which only served to ridicule the bizarre character that is Tommy Wiseau, yet The Disaster Artist is a real crowd-pleaser as well as being a genuinely heartfelt and affectionate film about artistic endeavour and creative ambition which remains infectiously hilarious throughout. It is an oddly inspirational and poignant story about an outsider with a crazy ambition which became a reality. #FilmReviews #TheatricalReleases #HannahSayer #JamesFranco #DaveFranco #SethRogen

Written and Directed by Bernard Kordieh Starring Aaron Fontaine, Antony Acheampong, Sophie Khan Levy Short Film Review by Chris Olson Dreamlike, mesmeric, and with a touch of nightmarishness, Bernard Kordieh's short film Squares takes a masterful approach to deliver his philosophical musings, following a character who is embroiled by his past. Told using a non-linear narrative, we see Noah (Aaron Fontaine) navigate different parts of his life in small, sharp snapshots that get pieced together erratically and dramatically. Numerous scenes are shown with Star (Sophie Khan Levy), from their romantic introductions and initial courting, to their developing relationship and perhaps something more sombre. It becomes evident that Noah is completely struggling with his memories and place in the world, regularly getting anxious or irate, something which a hooded stranger (Antony Acheampong) may hold the answer to. Completely enveloping, Squares is a short film that successfully combines artistic filmmaking with a purposeful and engaging storyline that carries thematic heft. Kordieh lets the story unravel with a degree of controlled chaos, allowing the emotions and gravitas to explode on screen spectacularly. Be revisiting sequences numerous times, laying repeated dialogue over them, and including an ethereal sound design (by Niko Metten), the overall atmosphere becomes something divine-like. Audiences will seep into the movie rather than the other way around. Fontaine delivers a strong performance in the central role. It was wonderful to see him explore the troubling intensity of his character through passionate dialogue and expressive body language, in particular his waywardness as Noah travels across the city. Acheampong was excellent as the mystical man from the tower block. A clever sequence of him walking down the street and catching the eye of a small girl was well executed. Offering up the short film's happier scenes, Khan Levy turns in some breathtaking moments as Noah's obsession, such as a sequence on the beach, or outside an amusement arcade, where the two are engrossed by their love for each other. I also particularly enjoyed a moment with the two of them on the train which was reminiscent of Michael Fassbender's scene in Shame, without the leering. The ideas that get explored in Squares are weighty and compelling. One of the notions that gets delivered several times is being in the right place at the wrong time. This leant massive amounts of introspection to the piece, making the storyline and characters all the more interesting. Another engaging thought that punctuated several times was perspective. By going back numerous times to the same shot and/or sequence, in a way that is not repetitive or boring, the audience becomes so overwhelmed by the visual storytelling that they can help but ponder the alternative meaning behind them. A thrilling and intelligent short film with wonderful filmmaking and performances. Watch the official Movie Trailer for short film Squares below... #ShortFilmReviews #ShortFilms #MovieTrailers #ChrisOlson #BernardKordieh #AaronFontaine #SophieKhanLevy #AntonyAcheampong #AntonyAcheampong

Directed by Marianna Dean Written by Mary Jane Lowe Starring Mary Jane Lowe, Hannah Hoad, Christina Hardy Short Film Review by Chris Olson As coping methods go, a cardboard cutout of Academy award-winning actor Leonardo DiCaprio is not a bad choice. Such is the premise for comedy short film Leo? directed by Marianna Dean, written by and starring Mary Jane Lowe. Lowe plays Mary, a thirty-something writer whose life is in turmoil following a tumultuous break-up with her boyfriend, who has left her for the neighbour. On top of this, Mary is spending days in front of her laptop failing to type anything worth keeping, causing additional pressure from her agent. Fortunately for Mary, her helpful friend Britt (Hannah Hoad), has just the solution; the aforementioned likeness of Leo. However, what begins as a quirky idea and novelty pick-me-up, develops into a full-blown case of unhealthy obsession. Fun and charming throughout, Leo? as a short film props itself up on a solid central performance, excellent emotional touch points and themes, and enjoyable filmmaking that is marvellously enhanced by a brilliant score from Christoph Allerstorfer. The movie had the heartwarming atmosphere of a Richard Curtis comedy, titles which are known for combining a delectable British sense of humour with a strong undercurrent of pathos. Dean utilises a reduced number of locations well, relying more heavily on the funny and believable dialogue to provide momentum. Her strengths in blocking the scenes prove formidable, as each sequence felt fresh and engaging even though they were made up of largely the same elements. There were some hugely enjoyable montages of Mary drinking red wine and getting generally "closer" to Leo which were well executed. Dean also elicits a wonderful performance from Lowe, who is a terrific presence as the modern lady in distress that was reminiscent of Renée Zellwegger as the iconic Bridget Jones. There was a nice message to Leo? which highlighted the possibility of triumph emerging from adversity and this was done without ladling misery on the main character. Yes, we empathise with her situation, but the film takes a lighter approach when it comes to wading through her troubles, picking out the more comedic notes of her song of sadness. Such as when she attempts to go cold turkey and puts Leo by the curb, only to instantly regret her decision and wrestle the cardboard cutout from a passerby. Genuinely funny in all the right places, Dean and Lowe more than make up for the flatness in DiCaprio's performance, with a short film that has a timeless appeal. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #MariannaDean #MaryJaneLowe #HannahHoad #ChristinaHardy

Directed by Joseph Morel Starring Bethany Clara Holmes and Sophie Rutter Short Film Review by Rachel Pullen Survival is built into human nature, and sometimes when we face certain situations we have to make a choice that may be difficult in order to ensure that we continue to live, and often these choices may be at the expensive of someone else. This is the subject of Joseph Morel’s short film What It Takes. This short jumps straight into the action, two young ladies, played by Bethany Clara Holmes and Sophie Rutter, barricade themselves into a room during a chase from some unknown predators, they quickly devise a plan in order to escape the enemy which involves one of them being the bait as the other opens the door and hits them over the head from behind. This seems like an ok...ish plan, I mean they don’t have a lot of options in this situation but of course our living bait is not to keen on the plan seeing as she is going to be the one in the line of fire, yet her friend reassures her, confident in her ability to defeat the oncoming predators. Yet to the audience’s surprise instead of slaying the enemy she lets her friend get attacked as she runs to safety, literally embodying the extreme measures that humans will go to in order to ensure their safety. This whole piece is shot in one room, pretty much from the same angle, we are thrown into the room, along for the ride with these two victims feeling their panic and their desperation to survive. The simplicity of the location gives What It Takes its atmosphere, there is no fancy lighting or location, its basic, like the feeling of survival, everything is stripped away and until we are left with just emotion and choices. Morel makes a great choice by not allowing the audience to see the predators, from the sounds they make it seems to the viewer that they are likely to be zombies, but like all good horror directors, knowing when to and when not to show the villain in a film is something that can make it or break it. This is clearly a low budget film and that of course comes with restrictions, in this case it is the choice of actors, their performances are not terrible but at the same time it feels a touch unnatural and so lacks believability, and of course sound issues are present, but if anyone has ever made a film they will know how much of a ball ache getting good quality sound can be, so this can be overlooked as it is not inaudible. Overall What It Takes is an interesting film, cramming a lot into only two minutes and with a great twist ending this is certainly something not to be missed for any horror/zombie fans. #ShortFilmReviews #ShortFilms #RachelPullen #Thriller #JosephMorel #BethanyClaraHolmes #SophieRutter

Directed by Monika Petrillo Starring Caitlin Brandes, Michael Chandler Short Film Review by Evie Brudenall Neglected housewives have often been the subject of stories in both film and television; affairs are a common remedy that the central characters’ resort to in an effort to reclaim their power, but in the case of Monika Petrillo’s short Wink, that tried and tested trope is retired and replaced by a much more peculiar invention. Although their projection of bliss suggests otherwise, Melanie (Caitlin Brandes) and Gerald’s (Michael Chandler) marriage is not perfect. Gerald is a workaholic and Melanie is subsequently left to meander as she waits for her husband to become available. One day, she happens upon a bizarre solution to her dissatisfied and lonely nature. Wink opens with beautiful imagery and jazz piano music, suggesting that we’re going to be transported to a time where what we now consider vintage was once the modern norm. However, the film is set very much in the modern day as Gerald is consumed by his electronic device, encumbered by stressful work commitments that demand his full attention. Melanie waits patiently for her husband to complete his duties so they can finally begin their anniversary celebrations and enjoy the romantic night that Melanie has thoughtfully planned. Much to her disappointment, Gerald falls asleep, still clutching his prized tablet and Melanie is left holding a wasted evening – and we get the feeling that this isn’t the first time it’s happened. The more energy that Melanie puts into making her marriage the picture of perfection, the more glaringly obvious the cracks in their relationship become. Gerald does not seem to appreciate, or even notice, the effort that Melanie puts into making him happy and her growing sense of isolation is evident. As Gerald departs for work, Melanie commences her daily routine of pruning the rosebush, completing the ironing and putting away laundry in between taking a break while sipping out of a mug that reads, “Do more of what makes you happy.” The message here is about as subtle as a sledgehammer and the dialogue can be similarly accused of being too on-the-nose. “Time for your weekly clean!” Melanie chimes as she carries a goldfish bowl into the bathroom and places her scaly friend into the bath. Melanie watches the fish swim contently (for what feels like a really long time) before having a peculiar idea that proceeds to lift her muted spirits. It’s at this point that the story begins to unravel and make little in the way of sense as Melanie’s act of “rebellion” or abnormal behaviour is not considered audacious enough to be the character’s turning point. The cinematography is crisp and pristine, echoing the visually flawless home that the characters share and the actors perform these stereotypical depictions of a distant husband and wife to the best of their ability. Wink may have had some greater meaning or metaphorical undertones beneath the well-polished and technically executed surface, but the depth was lost on me and I emerged from the experience feeling perplexed and underwhelmed. #ShortFilmReviews #ShortFilms #EvieBrudenall #MonikaPetrillo #CaitlinBrandes #MichaelChandler

★★★★ Written and Directed by Mike Lenzini Starring Blake Farris, Mark Matthews, Jamie Carvelli, Scott McAdam Indie Film Review by Jack Bottomley There is a lot to be said for a film that defies an easy way out. Truth be told, a lot of films these days come with a great level of expectation and when you see a set-up you recognise, experience dictates the way things will go from there. However, it can be satisfying when a filmmaker actually refuses to cave in to convention and in the case of Underneath, a low budget indie assembled in around 10 days, there is a lot of familiarity in its narrative but also a lot of raging against the machine that is the genre. The film looks at Eric (Blake Farris), a man clinging to his past, as his wife and child have left him and his wife is begging for the divorce papers to be signed. Then, one afternoon, a stranger comes knocking and makes a mistake he won’t soon regret. The plot, despite a few nice looking exterior shots (that make good use of DOP Sean Gearing’s imagery), is mostly confined indoors and later down underneath ground level (the literal meaning of the title), as this dark drama plays out and owes much to the confinement narratives of certain horror/suspense offerings but comes to owe a great deal more to films like The Tortured and Hard Candy, as the psychological and moral dimensions to the story play out. In fairness, you have seen films like this before and its ‘hunter becomes hunted’ narrative is not a new thing (The Collector) but Underneath does get beneath the skin of its characters in a very commendable way and by the end, things play out in an uncomfortingly realistic manner that feels unexpected and refreshingly leaves you with a lingeringly corruptive and bleak ending. Director/Writer/Editor Mike Lenzini sidesteps the conventional trappings of his concept by embracing the bubbling philosophies beneath his central double act. While some of the performances initially seem a tad sluggish, it is as if both central actors really ease into their characters and it helps that Lenzini keeps the pressure on each of them physically and mentally. You might say there is a small whiff of Saw about the themes but this is far more horror/drama than gory thriller and the story really has a lot more time for you to ponder and absorb the concise plot being unfurled. Chances are you may be a step ahead of the game in some ways if you are a fan of films of this ilk but the confidence and ballsy way in which Lenzini looks at how good can be blackened and how hope can be annihilated is unnervingly effective and will leave many shocked and with lingering questions of who deserved what, where your sympathies lie and what could have happened if things had gone differently. There are few pure edges to this tale and as it reaches its resolution, the ones that are there have been lost to the immoral. The make-up and special FX by Katie Jacobs are fantastic and help to give this a really raw feel, that adds all the more to the raising tensions and eventual unsureness of whether or not the filmmaker will pull the trigger and go fully dark (oh boy does he). Farris is brilliant in the lead, a bulking presence who eventually is revealed to have trapped a great deal of anger and pain within, while the man at the door is disturbingly realistic and Mark Matthews in the role comes to be far more than a plain cut baddie despite initial cliché concerns. Underneath challenges you to look beyond a crime, beyond an action, beyond the anger and dive into some cynical human emotions and tragic ideologies of loss and its destructive aftershocks. By the time the atmospheric original song “Run” by Jason Devore plays, there is no running, you are confronted by the film’s outlook and must face it and assess just what you would do and what should they have done? Underneath sees a director, on a low budget, assemble a team that startlingly and impacfully work hard to make their concept mean something more and they very much succeed. #MikeLenzini #Drama #Horror #JackBottomley #IndieFilmReviews #IndieFilms #BlakeFarris #MarkMatthews #JamieCarvelli #ScottMcAdam

★★ Directed by Jason Ritchie Written by Jason Ritchie Starring Samuel Clemens and Anna Brophy Indie Film Review by Seamus Conlon Trying to offer a plot synopsis for The Diana Clone feels a bit like staring into a Rorschach test – which plot that I see should I describe? And what does it say about me that that’s what I thought the plot was? The narrative centre of the film is utterly unfixed, even before taking into account such apparently pointless digressions as a scene spent with characters deliberating as to whether or not to kill a tormented dog to put it out of its misery, only for an inexplicable panda to appear deus ex machina and solve the inconsequential problem, or an unsettling domestic scene where we witness one adult character being coddled and fed by her parent, who shortly after verbally and physically attacks her for being a prostitute. Perhaps the single constant in the shifting chaos is the clergyman Jake, played by Samuel Clemens. A letter leads him to the home of a young woman called Melissa, played by Anna Brophy. Melissa has an alarmingly religious devotion to the deceased Princess Diana, possesses DNA remnants of the princess, and intends to impregnate herself with the contents so as to give birth to a clone. That is to say nothing of a tangential subplot also introduced to us early on involving the polite bu sinister Trinity, played by Jilian O’Dowd, who has a chip on her shoulder about an abortion she reluctantly had when she was younger. This was implied early on in the film by important, but what the significance of Trinity and her grievance was is never satisfactorily explained, even if she does temporarily become a character of consequence when wielding a gun. Jake subsequently becomes entangled with Melissa’s twin sister, Ruby (also played by Anna Brophy) and they become hunted by a gang who have long held power over Ruby and who are desperate to block the maniacal plans of Melissa. This is to say nothing of the narrative’s excursions into a brothel along the way to this point. Writer and director Jason Ritchie has dispensed with coherence and focus, and the results are a film impressively schizoid and entertaining in its absurdity. Even once ‘The Diana Clone’ has established its madness, you’ll find yourself being by turns both amused and alienated by its deviations. During the closing credits text claims that Alfred Hitchcock, Quentin Tarantino, David Lynch and Ingmar Bergman inspired the film. In terms of subject matter it is easy to see these influences – the doppelgangers and melting identities nod to Bergman and Lynch, the MacGuffin-heavy and labyrinthine plot, in which the primary focus of the film is revealed to be something other than what it appeared initially, seems to have come from studying Hitchcock, and the sleazy and suited organized crime underbelly is obviously derivative of Tarantino’s early work. But for its admirably demented content and baffling swerves of both narrative and tone, The Diana Clone lacks the stylistic and technical invention of its influences. Whilst the opening sequence does contain some impressively ominous Lynchian sound design, it contains remarkably little surreal imagery for a film of such fantastical content, does not show the aptitude of manipulating images of the human face that Bergman does, and shows none of the maximalist technical virtuosity of Tarantino’s genre homage films. Of course, The Diana Clone is under no obligation to mimic the technique of its forerunners, but Ritchie has perhaps misidentified the power of the those great films as being in wacky plot rather than vision, and the result is a film that is laudably unhinged but unimaginative in its execution. #IndieFilmReviews #IndieFilms #SeamusConlon #JasonRitchie #SamuelClemens #AnnaBrophy

Directed by George Watkins Starring Ralph Toppin, Malcolm Drizen, Amanda Blockley and Max Fury Christmas Film Review by Annie Vincent Death at Christmas, written and directed by George Watkins, attempts to recreate a murder mystery reminiscent of the classics. Set in an old manor house in the country, on a stormy winter’s night, a group of loosely linked characters meet for a Christmas Eve dinner shortly before ‘murder’ can be heard ringing through the corridors. Unfortunately, the setting is where the similarities with the great murder mystery tales ends. Why all these characters have come together is the first question the audience ponders. A selection of relatives or friends of either Nigel or Jenny’s; a young couple staying in the inherited house, the character motivations are either weak or completely unexplained. How they all know each other is also a mystery at times, or is revealed at the very end of the film, stumping the audience and their desire to try and follow the mission for justice by the crime-fighting detective ... a traffic officer. After 10 minutes of meaningless conversation and ad hoc arrivals, all are assembled around the dining table when the lights go out. A few characters head off to recover the light and when the lights come back up again the first dead body is identified, though nobody looks particularly shocked or upset by this. The script is incredibly artificial and throughout, the lines are delivered stiffly. Very few of the actors really react to the events happening around them, except with cliché gasps or the clamping of hands over mouths. Characterisation is limited: perhaps that is because they have so little to work with? The subtle nuances we expect from characters in a murder mystery are lost and if characters do have secrets, there’s absolutely no hint of them until the big reveal at the end, meaning the audience don’t suspect anybody with any great conviction – the very antithesis of what a murder mystery film should do. The detective (Fury), whilst a slightly more competent actor than the others, does little to instil any confidence in this story for the audience. His questioning of the suspects is weak (again a script issue) and his performance is either feeble and completely misaligned to the severity of the dialogue and events, or excessive to the point of ridiculousness – look out for him yelling that people ‘murder for less’ when accusing someone of murdering Emma because they didn’t like how well she got on with a man she’d met that evening. And if the clichéd dialogue and performances weren’t stifling enough in this project, keep watching past the initial credits... It’s disappointing because the film looks promising on opening. Aerial shots are used to track a white car as it travels the windy roads, somewhere in rural England. It is dark and dull and the man in the car is shot from such angles that we get the impression there is more than meets the eye here. The camera work is thoughtful and well-chosen. But, with too many plot holes, a disingenuous script and an impassive cast, Death at Christmas has little to recommend it. #ChristmasFilmReviews #ChristmasFilm #AnnieVincent #ShortFilmReviews #ShortFilms #GeorgeWatkins #RalphToppin #MalcolmDrizen #AmandaBlockley #MaxFury

Directed by Ashley Belgrave and Colm Field Written by Colm Field Starring Ru Gilfillan, Du'aine A. Samuels, Zoe Cunningham, Toyosi Adeniyi Short Film Review by Chris Olson Putting yourself out there on an online dating website can be a daunting prospect, especially if you start to ponder the potentially endless array of lunatics and weirdos who may be mixed in with your "matches". Colm Field's short film Utter Pricks of the Heart takes this idea and skews the perception of identity in the digital age and the fickle differences between who we are and who we say we are. Co-directed by Field and Ashley Belgrave (who also provides the cinematography, which is effectively haphazard), Utter Pricks of the Heart is the name of a dating website, one which our main characters Toby (Ru Gilfillan and Du'aine A. Samuels) and Stephanie (Zoe Cunningham and Toyosi Adeniyi) are currently trawling for matches. One slightly unorthodox difference about their approach, however, is that they play merry hell with the site's filter system in order to make themselves appear completely different when they video chat - hence the need for two separate actors to play each character. What ensues when these two digital disguisers match each other is a tragic and comedic initial date reminiscent of most romantic first encounters. It's a very topical story played out with fun and clever storytelling. Belgrave and Field maintain a breakneck pace throughout which perfectly complements the tone of the plot. An array of green screen effects, screen clicking, and website hopping are also used to cement the nature of the story for the audience, which kept everything feeling contained inside a computer monitor. As we learn more about the characters and the awkward ways they go about connecting with other people online, a deeper sense of shallowness emerges which could have been developed further. As it is, the piece feels more like a TV sketch. The performances are decent, considering there were only two actual characters all four performers gave memorable and distinctive flourishes to their turns which added to the enjoyably chaotic nature of the film. Viewers aren't given enough time to really get to know the characters which is a shame and slightly unsatisfying, but is also, I guess, kind of the point! Other films that have explored this genre have typically gone with more sinister affectations, especially if they start to weave in social media threads. Also a TV show like Black Mirror comes to mind for its combination of digital peril and black comedy/drama. A thorough comedy proves to be a nice angle to explore this from, though, as Utter Pricks of the Heart manages to capture not only the invasive threat that online dating poses, but also the silliness of how people go about it. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #ColmField #AshleyBelgrave #RuGilfillan #Du39aineASamuels #ZoeCunningham #ToyosiAdeniyi

★★★★ Directed by Peter Ramsey Starring Chris Pine, Hugh Jackman, Paul Bettany, Alec Baldwin, Isla Fisher Christmas Film Review by Chris Olson As interpretations go, Peter Ramsey's version of childhood's most iconic characters (based on a screenplay by David Lindsay-Abaire and a book by William Joyce) is pretty daring in Rise of the Guardians. A tattooed Santa (Alec Baldwin), an aggressive Easter Bunny (Hugh Jackman), a mute Sandman, a wondrously colourful Tooth Fairy (Isla Fisher), and an emo Jack Frost (Chris Pine), all make up the bulk of the heroes of the Christmas film, whilst Paul Bettany's spooky Bogeyman is reminiscent of a Tim Burton style gothic creation. The plot, now bear with me, sees our Guardian heroes team up when they face extinction should the Bogeyman's plan to destroy all children's belief in the nicer mythical characters succeed. Sensing the need for additional fantasy muscle, Santa and crew enlist the moody and disenfranchised Jack Frost, who is struggling to piece together how he became who he is and why. It's better than it sounds. The first thing worth noting is that Rise of the Guardians has Guillermo del Toro as an executive producer, lending some gravitas to the proceedings and characters. Also, the script is witty and well-timed - a must have for any animated endeavour, with enough adult jokes blended with the more obvious comedy. There are plenty of jokes for all audiences without pulling any punches, though, I particularly enjoyed the silent comedy of Sandman, such as when he pounds his fist when Bunny tells him to knock out a small child (apparently Bunny meant with sleep dust). Animation is a particularly strong genre when it comes to Christmas films. Reviews are often praising the works of such outings as Arthur Christmas, The Nightmare Before Christmas (yes it is a Christmas film), and of course an absolute classic like The Snowman. Rise of the Guardians has more in common with the former of the three, offering up a steady pace of humorous lines mixed in with a breakneck pace to the story and marvellously crafted characters that are strongholds of the festive season. The animation itself is wistful on an impressive scale. Colour and vibrancy find a stage alongside the daunting menace of villain, allowing a balanced contrast that never allows the film to feel saccharine. Whilst the production itself is efficient, there was no wow-factor that some animated Christmas films have, such as the aforementioned. Having been slightly overlooked during the film’s original release, Rise of the Guardians deserves a place among movie fans’ top picks for Christmas films, due in part to its eccentric characterisation and genuinely funny script, but also for its overtly touching messages about the power of goodness and believing in the best of people even when times seem to be at their worst. #ChristmasFilmReviews #ChrisOlson #AnimatedFilmReviews #ChristmasFilm #Animation #PeterRamsey #ChrisPine #HughJackman #PaulBettany #AlecBaldwin #IslaFisher