★★ Written and Directed by Jeffrey W. Tenney Starring Bryant Turnage, Andie Bottrell, Teri Austin, Aaron Campbell, Maxine Whittaker, Kolyn Marshall, David Logan, Caroline Mitchell Indie Film Review by Chris Olson Medieval adventure film, The Raven's Prey, from filmmaker Jeffrey W. Tenney contains the main elements of a good fantasy/mythical movie, and sets about entertaining audiences on a big scale. Regrettably the scale and ambition of the film are not in harmony with the on set skills or the indie film budget. Set amongst the green pastures of some unknown kingdom, The Raven's Prey opens with a sinister abduction of a woman, who is being hunted by unscrupulous locals. In order the quell the rebellion going on in her own lands, the queen (Maxine Whittaker) sends her skilled Principal (Bryant Turnage) into the thick of it. What he discovers is a community torn apart by violence and religious fanaticism...I think. Utilising archaic dialogue and costumes, there is a pleasing tone to Tenney's indie film that at the very least will appeal to the LARPing crowds. The music, from Michael Ray Gould and Molly Healey, is, at times, one of the best aspects of the film. It had an authenticity to it which is admirable for a genre like this and worked well to stitch the sequences together. Ironically, the music in the film is pretty good but the sound design is shockingly bad. Whether this will get fixed in post (UK Film Review may have been privy to an earlier version) remains to be seen but as it stands, too many scenes suffer from dubbing and volume issues. Which brings us onto a more fundamental problem with The Raven's Prey which is the amateurish nature of numerous elements. Unless you have the experience or budget, filmmakers should generally steer clear of: choreographed sword fights, storylines with armies, blood-gushing wounds and anything similar. Unfortunately all of these things appear or are mentioned during The Raven's Prey. The outcome is a lot to tedious melodrama and awkward routines that would be better suited to a village playhouse than a cinematic endeavour. On the sliding scale of fantasy films, where The Lord of the Rings is one end and The Last Airbender is on the other, this film fails to get on the scales at all. I want to bring this film review back to a few more positives, though, simply because I admire the attempt that was made. Rarely do low-budget movies attempt such a long running time and a genre as difficult as fantasy, so hats off to the filmmakers for taking a stab at it. But the lessons here are to be wary of overreaching when you don't have the chops or cash. Watch the official Movie Trailer for The Raven's Prey #IndieFilmReviews #IndieFilms #ChrisOlson #MovieTrailers #Fantasy #JeffreyWTenney #BryantTurnage #MaxineWhittaker #AndieBottrell #TeriAustin #AaronCampbell

★★★ Written and Directed by Christopher James Cramer Cinematography by Julius Sean and Christopher James Cramer Starring Devin Brooke and Zach Kanner Indie Film Review by Euan Franklin Psychos have been done to death, and no filmmaker can escape that fact. Gory ones, sexual ones, mother-lovers, father-haters, axe-wielders, and puppet murderers… you’d have thought audiences would’ve grown tired of the genre. But writer-director Christopher James Cramer dares to move away from the two-dimensional depiction of psychosis and explores a softer incarnation in his claustrophobic indie film Stay. Claire (Devin Brooke) wakes up on a stranger’s sofa, an electrified collar locked around her neck. Our resident psycho, William (Zach Kanner), watches her struggle and activates the collar – causing Claire to spasm in pain. He tells her to twirl, to crawl towards him, to take her shirt off. When she protests, he activates the collar again and a jolt of electricity scourges through her body. She is under his control. William assigns her household tasks like cooking and cleaning, and permits her to draw for pleasure. He explains that he wishes to build a relationship with her. But he soon realises that Claire won’t submit so easily. Where the usual movie psycho commits an inventive murder within five minutes, Stay offers a paler alternative. The film proceeds with a tense patience – a world away from Freddy Krueger or Jack Torrance. William appears as a polite young man, someone you’d invite to dinner. But this doesn’t make him any less frightening. He is a controlling, patriarchal force with a charming smile. Cramer has constructed many quiet scenes around him, where the slightest enunciation is like a jump-scare. Kanner’s performance is perfect for the character – not too much, and not too little. We’re never sure about what the character is truly capable of. If you watch this film for anything, it’s for him. This can’t be said of Claire’s character, who Cramer is not very interested in. She isn’t a hero that immediately draws you into the story, and it’s made worse by Brooke’s uncharismatic performance. She can barely crack more than one bland gesture, which matches the blankness of the white walls behind her. There are moments when the lack of emotion works, but it feels coincidental. It becomes irritating during scenes where William activates the collar and Claire is meant to be writhing in pain. Like her one indolent gesture, Brooke’s portrayal of torture is painful to watch. She only manages a few fast blinks and a weak shudder. It looks more like a reaction from a wet willy than an intense electric shock. Unfortunately, the solid story and exceptional writing is brought down by the cinematography. Cramer and Julius Sean clearly had good intentions – a few nicely composed close-ups and innovative use of camera movement – but most of the visuals are stripped of their interest by bland backgrounds. The boring white- or cream-coloured walls make you feel lethargic, even if there’s a good scene playing out in front of them. It’s a struggle to see why Cramer, with several short films behind him, decided to make a feature with a premise better suited to a short. Despite the scenes being well-constructed, they turn repetitive and don’t add much to the overall story. A short film would’ve had a greater impact. But Cramer has written a reasonably good script, full of original ideas, and all the bland walls in the world won’t remove that fact. #IndieFilmReviews #IndieFilms #EuanFranklin #ChristopherJamesCramer #JuliusSean #DevinBrooke #ZachKanner

★★★★★ Directed by Andy Muschietti Starring: Bill Skarsgård, Jaedan Lieberher, Finn Wolfhard, Sophia Lillis, Jeremy Ray Taylor, and Jack Dylan Grazer Film Review by Niall Maggs “Wow!” is the best way to describe the 2017 adaption of Stephen King’s It in one word. After seven years of development, finally it’s been released after going through multiple directors, countless actors and plenty of rewrites, the long wait has paid off, giving audiences a truly terrifying, haunting horror masterpiece. 2017 has been a year of excellent horror films and that doesn’t seem to be slowing down with releases like Get Out, It Comes at Night, and It. It has been doing extremely well, critically, and commercially and has been one of the most anticipated movies of the year, mainly due to the appeal and popularity of the 1990’s miniseries starring Tim Curry, in a notorious performance as Pennywise the Dancing Clown. When Bill Skarsgård was first announced to be playing the clown who has haunted children’s nightmares for years, reactions were very diverse, much like Heath Ledger as The Joker in The Dark Knight. Beforehand many hated it, few loved it, but both actors proved the hate was unnecessary, by giving monumental performances of famous villains, and characters that have defined them, as well as being the most memorable in their careers. Skarsgård’s performance topped expectations and then some. He was purely terrifying and chilling, he makes you feel uncomfortable, disgusted, and most of all, completely freaked out, but oddly likeable! The costume and makeup team deserve Oscar nods, as the look of Pennywise is evil, and each time he’s on screen, he steals every minute. The performances from The Losers Club were all excellent and they had great chemistry between them, keeping the pace smooth instead of awkward interactions between the actors. In particular, Sophia Lillis and Jack Dylan Grazer were exceptional, and brought great character to the film. Speaking of ‘character’ it would be impossible to not mention the charisma of Finn Wolfhard’s hysterical performance as Richie; he brought humour into the nerving atmosphere, and lightened the tone in parts where something humorous was needed to make sure the film had a fun element to it as well as horror, much like The Goonies. The cinematography was mesmerising, the variation of shots were perfectly executed, giving scenes a sense of depth and dread, some sequences make you feel isolated and lonely. With parts of the movie that completely floor you and hold you there with fear and suspense due to the camerawork and excellent direction by Andy Muschietti. Jason Ballantine’s editing was very smooth, and flowed well with the pace. Hardly any of it was choppy, and if so, you wouldn’t notice due to the heart pounding tension that you feel right from the opening scene, up until the entertaining climax. You really feel exhausted after watching It thanks to the constant terror you experience. Modern horror directors need to take notes, because this is excellent horror done right. Beyond the slight overuse of CGI, It is yet another horror masterpiece this year, that easily outshines the original in every way possible, from the tone, to the cast, to the acting, suspense, tension, fear and dread that the audience feel right up until the end credits, to what is one of the most terrifying and immersive cinema experiences of all time. Watch the official It Movie Trailer below... #FilmReviews #MovieTrailers #TheatricalReleases #Horror #5StarFilm #Adaptation #StephenKing #AndyMuschietti #BillSkarsgård #JaedanLieberher #FinnWolfhard #SophiaLillia #JeremyRayTaylor #JackDylanGrazer

Directed by Neo Bryce Largo Starring Isaiah Bontia, Kimberly Mar Barcena, Jolas Efraim Estoquia Short Film Review by Evie Brudenall The formative teenage years in our lives are often daunting and complex and require thoughtful navigation, a theme that The Missing Fireworks attempts to implement. Harry (Isaiah Bontia) has been with his girlfriend Angela (Kimberly Mar Barcena) for one year. But they have yet to kiss and Harry is feeling the pressure to lock in his first snog. With his expectations sky high, can Harry’s first kiss fulfil his wildest dreams? “Have you been kissed on the lips?” a voice off-camera asks. A cohort of nervous teenagers, interviewed individually, giggle and verbally stumble through their answers. They are then asked about the experience of their first kiss and the answers range from adorable to comically candid. However, their responses are unified in the sense that all of their experiences were wonderful and affirmative, reinforcing the “first kiss” as a momentous rite of passage. When one young man is asked what his first kiss felt like, he replies simply with “fireworks”. The video is paused and Harry, from behind his laptop screen, appears dejected and wistful for something he has never accomplished. Harry then sets off on a mission to seal his first smooch but it’s definitely not smooth sailing. He starts to feel “The Pressure” (Chapter 1 of Harry’s journey), most notably from his best pal G (Jolas Efraim Estoquia) who labels Harry a “loser” and “stupid”, effectively approaching the sensitive subject with a “man-up” attitude. The dialogue in these interactions may be heavy-handed and a jilted exchange but the message it contains is pertinent and speaks to the scrutiny that teenagers feel to show signs of maturity and growing up in fear of being judged by their peers. In an effort to impress his girlfriend, Angela, and improve his technique, Harry begins to study and practice the art of kissing, like a boxer preparing for the fight of his life. The internet is Harry’s primary source and the sequence of him getting amorous with his pillow is amusing but could have been exploited further to reach heights of hilarity. Writer and director Neo Bryce Largo positions Harry as a likable protagonist and we’re successfully made to feel as anxious with anticipation as he does as he readies himself for his first kiss with Angela. When the moment he has been waiting for finally arrives, Harry is bitterly disappointed as there is barely a fizzle, let alone a full fireworks display. G tries to convince him that he is chasing a mythical, unrealistic concept but Harry remains hopeful that one day a spark will be ignited. G’s outlook on the crucial first kiss is the complete antithesis of what Harry believes, and whilst the characters are typical and archetypal, they raise interesting arguments and thoughts surrounding the expectations of first kisses. Packed with wonderful ideas, The Missing Fireworks sadly misses a few itself as its on-the-nose writing stops sparks flying in this sweet and well-intentioned tale. #ShortFilmReviews #ShortFilms #EvieBrudenall #NeoBryceLargo #Documentaries

Thinking outside the box: the films TV fans should be watching Film Feature By Owen Herman In the last few years TV and streaming has become more cinematic, and what we can see for free in our living room is increasingly resembling what we pay to watch in a cinema. However, there is still a huge difference in quality between mainstream series and films. People have become obsessed with the very best TV has to offer, binging shows that boast complex stories, engaging characters, and intelligent writing based around original ideas or exceptional source material, yet with films the box office is still ruled by unnecessary remakes and sequels, CGI smashy-punchy blockbusters, and crude comedies. This is a world where the ‘best TV shows’ lists are dominated by beloved and hugely popular shows like Game of Thrones, Friends, The Simpsons, and Breaking Bad, yet the equivalent film lists are headed by classics often ignored by modern audiences. Recommending 2001: A Space Odyssey to any of my friends would go down like Transformers at the Cannes Film Festival. There are many explanations for this. We have reached a golden age of TV with streaming services like Netflix offering huge choice wherever and whenever you want it. However, it remains that many of those wrapped up in the latest box set have less interest in a new indie picture, even if it might be similar to what they’re binging. Here I have presented a few brief suggestions for viewers of different series. Some suggestions are certainly famous and successful, others are less well-known. Some are obvious choices (though I decided to avoid suggesting Fargo to Fargo fans) and others are quite out-there. The shows in question are all currently running and immensely popular. Most of the films are modern and are just a general recommendation based on the merits of the TV shows in question, but are also personal favourites of mine. Without further ado: Peaky Blinders: So, you like slow-mo walking, catchy music, and ear removal? Well Quentin Tarantino’s Reservoir Dogs is for you. The film chronicles the aftermath of a heist gone wrong for a group of suavely suited criminals. Peaky Blinders clearly draws on many aspects of Tarantino’s movie, going as far as to recreate the famous Mr White – Mr Pink standoff with Tommy Shelby and Freddie Thorne. Other films which tell a similar story of life in criminal gangs are not hard to come by with The Godfather and Goodfellas both being classics. Rick and Morty: The darkly comic Rick and Morty is hugely popular, in part thanks to its wacky ideas and originality. But despite it seeming unique, if you cast your eyes to Oats Studios you will be able to see similar ideas at work. The short film studio has been offering many sci-fi shorts (for free), that will either satisfy your taste for the dark and gruesome (Rakka, Firebase, Zygote) or the darkly comic (Cooking with Bill feels very much like its ad breaks would feature Real Fake Doors or even Ants in My Eyes Johnson). While some shorts are far more serious than the adventures of Rick Sanchez, they are still made with the freedom to embrace what imaginative ideas sci-fi has to offer. The Walking Dead: At its best, The Walking Dead can be fantastic, but it often drags and has little sense of where it’s heading. Train to Busan, the South Korean zombie movie set on a train, is everything The Walking Dead aspires to be: a scary, unrelentingly tense action-horror experience with engaging characters and lots of emotion. It’s also only two hours long, so no unnecessary farm waiting. The zombie genre is huge, albeit filled with many mediocre entries. Others worth mentioning are Danny Boyle’s 28 Days Later which helped re-invigorate the genre for the 21st century, and George Romero’s Night of the Living Dead which started it all. However, if you fancy a bit of a light-hearted take on flesh eaters, the UK’s Shaun of the Dead and the US’s Zombieland are both consistently funny and thoroughly entertaining. House of Cards (and The West Wing): House of Cards’ slick style, sharp dialogue, and real-world relevance makes it not too dissimilar to The Social Network, one of this generation’s defining films. It is no surprise that the two are linked behind the scenes. David Fincher, director of The Social Network, serves as the series’ executive producer and has even directed a couple of episodes. The executive producer of The Social Network is none other than Frank Underwood himself, Kevin Spacey. House of Cards isn’t the only political drama to have links to the Facebook film; The West Wing was written by Aaron Sorkin, who won an Oscar for his work on The Social Network. It’s very apt in the current climate that even in film and TV, politics and social media seem to be inseparable. The Handmaid’s Tale: Dark and disturbing, The Handmaid’s Tale offers a glimpse at society after human fertility is threatened. The general set-up and themes are very similar to 2006’s Children of Men. Also based on a novel, the film takes an even more severe scenario (no children can be conceived at all) and looks at a more violent outcome for society. With Children of Men set in the U.K. and The Handmaid’s Tale in the U.S., these works together are great insights into differences between the two countries, and both provide bleak satire to get one’s teeth into. Both are also painfully relevant, with the series’ focus on women and the film’s portrayal of refugees. However, if this is all a bit depressing, check out The Lobster, a weird and wonderful comedy. While it appears very different to The Handmaid’s Tale, under the surface there are interesting similarities. Set in a similarly dystopian world where being single is outlawed, The Lobster provides a black, but hilarious, look on how society views relationships, sex, and loneliness. Marvel & Netflix: The Marvel Cinematic Universe is ruling franchise cinema and making its mark on Netflix with the release its fifth separate series, The Defenders. The streaming superheroes have had a mixed reception with Daredevil and Jessica Jones getting the bulk of the praise, and poor Iron Fist getting the brunt of the negativity. To their credit, Marvel’s Netflix outings provide content strikingly different to the usual superhero fare we see in their movies, with a much more adult focus (perhaps pushing the boundaries of violence a bit too far on occasion) and smaller scale conflicts. If you’ve enjoyed the best bits of these series, you are probably a fan of the movies, but there are plenty more films to check out beyond the MCU. With the focus on martial arts and high levels of violence, it’s worth taking the trip to the East. Daredevil fans ought to check out The Raid and its sequel for a similar, but superior, action style (lots of lovely hallways). If you’ve watched Iron Fist and want to indulge in some fantasy tipped martial arts fight scenes where the only emotion you experience is being amused that it’s all a bit silly, check out Crouching Tiger Hidden Dragon. But if you want to stick with superheroes, M. Night Shyamalan’s Unbreakable provides something different and less familiar. Black Mirror: The unnerving series that shows us dark reflections on society and technology has really become a hit despite its smaller, more British, beginnings. Thrillers as satire on society are common, but the ones that stand out are truly great. For the specific theme regarding technology, Ex Machina, provides a scary and thought-provoking look at artificial intelligence. However, perhaps the biggest and best dark, comedic satire is this year’s Get Out, a horror-comedy about the underlying racism of modern-day America. Despite its huge success, Get Out still deserves to be seen by an even wider audience. Stranger Things: 80s sci-fi throwbacks have been very prevalent recently, with the Netflix’s Stranger Things being hugely popular. The Spielberg-esque mystery adventure surrounding children has drawn a large audience who are eagerly awaiting its second season. Back in 2011, J.J. Abrams made his own homage to the genre with the generally underrated Super 8, a charming flick that also centres around a group of children who find themselves mixed up in a sci-fi conspiracy. Game of Thrones: The amount of people I know who love Game of Thrones but who refuse to watch The Lord of the Rings always infuriates me. Game of Thrones owes so much to Tolkien’s world and the trilogy is a masterpiece. Also, your parents can walk in at any time and it won’t be awkward. The films may seem a bit long, but they are all well worth your time. These are just a few suggestions (based on one young person’s viewing). There is so much out there that may not be trending on Twitter, or being highlighted on the Netflix homepage. There are so many films that should appeal to all sorts of people, yet they so often go under the radar of those who would love them the most. Yes, a cinema ticket can be expensive, but when it’s good, the experience offered is far greater than binge watching on an iPhone. I have had so many experiences where people happily sink hours of their time into a new show, but refuse to spend a couple of hours with a film that’s just as well made (if not better). Finding a film you may be interested in may take a little bit of effort, but it will be a hugely rewarding experience. If film can be embraced the way TV has been in the last few years then it’ll be a great step forward for modern cinema.

Directed by Ruth Pickett Starring Richard Kiess and Maggie Daniels Short Film Review by Daniel Reason Learning about the passing of a partner, or loved one, is one of the hardest experiences that anyone could go through, but to then discover that the cause of death is so unbelievably obscure and surreal is another thing entirely. The Mishap is a short film directed by Ruth Pickett that shows Dorothy Pryke, played by Maggie Daniels, reacting to Officer Thomas, played by Richard Kiess, who is in the unfortunate position of informing her that her husband has recently died, but due to the surreal nature of this event, it is a difficult task for him to fully describe what has happened in a thorough and sympathetic manner. As the story is based around the death of a character, a dark and emotional tone would be expected, but it is very much the opposite. Neither Dorothy Pryke nor Office Thomas can comprehend what has happened, which leads to Dorothy, in particular, being extremely dubious of what she is hearing. There is an effective use of profanity that adds some realistic humour, which makes the reactions and dialogue of both characters believable, despite the strange subject matter. It is clear, that Pickett is aware of the ridiculousness of the plot, and she embraces it by allowing for the editing and dialogue to suit the tone perfectly. There were some instances where the editing felt a little fast, as it would cut to the next shot too suddenly. Despite this, it flows very well and doesn’t slow down. Near to its conclusion, there is a brilliant opportunity to end and cut to black, but it goes on for a little longer, and although this is a small criticism, it would have made for a much more impactful final shot. Both Richard Keiss and Maggie Daniels are excellent in their respective roles. Keiss delivers a believable and sincere performance of the inexperienced police-officer. It is obvious how much of a challenge it is for him to fully explain the situation while doing his best to not cause any more pain to Dorothy Pyrke. His innocence is demonstrated through his hesitation to describe certain details, and it feels realistic, allowing for added believability in what is being discussed between the pair. Daniels contrasts him very well, resulting in some hilarious reactions and, occasional, instances of doubt. Her first reaction is what is expected but as more is revealed and she learns more and more about her Husband, she is completely unsure of everything and becomes a very unpredictable character, but is one that is easy to relate to and understand. Where The Mishap succeeds is through its acknowledgement of the ridiculousness within its plot. It’s two contrasting characters complement each other brilliantly, resulting in a unique style of humour that makes this a fun experience. #ShortFilmReviews #ShortFilms #DanielReason #RuthPickett #RichardKiess #Comedy #BlackComedy #MaggieDaniels

★★★ Directed by Nikolaj Arcel Starring Idris Elba, Matthew McConaughey, Tom Taylor, Dennis Haysbert Film Review by Niall Maggs The Dark Tower stars Idris Elba and is based on the book series by Stephen King, and tells the story of the Gunslinger (Elba) and a young boy known as Jake (Tom Taylor) who has strange visions of a mysterious tower and The Man in Black (Matthew McConaughey), while no one else believes him, a sinister plot is commencing involving everyone on earth. First off, McConaughey, is the stand out in this movie and even outshines Elba! The man has clearly proven he is one of the best actors of all time. He’s creepy, evil, despicable, but interesting and mysterious. Idris Elba is terrific as the lead role, he’s believably cool and tough, and someone for the audience to root for. This is a classic trope of good versus evil, with lots of fun action. Tom Taylor is also very good as Jake. He has dreams of this mythical world and creates drawings, but everyone is convinced he’s crazy! An obvious cliché but realistic nonetheless. Quite often, kids in movies can be quite annoying, but Taylor is excellent and could prove to be one to watch in the future. The special effects are imaginative and absorbing during The Dark Tower. The entertainment level outshines the quality, which is the clear intention of the storyline, with exhilarating action sequences which makes the short run time speed past! Nikolaj Arcel’s direction is flawed, which is the films biggest weak point. The movie would’ve benefited from a longer run time as the characters aren’t explored and there is little to no character development. Although the action is almost constant, it doesn’t feel as if the story develops and just comes to an abrupt and sudden conclusion. Beyond the multiple flaws, The Dark Tower is still great fun and doesn’t let you take a breather, with entertaining action scenes, but lacks in character and story development. The flick will probably spawn multiple sequels where more of the engrossing world will hopefully be explored. Watch the official The Dark Tower movie trailer below... #FilmReviews #NiallMaggs #MovieTrailers #Adaptation #StephenKing #NikolajArcel #IdrisElba #MatthewMcConaughey #TomTaylor #DennisHaysbert

Directed by James Kicklighter Starring Axel Roldos, Briana Evigan, Ser’Darius Blain, David A. Gregory, Nihan Gur, Krystal Conway Short Film Review by Chris Olson For many, the strip club location is synonymous with the crime thriller genre. The darkened rooms, shady characters and sinful atmosphere make for a perfect accompaniment to a nefarious story. So it will surprise some viewers that filmmaker James Kicklighter has set his latest short film, Angel of Anywhere, in such an establishment, with a storyline that contains wholesome therapy and the release of pent up emotional distress in what is a remarkably intelligent and impressive piece of drama. We are introduced to Angel (Axel Roldos) standing nonchalantly by his car outside a dimly lit building. The camera then follows him through the crowded strip club where he stops, centre stage, ready to perform to the eager crowd. After having his chiseled abdominal muscles then decorated with dollar bills, Angel goes into a back room with Michelle (Briana Evigan), who admits to being a first-timer in the club before regaling Angel with her innermost turmoils. Later we see Angel back in the same room, this time with a male punter (Ser’Darius Blain), who, after trying to get the "party" physical, also settles into a heart-to-heart with our protagonist, revealing deep-set issues. Aside from the wonderful dialogue between the main players, Kicklighter also adorns his short film with a visual smorgasbord of filmmaking treats. From the aforementioned one-take opening of Angel entering the club, to a charming little sequence where he fixes a lightbulb, several sequences in Angel of Anywhere are beautifully filmed and delivered. There is a daring to the craft that does not let the central themes do all of the heavy lifting. Instead, the aesthetic and mise en scéne are just as integral to the movie's power as the characters and dialogue. This can be seen in the wonderfully atmospheric backroom where the key scenes take place, with its cold blue light and sparseness, and Angel filling the room with his almost naked body. This expertly suited the emotional vulnerability of the characters who entered. Little flourishes of intrigue are also to be found across Angel of Anywhere. Such as the central character's seemingly supernatural ability to fix electricals, or his staunch opposition to narcotics. If this were to be a feature film, there is already a magnificent amount of meat on the bones in terms of compelling characters and weighty motifs. Once the characters start revealing more about themselves, lots of interesting topics surrounding relationships, masculinity, life and desire ensue. There is an honesty to this short that audiences will find addictive. Characters get laid bare in a stark environment by a character who emanates an ethereal presence. Slick and stylish throughout, hats off to DoP Jonathan Pope, this is one strip club film lovers should frequent. Watch the official movie trailer for short film Angel of Anywhere below... #ShortFilmReviews #ShortFilms #ChrisOlson #Drama #JamesKicklighter #AxelRoldos #BrianaEvigan #Ser39DariusBlain #DavidAGregory #NihanGur #KrystalConway #MovieTrailers

★★★★ Directed by Juan Carlos Medina Starring: Bill Nighy, Olivia Cooke, Eddie Marsan, Douglas Booth, Maria Valverde, and Sam Reid Film Review by Niall Maggs Alan Rickman was originally cast as Detective John Killdare (Bill Nighy) but had to pull out due to poor health, Nighy took over and gave a much more serious performance, unlike his previous, more comedic roles, that established him as a movie star. In The Limehouse Golem, he plays a mysterious detective who, unfortunately, isn't really explored, so the audience know very little about him, except the fact that he's investigating a series of murders, and being made a scapegoat for an 'unsolvable crime'. This is easily one of his best performances, along with the other cast members, in particular Olivia Cooke, who was absolutely fantastic as a wrongly accused murderer facing death. She's a relatively unknown actress with few roles and few big titles to her name, but proves she is terrific in big-budget movies as well as smaller flicks. The cinematography by Simon Dennis is so eerie and gloomy in the Victorian setting, the film's tone is dark and mysterious, which makes the perplexing murder-mystery more effective and haunting. The extreme violence and gore were necessary to create a dark, grisly atmosphere, and this works perfectly, giving the audience a disturbing tale of horror. Juan Carlos Medina's directing is slightly muddled, choosing to tell a lot of the story in flashbacks, which were sometimes confusing and hard to follow. But when the story was developing outside of these flashbacks his skill really shines. The use of music was lacking but the use of silence is chilling and frightening, although some scenes would have benefited from a score, to create more tension and suspense. The costume design and production value is engrossing, with flawless setting that further works in advantage to the story it's trying to tell. Ultimately, The Limehouse Golem is full of twists and turns, and keeps you guessing right until the murderer is revealed. Bill Nighy and Olivia Cooke shine in their roles, giving outstanding performances, in what is an effective and creepy narrative, with interesting themes of theatrics and revenge. The direction had flaws but didn't depart from the storyline. The Limehouse Golem is a fantastic murder mystery and a destined classic! #FilmReviews #TheatricalReleases #NiallMaggs #JuanCarlosMedina #BillNighy #OliviaCooke #EddieMarsan #DouglasBooth #MariaValverde #SamReid

Written and Directed by Dan Tonkin Starring Olivia Stelling, Mark Christopher Collins, Adrian Osman, Rebecca Hyland, Antony Arundell, Olivia Jane Russell Short Film Review by George Nash As a large meteor crashes towards earth, short film Last Light follows the movements and final interactions of five people on the last day on earth. Nothing brings people together quite like an approaching meteor the size of a small planet, right? But, as Hollywood knows all too well, very often the only thing astronomical about such an event is the budget; and the only thing destroyed as a result is any sense of narrative. Save for an opening news bulletin warning of the imminent disaster, with Last Light, writer/director Dan Tonkin – whose body of work includes corporate advertising and event filming as well as fiction – sensibly shifts focus from what blazes above to what rages inside, as character emotions and tensions spill out on judgement day. The result: Tonkin has created a sub-ten-minute excerpt of what we expect the final ever episode of Eastenders to look like. Last Light follows a seemingly unconnected three-pronged narrative, in which a middle-aged couple argue about trivial matters, a young woman tries to reconnect with the world, and an estranged father tries to make peace with his adult son. Narratively, it’s certainly not going to shatter any new ground, and you’ve most definitely seen most of the melodrama before. And yet there remains an intelligence in the way Tonkin approaches his subjects. Unnamed until the credits, his characterisation raises many a question, but rarely gives an answer; and amid the end of the world paranoia, there’s an irony in the fact that, for the majority of Tonkin’s players, their world has ended long before any talk of asteroids. Close-up is the name of the game here, as Tonkin’s attentive camera work fixates upon facial expression; often saying much more than any final-moment spiel ever could. The script occasionally clings too tightly to convention, and the performances, with perhaps the exception of Christopher Collins and Olivia Stelling, feel a tad over-egged. And while Last Light might effectively veil its characters in enigma, there is the feeling throughout that what is not shown threatens to be far more interesting than what is. Take away the giant fiery rock that burns at the narrative’s core, and you have unexplored tales of shattered paternal bonds; meaningful relationships lost; and a snoring mother-in-law. Original this most certainly isn’t, but patience and careful characterisation there most certainly is. While it might not always reach its intended heights, Last Light’s emotional comet is always moving in the right direction. #ShortFilmReviews #ShortFilms #GeorgeNash #Dystopianfilms #DisasterFilm #DanTonkin #OliviaStelling #ChristopherCollins #AdrianOsman #RebeccaHyland #AntonyArundell #OliviaJaneRussell

Directed by Alan Harding Starring David Soltura, Andrew Whelbig Short Film Review by Jack Gibbs An America inhabited by strange, blue humanoid creatures, a young boy touched by powers beyond mortal comprehension, a series of absurdities and curiosities seen through the lens of an old camcorder and showing a land of the free that is patently baffling in more ways than one. This is the image that short film Special Snowflake presents to us, and if nothing else the resulting product is singularly unique because of it. That sense of uniqueness also carries on into the narrative the film displays and the messages that lie beneath its quaint surface – it is pleasing to the eye with its vast array of pastel colours and overall style, but this little number puts all of its energy into the overarching idea present in the narrative framework, to both its benefit and detriment. The plight of Elliot Thurman a boy who experienced a run-in with supernatural powers as he and near-faceless friend, recorder and protagonist Daniel (both voiced by David Soltura) attempt to contact aliens, proves to be a surprisingly effective look into the. Despite being rendered comatose his celebrity status propels him to unexpected heights of fame – “you’re definitely more popular in here than you ever were awake”, Daniel laconically notes – and his situation serves to whip the town into a religious, political and materialistic frenzy. Preachers claim that the return of the Messiah is imminent, Winner uses the boy as a centrepiece of his mayoral campaign, citizens send him deceased animals cocooned in wrapping paper in the hopes that they can be revived and miniature statues are produced for avid consumers to purchase en masse. The film is only a fleeting eight minutes long, but the depiction of how Elliot is viciously lionised and celebrated even while bedridden is genuinely striking, and Daniel says it best as we see rows of televisions soundlessly blaring behind a pane of glasses, as Winner voicelessly lauds Elliot for his own personal gain – “This town is mad.” For the interesting qualities that the wider narrative possesses, however, the rest of Special Snowflake is unfortunately rather plain. The visual style is unquestionably fetching but there are no true standout moments with regards to animation quality, but it is serviceable all throughout the film’s short length. The voice acting is fairly plain, though Andrew Whelbig puts in an intriguingly zany and idiosyncratic turn as Max Winner, an eccentric mayoral candidate for the town of Clearapple in which the film takes place. The humour that features in many of the small vignettes that comprise the film is very much hit-and-miss, and though there’s an odd sort of wonder to be found in things like believing melting pizza toppings to be a sign of alien life, on occasion it tries too hard to be quirky. Things remain open-ended with much mystery abounding, and so one can only wonder whether or not there will be an eventual continuation. If this takes off, with a bit more time added on, a hypothetical follow-up could potentially be something truly solid. As it is, however, it’s a curiosity. One with a firm central thrust, but a curiosity nonetheless. #ShortFilmReviews #ShortFilms #AnimatedFilmReviews #Animation #JackGibbs #AlanHarding #DavidSoltura #AndrewWhelbig

Directed by Vasily Chuprina Starring Ad Van Kempen and Rom Elzakkers Short Film Review by Andrew Young SPOILER ALERT German short film director Vasily Chuprina’s recent work The Boy By the Sea is short, slight and sad. At just 6 minutes long, it is a film with no frills, a film that makes its point concisely, eloquently and movingly. Written by Chuprina’s regular collaborator Andreas Illmer in Dutch and starring Dutch actors Ad Van Kempen and Rom Elzakkers, whilst being a Dutch-Latvian co-production, The Boy By the Sea is a film that in its production stretches across borders, and in its content is universal. The plot, if it can be called a plot, sees Van Kempen’s ageing sailor approach a young boy who is sat, unsurprisingly, by the sea. The boy talks with no inhibition to the old man as he muses about the fate of the stones he sends into the water. He’s looked at the bottom and he can’t find them, so “where do they go?” asks the sweet yet melancholic child. He concludes that maybe after they sink, the stones end up in heaven, along with the stick that floats on the surface, as if among the clouds above. The old man listens intently, before coming to the realisation, as may well the audience, that such thoughts in the boy have been stirred by someone close to him being one of those very stones. The film is unwaveringly simple and sincere in its presentation of this death-centric metaphor and a touching, if fleeting, relationship. It must be said that there is nothing particularly groundbreaking about Chuprina’s film. The death metaphor is effective but straight-forward, albeit given a lovely layer of complexity by the stick floating among the heavens – a possible symbol of God, as he floats among the clouds and walks on water. The kindly old man and small child forming an “unlikely” friendship and the familial tragedy at sea are not strikingly original storytelling devices. Yet, whilst it may lessen the film slightly on reflection, it does nothing to reduce its power and beauty when it is playing. Each aspect of The Boy by the Sea works in harmony to create a definite, affecting tone. Artyom Zakharenko’s shots of the coast are filled with a kind of bleak beauty, the colour palette drained of vibrancy but retaining the inescapable peace of the location. The score by Julian Scherle is equally effective in creating this mood, making itself known without being intrusive, or for that matter eminently memorable. As in most simple yet well-told stories, praise must be given to the performances. Young Rom Elzakkers imbues his character with an innocence and curiosity, whilst clearly conveying the sadness and stoicism in a young child going through tragedy. Ad Van Kempen’s decision not to go for the grizzled-yet-soft-on-the-inside approach pays off, slightly subverting character cliché. Instead, he comes across as a man who has come to accept the tragedies of the seas, whilst remaining in bittersweet awe of its beauty. The whole short plays like the stand-out scene from a larger film; it would be one about coming of age, innocence, nature, friendship, religion, family and death. That The Boy By the Sea can distil all of that into one scene that can also stand alone is an impressive feat. If there is anything that lessens the impact of Chuprina’s film, it is that the meaning of the metaphor is perhaps over-explained. The way the old man almost spells out what the boy and us were probably already thinking feels superfluous and jars with the delicate, fairly subtle tone of the rest of Illmer’s well-written script, therefore diminishing the carefully crafted mood. A more positive look at this could be to interpret the more open and frank remarks of the old man as a signal that he is more accepting of the death, having probably witnessed similar tragedies before. The child needs to encase himself in uncertain metaphor, not just clinging to a hope of heaven but the hope that the stone might reappear; the old man is long past that. Either way, short film The Boy By the Sea is a touching, beautifully told snapshot of a tragedy that showcases talent on all sides. #ShortFilmReviews #ShortFilms #AndrewYoung #WorldCinema #VasilyChuprina #AdVanKempen #RomElzakkers