Written and Directed by Jonathan Degrelle Starring Corinne Masiero, Stéphane Ropa Short Film Review by Rachel Pullen Based on a book called the ‘’The Green Lady Tales’’, short film Orphyr is the story of a man who discovers a donkey that poops gold...interested?...you should be. Following the life of a young man called Orphyr, this short film tells the tale of how unconditional kindness and love will be rewarded, even when you feel everyone is against you. Orphyr is an innocent, kind and giving, so much so that in the opening of the movie, our leading man shares his wages with a little girl living on the street so that she can afford herself some food, upon receiving this act of kindness, she quickly turns into the green lady who rewards him with...a gold pooping donkey. Now many of you may be thinking that the ridiculous nature of this donkey and his internal money bank is enough to put you off the piece but you would be silly to think that. Orphyr was designed to be a children’s film, helping young minds see the power of kindness as well as nature, but that’s not to say adults should steer clear, in fact I believe it to be more of an influence on us more mature folk, we could all learn to be a little more kind, let’s face facts. Well it’s not long before or kind-hearted Orphyr is screwed over by the selfish and heartless folk in his town, but Orphyr continues to not be phased, offering up kindness to the nature around and so continues to be rewarded by the green lady. Everything about this film is beautiful, Degrelle has made some fantastic choices in regards to colour, the audience is flooded with rich golds and greens, spring time tones that give the film a sense of warmth and serenity. This adds to the already stimulating location choices used, that throw us deep into the storyline, creating an atmosphere that makes Orphyr stand out from the crowd. This is Degrelle’s first film, from a directing as well as written point of view, and if that is the case he is definitely a filmmaker to keep an eye on, if Degrelle can produce something so seamless and stunning on his first try I am excited to see what he could produce after say 10 years in the business. This is a film not to be overlooked and is something that has something for everyone to enjoy, and that is hard to achieve for a short piece...kudos to you Degrelle. #ShortFilmReviews #ShortFilms #RachelPullen #Familyfilm #Fantasy #JonathanDegrelle #CorinneMasiero #StéphaneRopa

★★★★★ Directed by Denis Villeneuve Starring Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Robin Wright, Mackenzie Davis, and Jared Leto Film Review by Niall Maggs Denis Villeneuve said he was VERY clear of the relentless pressure he was under, to not only stand up to the original, but to also please hardcore fans, myself included, of Ridley Scott's cult classic masterpiece. Did he do it? not only did Villeneuve manage to create an immersive cinematic experience, he created a masterwork of a sequel that will go down with other greats such as The Godfather Part II and Terminator 2: Judgement Day. Blade Runner 2049 did everything a sequel should do, expand on the universe created by the predecessor and give audiences an intriguing storyline to follow. Obviously the film looks fantastic. You can even tell that from the trailer. Roger Deakins has, once again, given us an experience at the movies that no one can top. It is visually remarkable, the use of vibrant colour is eye candy for even the most artistic people; the dazzling palette of orange, red, pink, purple, green and blue is a feast for the eyes, it makes the 2 hour and 44 minute runtime an astonishing experience. Hans Zimmer's monumental score is so reminiscent of Vangelis' iconic compilation of beauty, crime noir and bleakness in the form of music, which is exactly what the original was: beautiful, bleak, and embodies crime noir perfectly. Zimmer has once again proved he is a mastermind when it comes to scoring! Ryan Gosling as Officer K is a force to be reckoned with. The way the character is presented is harsh, we learn early on that K knows he's a replicant, but forces himself to deal with killing or 'retiring' his own kind. Gosling portrays him brilliantly. He shows emotion, persistence, he's oddly relatable, and the audience can really sympathize with him. In the original, there never were any characters that you could feel attached to, this is what Villeneuve has done so expertly, we as the audience worry for him. Harrison Ford is hardly in it but more than makes up for it with a down to earth portrayal, much like Gosling, and seems more humane and personal compared to his previous roles. Another stand out performance was Sylvia Hoeks as Love. She is maniacal and shows sociopathic tendencies. She gives off emotion as well, and often brings out emotion from the audience. It's as if she's forced into killing. We, like with other characters, feel sorry for her. The special effects are visually awe-inspiring and jaw dropping. The approximate budget of $150,000,000 really shows throughout. The slow pace is just great direction from Denis Villeneuve, and because of the almost 3 hour runtime, the majority of the film is expert storytelling and tension building. It's refreshing to finally see a drawn-out storyline where the narrative has room to breathe between action sequences. Most importantly, it makes you feel like your witnessing a marvellous spectacle of emotion, beauty and art. Blade Runner 2049 is a masterpiece of a sequel, worthy of the hype and one of the best of 2017, and possibly one of the greatest Sci-fi films of all time. #FilmReviews #TheatricalReleases #NiallMaggs #Sequel #DenisVilleneuve #RyanGosling #HarrisonFord #AnadeArmas #SylviaHoeks #RobinWright #MackenzieDavis #JaredLeto #SciFi #ScienceFiction

Written and Directed by Marley Morris Starring Sophia Di Martino, Jade Anouka BFI London Film Festival Review by Chris Olson British short film Baby Gravy is a skilfully comedic entry into this year's BFI London Film Festival "London Calling" event which plays host to some exceptional filmmakers. Written and directed by Marley Morris, this LGBTQ tale of searching for a suitable applicant for natural insemination is heartfelt, charming, and delightfully funny. Starring Sophia Di Martino as Brona, a highly organised, if painfully anxious, mother-in-waiting and her slightly more aloof but no less caring partner Alex (Jade Anouka), the story of Baby Gravy largely takes place in a motorway services restaurant where the two characters await a donor who may be able to supply the titular baby making ingredient. Alongside panicking at her phone and checking the temperature of her vagina, Brona becomes increasingly worried about her best laid plans and whether or not her dream of motherhood will ever come to fruition. Brilliantly self-aware and honest, Morris's short film dives straight into the fully frank discussions which partners have regarding their futures without resorting to baggy expositional dialogue or cliche. Her characters are believable from the start and their chemistry is totally engaging. Di Martino is a wonderful lead, in particular during an opening solo scene where she chastises herself for the shade of lipstick she has chosen. Anouka is also excellent, offering more of the humour injections but not avoiding the pathos that the story needed. Her beautiful monologue to a toilet stall was a particular highlight. There was a well crafted sound design accompanying Baby Gravy that was in tune with the story's need to balance cheeky comedy with serious themes. Composer Mike Gunn expertly delivers an atmosphere that is enjoyable yet thoughtful. A frenetic energy to some of the camerawork and editing during the more chaotic moments in the story, such as when Alex is searching for her partner, added a degree of tension about the direction the film was going which was excellent. Working through ideas about being parents in the modern world and the expectations that not only society has but the people in the relationship bring with them makes the movie an affecting piece. A discussion about whether or not to christen a child comes up and is explored with a tactful wit. There is also a poignant backdrop that remains a constant for Brona and Alex which is that nothing they do could really be classed as being "normal" if you were to take society's "norms" as a measuring stick. The audience is then privy to them discovering that this is precisely why they are so lucky. #ShortFilmReviews #ShortFilms #ChrisOlson #BFILFF #BFILFF2017 #BFILondonFilmFestival #London #LondonFilmFestival2017 #MarleyMorris #SophiaDiMartino #JadeAnouka

★★★★ Written and Directed by Cory Finley Starring Anya Taylor-Joy, Olivia Cooke, Anton Yelchin, Paul Sparks, Francie Swift BFI London Film Festival Review by Chris Olson Loaded with bleak cynicism and detached rage, Cory Finley's Thoroughbreds is as dark as arsenic poisoning and just as bitter but a gripping drama/thriller with two incredible central performances. Anya Taylor-Joy plays Lily, a wealthy student on the cusp of adulthood as she prepares for exams and her college future. Her chances of academic success become increasingly unlikely, though, as she begins spending time tutoring the town's horse murderer, Amanda (Olivia Cooke). Known for being outstandingly odd, Amanda admits early on in Thoroughbreds to feeling no emotions whatsoever, and her actions during the movie attest that this is not hyperbole, but instead a tragic character defect which comes to symbolise the very essence of Finley's story. As the two rekindle their childhood friendship, a plot begins to emerge whereby Lily might have the chance to off her mum's coldly controlling partner Mark (Paul Sparks) using a local drug peddler Tim (Anton Yelchin) as the fall guy. Failing to succumb to too many narrative conventions, Thoroughbreds becomes a different animal altogether. The four chapter structure keeps the story unpredictable and the unlikely central dynamic is kept raw and compelling throughout. Amanda and Lily are two undeniably disturbed characters, and when you combine the former's proclivity for immense violence and the latter's yearning for freedom, then an intense atmosphere is introduced which is maintained consistently, brilliantly clutching the aforementioned thriller aspect. The performances are outstanding across the board. Cooke is on fine form as the numbed but curious teenager without a filter, like a modern Wednesday Adams, enjoying some beautiful physical aspects to the role such as fake crying or fake smiling in front of the mirror. Taylor-Joy is phenomenal in her turn, eschewing the tawdry depictions of rich kids for something more tangible and affecting. Her arc is also the most established in the movie. It was heartbreaking and euphoric to watch Yelchin deliver one of his final performances, the film is dedicated to him. His enigmatic screen presence dazzled as usual and he delivered a marvellously complicated supporting character with effortless skill. I would also like to pick out Sparks who is simply gripping as the terrifying lord of the manor. His deadpan lines and calculated demeanour make him a fascinating character to ponder. The comedy can at times becomes over reliant on Cooke being kooky, letting her outrageous comments serve as unfeeling mic drops on numerous occasions. They do sometimes however pack a philosophical punch and these are some of the best moments in Finley's film. Another gripe would be the sound design which sounded like someone got paid a ton of money to f*** around with any instrument they could find regardless of timing or plot. All that being said, though, this is a remarkable film. It's inventive with its characters and bold with its filmmaking, and is able to articulate its palpable rage at the world without screaming itself horse. #FilmReviews #ChrisOlson #TheatricalReleases #BFILondonFilmFestival #BFILFF #BFILFF2017 #FilmFestivals2017 #UKFilmFestivals #CoryFinley #AnyaTaylorJoy #OliviaCooke #AntonYelchin #PaulSparks #FancieSwift

★★★★ Directed by Julia Barnes Starring Julia Barnes, Rob Stewart, Louis Psihoyos, Fabien Cousteau, Ove Hoegh-Guldberg Documentary Film Review by Jack Gibbs So many documentaries that focus on the marvels that lie beneath our waters focus almost exclusively on the wondrous creatures that live their lives in the near-boundless realm of the seas. From sharks to dolphins, octopi to coral reefs, there are innumerable programs and one-offs made about the denizens of the deep, espousing their wonders and uniqueness. So few of these productions, conversely, decide to examine in detail the impact that we as a species are having on our oceans – and Julia Barnes’ Sea of Life seeks to address our folly in a manner both educational and unflinching. What documentaries like Blackfish did for public perception of how zoos and aquariums treat the animals they keep, this will hopefully do for how we treat this fragile realm which we are so carelessly polluting and inspire us to take action before it is too late. Despite its hard-hitting nature, it is not a documentary without beauty – there are sweeping shots of vibrant ecosystems, teeming with life. There are awe-inspiring close-ups of astonishingly unique specimens, and thought-provoking scenes of fish working together to carve out their homes in reefs. But for every shot that encapsulates the inherent beauty of the oceans, there are just many both above and under the water’s surface to give a rough but necessary dose of reality to the proceedings. Bleaching coral. Sharks ensnared on long lines. The future of reefs and fisheries laid bare, and interviews with a whole host of individuals who have made it their mission to spread the truth about the state of the ocean, a vital part of our planet – indeed, its lifeblood – and campaign for its preservation. At times it seems a touch excessive and heavy-handed in its delivery, but in all honesty, we are fast approaching the point where such an approach may well be needed in order to outline the dire straits our world will be in if we do not act. It’s a feature that expertly balances gripping visuals with blunt yet salient commentary. It doesn’t have the glitz and glamour of an Attenborough production, but it doesn’t need to in order to make its point. The thoroughness displayed in finding the right people for the right statements, and the plight of sea life combined with witnessing the earnest efforts of people coming together, be it in protest or through governmental initiatives, to aid our ailing planet, and seeing the scale of our own neglect as a species, works to its full effect despite the odd lapse into being overbearing. One simple statement, made at the beginning of the film, summarises the documentary in its totality: “Action is no longer an option – it is a necessity.” Of all the striking statements, deeply concerning revelations and close examinations of our own folly that are present in Julia Barnes’ Sea of Life, this single simple declaration is the most effective – and the one that we must contemplate the most, lest our only home among the stars and all the myriad creatures it plays host to fall into utter ruin. #DocumentaryFilmReviews #Documentaries #IndieFilmReviews #JackGibbs #AnimalFilms #JuliaBarnes #RobStewart #LouisPsihoyos #FabienCousteau #OveHoeghGuldberg

Written and Directed by Alex Rosling Starring Max James, Charlie Hellard, James McKillop Short Film Review by Chris Olson Set in the year 2028, filmmaker Alex Rosling’s short film The Last Day is a frenetic and thrilling story about survival in a harsh dystopia. One man (Max James) is attempting to locate a container of pills, venturing out into the bleak and lonely landscape, seemingly in order to help an older man (Charlie Hellard), who becomes to the prey for an attacker (James McKillop). Panic, threat and violence ensue as this tale spills out across a strange and unknown future land. Told without any dialogue but a beautiful sound design enhanced by the music of Adam Robert Galloway, The Last Day is a film that definitely plays to its strengths. For a movie with an obviously low budget, not too many locations are used and the short is not crammed full of expositional dialogue, which can easily be the case for sci-fi movies. Instead, the viewer is propelled on a ten-minute thrill ride in which the ambiguity of the storyline is balanced brilliantly with the tension of the physical performances. The filmmaking utilises fast cuts to increase the velocity with which events unfold, brilliantly done by Rosling who not only writes and directs here, but also edits. By chopping the visuals so bluntly the viewers must attempt to piece together the narrative whilst keeping up with the escalating drama. All of which creates an enjoyable viewing experience. The Last Day suffers from some tedium though. Several of the scenes felt quite samey and it was difficult to distinguish the characters. Whilst the pacing of the movie was one of its strengths, some viewers may find that the whirlwind effect may make it hard to penetrate the story and immerse one’s self in the atmosphere. That being said, if you can get on board with the flow and tone of the piece, then there is a lot to be drawn into. Dystopian films are often better when they are left unexplained, and by offering up no lines for the actors this is taken a step further to enhance the intrigue. A myriad of possible storylines could be concocted to explain how these characters ended up in this situation which makes it compelling and fascinating. There also feels like a video game vibe here, whereby you are dropped into the action and left to make sense of it. Either way it feels engaging and exciting. Fans of intense anti utopian movies, or futuristic silent films, or both, will find The Last Day a worthy watch and something to ponder a while after watching. #ShortFilmReviews #ShortFilms #SciFi #Dystopianfilms #ChrisOlson #AlexRosling #MaxJames #CharlieHellard #JamesMcKillop

Directed by Ivan Doan Starring Ivan Doan Short Film Review by Kirsty Asher Pilgrims is a brief but fascinating short based on the poem of the same name by Russian-American poet Joseph Brodsky. It’s a one-man production, narrated by, directing and starring Ivan Doan, and he effectively cultivates a series of ponderous, enigmatic images, as befits a style of non-narrative film such as this. Its monochrome colour grade and simple, static shots of a lake, in the driving snow interspersed with mid-close-ups of Doan himself standing staring at the camera are also favourably comparable of arthouse. There is a bare-boned beauty to many of these shots, and I liked that the cinematography crafted an anonymity of location that hint at a Soviet wasteland without explicitly calling upon nationalist or stereotypical imagery. The driving snow, so symbolic of the harsh Russian winters, is a constant feature, relentlessly coating Doan as he stands in his contemplative state, blurring the air in the shots of the lake. For all these shots may evoke, they do not come across as wholly relevant to the poem, or indeed its meaning. The descriptive language of the poem and the nature of its subject matter are exemplary of movement; dynamism: pilgrims travelling great distances in order to complete a spiritual journey in their movement. Not only this but there are strong themes of futility in the face of the world’s relentless progression in time and space, as well as subtle acknowledgements of political upheaval and humanity’s frequent self-destruction (he was born in Soviet Russia, survived starvation and siege, and was twice committed to a mental institution for his controversial poetry). There is certainly a sense of existential sadness to be found in the sequential images Doan has edited together which can be associated with those latter themes, especially in the close-ups of the lake shore with the eternal waves gently rolling along in consistency and uniformity, as well as the aforementioned relentless driving snow. However, the static nature of the shots and the relatively limited number of locations fail to capture the imagery of pilgrimage; of journey; of change. Nor in a way do they fully confront the poetic subtext. In a way it often feels as though Doan’s intention doesn’t quite connect with the true meaning of the poem and the imagery it wants to evoke. I’ve no doubt that Doan understands and appreciates Brodsky’s literary work, but it is often a tellingly difficult task to bring poetry alive through the filmic medium, and for me I felt that he didn’t quite achieve this goal cinematically. There is no doubt however that this short has been delicately crafted and well edited, and Doan’s style of narration is strong, clear and effective. I also greatly appreciate that this film has brought to a beautiful poem to a wider audience through a new medium, something that is important and necessary for the expansion of art. Despite the shaky connection between image and spoken word, this is a lingering and intriguing entry by Doan. #ShortFilmReviews #ShortFilms #KirstyAsher #BlackandWhite #Arthouse #IvanDoan #Filmmaker

★★★★ Directed by Ryan Barton-Grimley Starring Ari Schneider, Ryan Barton-Grimley, Christinna Chauncey, Toni Charline Indie Film Review by Chris Olson LGBTQ comedy Elijah's Ashes is an unabashed exploration of family, sexuality and acceptance within the confines of a road trip setting. Half-brothers Lawrence (Ari Schneider) and Kevin (Ryan Barton-Grimley) are set the challenge by their recently departed father to embark on a journey to bury his ashes in a distant town where his first wife has been buried. With little love for their father, or each other, years of pent up frustration and sibling rivalry reveal themselves alongside the chaotic calamity of their trip. We meet Lawrence at the beginning of the Elijah's Ashes as a semi-successful advertising type who manages to secure a big company account with a beer company whilst having to hide the fact that he is gay to the clients. Because, as everyone knows, being gay is not "on brand" for beer. This closeted approach to his sexuality is an important touchstone in the movie, co-written by Schneider and Barton-Grimley. Another factor is Kevin's monumental homophobia, which is so creatively offensive that audiences will wonder which century this character is meant to have been plucked from. As uncomfortable as Kevin's slurs are, they provide two key elements which make Elijah's Ashes a very successful comedy: firstly, the lines are powerfully indelicate and serve as a backdrop to Lawrence's obvious suffering in society. Secondly, Kevin's gay-bashing is pushing the limits of acceptability which is an arena where some of the best comedies operate in. The central performances are superb throughout. Schneider tackles a smorgasbord of emotions during the opening third of the movie which would unseat most indie film actors. His penchant for subtle, physical movements means his performance becomes understated and far more sympathetic. Barton-Grimley, conversely, is an archaic piece of slapstick caricature which sounds like a criticism but this is actually the perfect accompaniment to the film. His line delivery is pitch perfect, even if the lines are grotesquely insulting. For a film that could have taken so many missteps trying to tackle this story in this way, Elijah's Ashes is incredibly tight in terms of storytelling, pacing, performances and filmmaking. It doesn't suffer from the midway lag that so many comedies endure, instead keeping a jaunty pace throughout that delivers consistent laughs. One sequence which threatened to overturn the apple cart was where Lawrence questions his sexuality, which seems to emerge out of nowhere. However this ended up being a crucial part of what was to come in terms of character arcs and enriched the story brilliantly. Attempting to tackle male sexuality using a comedy movie is always going to be fraught with peril. But the filmmakers here have approached the subject with raw honesty and unrelenting skill from those in front and behind the camera. The end result is a road trip journey that will make you laugh, cry and wince with embarrassment whilst you consider both these excellent characters with sympathetic eyes. Watch the official Movie Trailer for Elijah's Ashes below... #IndieFilmReviews #IndieFilms #ChrisOlson #LGBTQ #LGBT #Comedy #RyanBartonGrimley #MovieTrailers #AriSchneider

Written and Directed by Nic Nassuet Starring Anna Lee, Robert R. Ryel, David Nassau, Charles Claymore, Wolf Ramsey Short Film Review by Chris Olson Experimental short film CHRYSALIS, from writer director Nic Nassuet, explores a myriad of existential ideas such as life, death, rebirth, society and religion using a visually vibrant landscape and chilling abstract characters. The result is a thought provoking piece that offers audiences undiluted artistry without a conventional narrative. Anna Lee plays the central role known as Soldier/Initiate who experiences a transformation at the hands of three "ruffians" (Robert R. Ryel, David Nassau, and Charles Claymore), whilst roaming the picturesque tombs of the Rosicrucian Egyptian Museum. After a violent sequence, she gives birth (or is reborn) to another Child/Initiate (Wolf Ramsey) who starts on their own journey through the labyrinthine tombs and religious paraphernalia. As with so many experimental short films, numerous viewings of CHRYSALIS are recommended in order to garner some semblance of cohesion and to pick up on the smaller details and nuances. Nassuet utilises a marvellous colour palette to elicit strong emotions in every frame of his movie. A sequence where all the masked ruffian heads fade in and out of an Eastern painting is particularly compelling. There are several other moments where religious connections are made and severed, creating a tonally harsh environment for the viewer. These get mixed in with the transmutation of Anna Lee's character for a wholly head-scratching but interesting viewing. The locations are fabulous. Using such peculiar and arresting backgrounds is just one way that the filmmaker delivers above the usual standard of arthouse short films. Typically experimental cinema with a short running time can often venture too far into the abstract category but CHRYSALIS has just enough meat on its bones when it comes to themes and allegory that you come away from it enriched by the experience rather than too baffled. This film was part of a Veterans Make Movies project set up by the Los Angeles County Museum of Art, and Nassuet, whilst being a veteran, also made his movie on a shoestring budget of $200. This is an impressive feat when taking into account the eclectic array of striking visuals he manages to pack into the sub six minute running time! It also makes the ideas in his film all the more poignant if you start to connect the dots between the visceral themes of the short. Packed with visual punch and intelligent themes, CHRYSALIS, amongst other possible readings, is a brutal yet beautiful journey into one's ability to significantly transform in order to fit back into society. #ShortFilmReviews #ShortFilms #ChrisOlson #ExperimentalCinema #Arthouse #NicNassuet #AnnaLee #RobertRRyel #DavidNassau #CharlesClaymore #WolfRamsey

Directed by Fred Cavender Written by Lloyd Lewis Starring Paul Wilson, Bess Davies, Clair Gilmore Short Film Review by Chris Olson Dystopian dramas are often a unique cinematic experience, in that they can offer audiences a completely escapist viewing whilst tapping into painfully topical themes without jarring anyone out of the fantasy. Setting your story in an alternative future is a way of at once connecting your audience to the story without alienating them by making it “too real”. Short film The Golden Shore, directed by Fred Cavender and written by Lloyd Lewis, is a stylish and intelligent piece that explores the role of the individual during political strife, something all too familiar. Paul Wilson plays Professor Theodore, a man retired from his academic life who soon has his peace and tranquility disturbed by the announcement of a visit by the Regional Secretary of the People’s Reformed Government (Bess Davies), a a member of the seemingly new, revolutionary establishment. After stiff introductions are made, the Professor learns that an old poem he wrote called The Golden Shore has been chosen by the newly elected President (not General) to be used as the new national anthem. Dumbstruck by the idea and giving the signs of someone reluctant to be so closely associated with this People’s Reformed Government, our protagonist is quickly admonished by the visitor, who makes it very clear he has no choice in the matter. What ensues is an awkward balance between self preservation and freedom of artistic expression. Clever and impressively filmed, Cavender proves himself more than capable of delivering a high end drama with a period setting (and fantasy/sci-fi elements) that was reminiscent of the grandeur and intrigue of The Handmaid’s Tale. Shot in black and white with beautiful framing, the short also has a steady pace that allows the viewer to be engulfed by this alternative world without noticing, whilst being aesthetically enriched by the sumptuous visuals. The sound design is well produced, creating a believable landscape of tense scrutiny, especially once the Professor becomes a black sheep amongst the general public. Wilson’s central performance is excellent, as is Davies as the terrifying government official. The dialogue between the two of them in the sitting room is superb, delivered with intense chemistry and peril throughout. Their characters enjoy a phenomenal tension that directly parallels the sections of society they represent, without becoming cartoonish or vulgar. Clair Gilmore who plays the maid Agnes is also great, offering up a viewpoint of the common person. It was brilliant to see a story tackle both the political and the creative without failing to deliver a decent plot. The storyline is compelling enough to deserve a watch and has a wonderful final section, but with the added gravitas of the social and cultural commentary The Golden Shore becomes something of a cinematic gem. Watch the official Movie Trailer for The Golden Shore below... Or watch short films for free as part of the UK Film Channel and see the full movie below... #ShortFilmReviews #MovieTrailers #ChrisOlson #ShortFilms #SciFi #Dystopianfilms #FredCavender #LloydLewis #PaulWilson #BessDavies #ClairGilmore

Directed by Avery Cohen Starring Juvenal Avellano-Santana, Seth Kaliroff, Kelly Anderson Short Film Review by Annie Vincent Halfway to the Suburbs follows the story of Jaime, an obnoxious and egotistical youth who is about to head off to college. In a bid to impress his long-time crush Meg, Jaime seeks to prove he can be responsible by taking his troubled younger cousin, Andrew, to a party. Unfortunately, the storyline is just one of a number of issues with this indie short film. The film’s opening montage introduces us to Jaime, played by Juvenal Avellano-Santana. It is clear he is an over-zealous youth with a possible anger-management issue, as judged by his unreasonable reaction to a parking ticket – one he has been given because he is parking illegally in a disabled bay. And the character doesn’t become any more likeable as the plot progresses. He manipulates his vulnerable cousin into attending a party just so he can show off to a girl he likes. The script doesn’t help him out either, with his conversations in the early part of the film covering online pornography, the physical and sexual attributes of his crush, and drugs, then later becoming philosophical as he expresses the momentous changes he and his cousin have on the horizon. With his swearing gratuitous and his attempts to portray a ‘cool, urban youth’, whilst living in white, middle-class suburbia, painfully unconvincing, his performance becomes a cringe-worthy watch. And whilst other films have managed to capture the transition of silly-schoolboy to mature adolescent well, this one just hasn’t managed it. The script manages to fail other characters too. Mid-argument with Jaime, his friend Liam starts referencing the Napoleonic wars. Not only is this odd in itself, but it comes after an extended period of film where these characters are meant to have demonstrated how ‘street’ they are. Characterisation is a problem here too, as most of the performances in this film are unconvincing. Many of the actors look like they are about to laugh mid-sentence and lack any range of facial expression to support the script, such as it is. The best performance is from Seth Kaliroff, playing Andrew, who at least tries to create a genuine sense of anger and frustration later in the film, but the preceding plot and undeveloped script mean the audience can’t take this seriously either as it is poorly timed and seems incongruous with the fact the party and all of its drama has now passed. Away from the plot and script, there is some nice cinematography and time has been spent selecting an appropriate soundtrack to compliment the intended feel of this film. Unfortunately, the audio-balancing is poor and at times the soundtrack completely cuts over the actors. Halfway to the Suburbs is Avery Cohen’s third film and whilst the circumstances behind pre-production are unknown, it feels a little rushed. Audiences will struggle to empathise with these two-dimensional characters and engage with the inconsistent storyline. #ShortFilmReviews #ShortFilms #AnnieVincent #AveryCohen #JuvenalAvellanoSantana #SethKaliroff #KellyAnderson

Scripted and Directed by Eva Cvijanović Based on the short story by Branko Ćopić Narrated by Kenneth Welsh BFI London Film Festival 2017 Review by Chris Olson It's been a big year for animation, with some impressive animated films taking to cinemas and delivering on a sliding scale of talent. It has also been a year where certain animated movies have massively disappointed critics and audiences. Recent examples include The Emoji Movie, The Boss Baby, and to some extent Despicable Me 3. What we can garner from this turn in public opinion is that animation, finally, is being viewed more critically by viewers not just on how impressive the artwork is, but also how well the films deliver on the fundamentals of storytelling. Stop motion / puppet animation short film Hedgehog's Home, from filmmaker Eva Cvijanović, is a vibrant and majestic example of stunning storytelling. Playing at this year's BFI London Film Festival, Hedgehog's Home has the universality that is quintessential with animation. First off the plot; accessible to viewers of all ages, it is based on a short story by Branko Ćopić, whereby a hedgehog becomes the fascination of several predator animals, who cannot fathom why this spiky creature is so obsessed with his home. Most perturbed is a fox who initially tries to lure the hedgehog into a trap. Whilst tracking his prey back through the forest, he encounters a few more deadly creatures who accompany him in the stalking. Parallel to this simplistic storyline is an aesthetic that will also appeal universally to all kinds of audiences. The use of fabric throughout the short means that a kind of childish fable quality is achieved. This is then skewed into a rather threatening atmosphere with the use of darker colours and intimidating framing. The combination becomes a rather unique viewing experience whereby the thematic weight of the story is emboldened by the puppets and landscape, without feeling like the movie has sacrificed any dramatic essence by venturing into the stop motion genre. Touching on themes, audiences will be unlikely to miss the point of Hedgehog's Home, the clue is in the name. The experience of the central character is one enhanced by knowing that there is a place in the world he can feel safe and loved, interestingly not by anyone else. He vows to protect his home from any that would attack it and the onlookers are utterly dismayed by the passion with which Hedgehog defends his small hole. The fate of those who put less stock in a "home" becomes brutally clear, and the message is delivered to the audience without any frills. The use of rhyming dialogue could be enough to deter viewers from the off, and the use of puppets may also be a deal breaker, however I would staunchly argue that fans of animation, stop motion, short films, great storytelling, and expertly crafted filmmaking need to experience Hedgehog's Home, as it is one of the most impressive animated films of 2017. You can catch this film at the BFI London Film Festival 2017 during the during the Animated Shorts for Younger Audiences event on Sunday 8th of October. #AnimatedFilmReviews #ChrisOlson #BFILondonFilmFestival #BFILFF #Animation #FilmFestivals #BrankoĆopić #EvaCvijanović #KennethWelsh #BFILFF2017