Directed by Abrar Athar Starring Masum Bashar, Ferdousi Ahmed, Aanon H Siddique, Mohammad Hridoy Hossain Short Film Review by Chris Olson A depiction of family life, filmmaker Abrar Athar's short film, Life in Other Words, is a mischievously enjoyable piece that makes use of charm and comedy, whilst telling multiple narratives in a light hearted manner. A son failing school, a daughter hitting the glass ceiling at work, a husband with a penchant for temper tantrums at the cricket score, this could all be enough to topple some mothers but not the one in this story. Even at the end of the month where funds are tight, she still maintains her cool by rustling up a nutritious, if unglamorous dinner for her quirky family. What transpires over their together time is everything you need to know about the important things in life. Light on conflict and tension, audiences may find a lack of things to chew on if they go into Life in Other Words expecting something with threat or intrigue. The plot is simple, the tone is fluffy, and even the moments where the father is raging at his son are still somehow cheeky rather than chastening. This is in part a criticism, as viewers could have been given more depth to the family drama, but it is also a complement, as Athar feels confident to deliver a basic story about the fundamentals of family life without the need for conventional, audience-pleasing, cinematic devices. Not that we should feel short-changed though. Instead, he gives us an exceptional aesthetic experience. There are some breathtaking sequences during Life in Other Words that transcend the usual standard of short filmmaking. Several jump to mind but the most laugh out loud enjoyable was a series of family photographs whereby a younger version of the father is relentlessly pushed out of view by his siblings. This had a Wes Anderson quality to it and will really make viewers smile. Another involved the watching of a cricket game and some slow motion on the euphoria it can cause, which was wonderfully entertaining to watch. The colours are vivid and the music is spunky, everything about the short has been tailored to create a vibrant tapestry of life. The only gripe would be the English voiced narration, which felt jarring against the Bangladesh setting. Great comedy filmmakers are hard to come by and Athar will certainly be one to watch. His timing is excellent, as is his mise en scène, and the variety of filmmaking devices he shows he can utilise well is impressive. What I am trying to say, I guess, is that this is Great in Other Words. Watch the official Movie Trailer for short film Life in Other Words below... #ShortFilmReviews #ShortFilms #WorldCinema #MovieTrailers #AbrarAthar #MasumBashar

Written and Directed by Kalainithan Kalaichelvan Starring Joann Nordstrom, Maddox Hayward, Willem Legood, Jim Garrow Short Film Review by Chris Olson "Life and death are God's work, not ours..." This poignant line spoken to a mother (Joann Nordstrom) when speaking to a holy man about the ailing health of her son, beautifully encapsulates the tone and aesthetic of short film Stella Maris from filmmaker Kalainithan Kalaichelvan. Told in black and white and an unconventional aspect ratio, every aspect of Stella Maris has been formed to suit the period feel of the short. The sombre stringed score performed byTrevor Dick is dramatically tense, as is the score in general from Kalaisan Kalaichelvan, constantly rousing the audience like a movie from the silent era. The use of lighting is done to perfectly complement the loftier themes of religion, life and death which surround the film like a noose, using shadow to suggest character flaws and sin, as well as creating an immense sense of foreboding. Cinematography has been used to allow space and distance from the characters at time, and then emotional intensity in others. This juxtaposition is a subtle but effective way of drawing the viewer into the drama without hitting them over the head with it. The plot is acutely dramatic too, focusing on a mother-son relationship that is disturbingly strict and pious. As the mother constantly chastises her boy about preparing for an important religious event whilst his health becomes increasingly perilous. Nordstrom is an absolute powerhouse throughout, delivering scene after scene of intense emotion and phenomenal character depth. One scene where she tenderly holds her son in bed is remarkably beautiful and tragic. The side characters are not massively fleshed out, but the strength of this film rests on this central performance which is rock solid. Kalaichelvan is a wonderful craftsman as a filmmaker. The only real slip are the lengthy lingering moments in certain shots that seemed to inject a sense of tedium whereas the rest of the short was brilliantly edited and paced. Aside from that, his multifaceted involvement with Stella Maris is proof of his eclectic skill set. There was huge depth in every frame, a controlled sense of aesthetic that bolstered the story rather than distracted from it with nostalgic gimmicky. Every cinematic convention used has a reason to be there and enhances experience. Fans of intense religious dramas or movies from the early part of the 20th Century will be in their element in terms of aesthetic filmmaking, but modern cinema fans will also be able to sink their teeth into a wonderful central performance and enduring themes of life and death that continually spark debate. Watch the official Movie Trailer for Stella Maris below... #ShortFilmReviews #ShortFilms #ChrisOlson #BlackandWhite #Religion #Religious #AspectRatio #KalainithanKalaichelvan #JoannNordstrom #MaddoxHayward #WillemLegood #JimGarrow #MovieTrailers #KalaisanKalaichelvan

Directed by Ruth Pickett Starring Nana Amoo-Gottfried, Ruth Pickett, Abi Roberts, Jay Byrd, Emily Head Short Film Review by Annie Vincent Ruth Pickett has written and directed a smirk-worthy short which teeters in that marvelously satisfying area between comedy and tragedy. One Under introduces us to David, an aspiring composer going nowhere, who lives with his Nan and works at a café in a small Derbyshire village. Today is his birthday and a tramp steals the pink bike he’s riding, his girlfriend stands outside the café snogging someone else and he must spend the day working in a frilly apron and head-dress because he’s forgotten his uniform. But, as he wipes bird poo from an outside bench, an opportunity to play the hero arises when a woman appears to be in distress on the station platform – perhaps the day will improve after all … Pickett has played with stereotypes, political correctness and contrast in her script to create a charming narrative and everything has been well planned, from the signs in the café reading ‘we do not care about your nut allergy’ to the teeth kissing Jamaican grandmother who can’t believe her ‘rude boy’ grandson would steal her ‘blood-claat bicycle’. Pickett’s scripting is tragically comic producing some great moments when the audience really want to laugh, but don’t know if they should. When Kel, the woman David tries to rescue, tells David she lives with her Nan who has ‘gone a bit batty’ and thinks she is ‘Fagin from Oliver Twist, coming to pinch the silver’ the audience laughs, thinking of their own elderly relatives who are at various stages of dementia, before seeing the tragedy in David’s reminder that life is ‘shit … and then you die’. One Under has an interesting soundtrack too. The opening credits roll against a slow rap track with a heavy base, but the first shot is of David riding a pink bicycle under a stone bridge, followed closely by his Nan in her mobility scooter. Later, classical music is employed to heighten David’s heroics, before he’s sharply brought back down to reality, and again this clever use of contrast all adds to the humour of the film. What the audience really need with this film though, is more. In ten minutes Pickett has created a loveable protagonist in David (who doesn’t like an underdog?) and a small community of mad, bad or just outright rude characters to follow, but we don’t get to follow them far. One Under will have audiences laughing, then smacking themselves for laughing, and finally pleading for a sequel. #ShortFilmReviews #ShortFilms #AnnieVincent #RuthPickett #Comedy #NanaAmooGottfried #AbiRoberts #JayByrd #EmilyHead

Written and Directed by Ugandhar Muni Starring Madhav M, Mohan Bhagath, Kiran kumar K Venkateswara Rao, Geethananda Reddy, Sandeep Bandla, Krishnama Raju Short Film Review by Chris Olson The world of cyber hacking is an endless source of thrilling stories in the movie world. Not only are they relevant to modern audiences, preying on their underlying fears of digital security, but they also capitalise on a more fundamental aspect of storytelling - one person performing an injustice upon another. Short film Digital Sting from filmmaker Ugandhar Muni approaches the theme of cyber hacking with a sense of naughty characterisation and eclectic filmmaking techniques. The bulk of the narrative concerns an office space where the boss is a largely unlikeable sort that treats his employees as nothing more than keyboard monkeys. In an Ocean's 11 style heist, several disgruntled workers decide to implement a hacking scheme that will bring the boss, and the company, to their knees. Sadly the boss gets wise to the ruse and instead of getting mad he gets involved, deciding to take the hacking scheme to higher levels on other, unsuspecting targets. Throughout Digital Sting, audiences will feel well versed in the methodology being utilised. Multiple frame montages are displayed numerous times to indicate the complex heist being pulled off that involves various characters in numerous locations, not to mention a stopwatch which appears whenever a hack is being physically applied to some victim's computer or laptop. This effect of multiple screens displaying multiple scenes works well to bolster the pace of the short, and avoid unnecessary filler scenes that would be needed to fill in the narrative detail. Some excellent animated sequences are also thrown in which were brilliantly executed. The characters largely remained unassuming but all delivered a sense of urgent peril about the plot being pulled off. Having committed to a half hour run time, Muni unravels the story with a compelling restraint that keeps the twists and turns well camouflaged, eschewing traditional audience connection with a central story, for a more ensemble effect. Whilst the pacing is not sluggish with unnecessary characterisation or exposition, the breakneck speed with which the events unfold is at the very least jolting. Sequences involving numerous rich people and violent goons lack the dramatic heft they could have achieved simply because we were introduced to them too early. I would argue there was easily enough material in Digital Sting for a feature length movie. Fans of swift cyber thrillers and action comedies will be in their element with Muni's Digital Sting. If you can keep up with the pace and are unfazed by the abandon of additional character building then this could be just the short film thrill you are looking for. Watch the official Digital Sting movie trailer below... #ShortFilmsReviews #ShortFilms #ChrisOlson #WorldCinema #Comedy #HeistMovie #UgandharMuni

★★★ Directed by Makoto Shinkai Starring Mone Kamishiraishi, Kamiki Ryusnosuke, Masami Nagasawa, Etsuko Ichihara, Ryo Narita, Aoi Yuuki, Nobunaga Shimazaki, Kaito ishikawa, Kanon Tani Film Review by Jack Gibbs One day, rural girl Mitsuha Miyamizu (Mone Kamishiraishi) and city kid Taki Tachibana (Kamiki Ryunosuke) find themselves inexplicably swapping bodies at random. At first, this sudden occurrence serves as a strange but amusing diversion, with the two kids using it to live each other’s lives, send each other messages and improve each other’s lives, but it doesn’t take long for something darker to seep through the cracks. News of a passing comet heralds a change, and the two find themselves in the midst of something monumental, all the while trying to preserve the connection and memories they have. Your Name, the latest in Makoto Shinkai’s filmography and by far his most critically lauded, is a curious outlier in his library of work. It retains much of what its predecessors feature – smooth, eye-watering visuals, an emphasis on the subjects of connection and human bonds and, more often than not, a heaving dollop of bittersweetness. Here he aims to subvert that general mood, giving us perhaps the closest to a standard romantic drama he’s ever made, with a slight fantastic edge, an endeavour that yields mixed results. Certainly, Shinkai and his crew bring their experience to the fore. The animation and art, especially when concerning the village of Itomori nestled among beautiful scenery, are nothing less than stunning. The intricacies of rural and urban environments and the sharp contrast between them are captured perfectly. There is nothing off-model to ruin the immersion, and the visual direction creates some utterly striking scenes. Shinkai makes the worlds he creates feel vibrant, weathered and lived-in all at ones, and CoMix Wave Films, who have frequently collaborated with him, help bring Your Name’s vision of Japan to live like never before, and the film includes perhaps the most beautifully animated comet in recent history. The Japanese voice acting is also strong across the board, with both lead actors displaying an impressive degree of range as they alternate between bodies and convincingly portray the other’s mannerisms and personalities as time goes by. Kamishiraishi’s performance is particularly soulful, and joining her are a smattering of voice actors and actresses who mostly don’t have a massive deal of experience in the field, barring Ryunosuke and Aoi Yuuki who voices Mitsuha’s friend Sayaka. The relative newness of most of the remaining cast makes their performances that much more genuine, and there are some true standouts, particularly Kanon Tani as Mitsuha’s sister Yotsuha. Additionally the film excels at simply making you feel good, while also having its share of punches to the emotional centre. It’s a film that tells us to cherish the memories we have, a creation brimming with a sense of hopeful positivity in stark contrast to a great deal of the director’s previous works. Given that Shinkai has often made a habit out of taking viewers of his films on unremitting emotional rollercoaster, and so to have something from him that is genuinely happy in tone that rewards the protagonists for their struggles is welcome indeed. The soundtrack – chiefly a number of insert songs from Japanese band Radwimps – intensifies this, and their music makes up some of the most memorable parts of the film as a whole. The characters are given enough time to shine, and are probably among Shinkai’s most memorable. What the characters themselves do is oftentimes interesting or compelling enough, and through them we do learn intriguing things about them and the world around them. We have a look into things like Taki’s attempt at a love life, and Mitsuha honouring the traditions of her shrine, dealing with school, seeing her boredom towards rural life…but there is a disparity, and therein lies part of the problem. On the issue of characters the film also ends up suffering, for all the colour the characters exhibit, by electing to focus chiefly on Mitsuha as opposed to Taki, with him only receiving proper focus after the story drops its first major bombshell. Even then it is only for a limited amount of time, and as a result of this focal disparity Mitsuha not only comes across as the infinitely more interesting lead, but one of the main thrusts of the entire film – the romantic angle pushed for these two characters – comes off as rushed and insincere on Taki’s part as a result. As with the characters, so too do the mechanics that enable the film’s plot find themselves wanting. The idea of body-swapping, though a nifty gimmick, is what ends up dragging the film down the most in this regard. No real reason is given at any point in the film as to how the phenomenon occurs, barring one brief moment in the film where it’s mentioned that Mitsuha’s relatives had dreams of living other lives – but even then, that doesn’t account for Taki, which is odd because the other fantasy elements receive a sufficient explanation. Related to this mechanic, what is probably the most outstanding revelation in the film finds itself bogged down in a series of retroactive plot holes that unfortunately diminish the impact of the reveal and make the events that transpire in its wake less plausible. One cannot help but wonder if Shinkai ended up being somewhat carried away by the idea of swapping bodies to the detriment of the script. However, the biggest problem is that, ultimately, compared to its predecessors, it’s just simply rather plain, even somewhat derivative. Strangely enough, it is in attempting to divorce itself from the director’s usual style of work that Your Name ends up damaging its own identity. It has a likeable cast, and it unquestionable has iconic moments and sequences filled with impeccable direction and raw emotion, but there’s nothing that’s narratively hard-hitting like the sheer distance involved in Voices of a Distant Star, the tragedy in Children Who Chase Lost Voices or the unflinching realism of Five Centimetres Per Second. It’s a relatively standard romantic drama with a hint of the fantastical, and while it’s a well-made feel-good feature, the simplicity of its scenario ends up hindering more than helping. Does Your Name live up to the monumental hype? Not quite. It is worth a watch, is unquestionably a labour of love and is something that you turn to if you want to feel fuzzy. But from Shinkai himself – from the realm of animation itself – there are titles that simply do better. #AnimatedFilmReviews #FilmReviews #Animation #TheatricalReleases #JackGibbs #MakotoShinkai #MoneKamishiraishi #KamikiRyusnosuke #MasamiNagasawa #EtsukoIchihara #RyoNarita #AoiYuuki #NobunagaShimazaki #Kaitoishikawa #KanonTani #WorldCinema

Directed by Andrew Richardson Starring Tim Duthie and Craig Simons Short Film Review by Rachel Pullen Sometimes we forget the true power of film, the fact that we are given this platform to create something out of the ordinary, to take people to places or into scenarios that they will never see or experience, and while this is all very well and good we often over look the simplicity of human interaction and the magic that it can bring to the screen. Director Andrew Richardson takes the idea of improvisation on film to a whole new level with his short No man is an Island, isolating his two leading actors from each other for four months, working individually to develop their characters and their story. Shot in a warehouse, fully lit for freedom of movement for the actors, we see our two characters hide out together after committing a crime, having never met before this day [in the film and in real life] they try to size each other up and the reasons as to why they have been chosen to work together for their mutual boss. The isolation that Richardson implemented on his actors leading up to the shoot allows for an explosive performance on screen, each character is the complete opposite of the other. Raven played by Tim Duthie is an excitable man, dripping in negative energy and rage, but his newly found counterpart, Mr Doyle, played by Craig Simons is reserved, barely speaking and unphased by Raven’s insane ramblings as he attempts to gain a reaction out of Doyle. These two delve into each other’s minds as they put together the pieces as to why they have been ...well put together, but as they do so they unlock a darker reason for their paring. Now this as a storyline is not that interesting but when you take into account that the entire film is improvised, shot in one take with only two cameras, we see this short in a whole new light, we see the sheer power of interaction as these actors feed off each other, they were given no final destination or plot points, just the freedom to explore their character, the other actor's character, as well as the scenario that they have been given. A truly enjoyable watch from start to finish, No Man is an Island is gripping as well as clever, two thumbs way up Richardson. #ShortFilmReviews #ShortFilms #RachelPullen #Improv #AndrewRichardson #TimDuthie #CraigSimons

Directed by Leif Johnson Starring Tien Hoang, Hai Le and Jan Le Short Film Review by Seamus Conlon Leif Johnson’s debut short film, Kowloon Killers is an homage to Eastern martial arts cinema that will certainly appeal to aficionados of the genre. This reviewer cannot claim to have extensive knowledge of Hong Kong action cinema and thus would have been unable to identify any obscure allusions there may have been, but that doesn’t alter the strength of Kowloon Killers as an impressive stand-alone piece of cinematic ballet. In a threadbare plot, protagonist Hung (played by Tien Hoang) combats a masked triad gang in a supermarket for most of the film’s running time, although the short does conclude when an unforeseen force enters into the frame of the film’s deadly combat. Narrative is ultimately unessential to Kowloon Killers, and this is to its credit since it enables the film to indulge in pure cinema rather than talking-heads dialogue scenes. The visual richness of the film is established in the titles sequence, where multicoloured neon signs in Chinese characters glow luridly. The following fight scene is satisfyingly virtuosic and Howard Mills’ cinematography sufficiently contains the space of the film’s interior locations to give us a complete perspective on the intricate choreography. The decision to put Donald Trump masks upon the faces of the villainous gang fighting against Hong and besieging the supermarket is slightly unimaginative, but a rare cheap moment in a film that is otherwise invariably impressive. Whether or not much Western cinema has had an influence upon Johnson’s direction in this film cannot be certain, but there are nourish elements to Kowloon Killers. Aside form the crime plot and Western costumes, some of the films chamber shots have a chiaroscuro light contrasts and a visual intimacy at odds with the expansive actions sequence that dominates this short. Johnson’s electric synth score also gives brooding darkness to the film where he could have easily gone with knowing nods to the kitsch soundtracks of vintage kung-fu films as Tarantino did in his ‘Kill Bill’ films. At the heart of the short film is Tien Hoang’s exhaustive and technically dazzling performance. The single constant amongst the chaotic flux of Kowloon Killers action, he performs a kaleidoscope of meticulously designed martial arts moves and never leaves the audience’s eye uninterested whilst being consistently in the spotlight for whole of the short. Between them, Hoang and Johnson have created a captivating short that will no doubt enthral fellow enthusiasts for the genre but will also genuinely captivates novices to it, a film that presents high quality action cinema but does not degenerate into pastiche. #ShortFilmReviews #ShortFilms #SeamusConlon #MartialArts #Crime #EasternCinema #WorldCinema #LeifJohnson #TienHoang #HaiLe #JanLe

★★★★★ Directed by Kathryn Bigelow Written by Mark Boal Starring John Boyega, Will Poulter, Anthony Mackie, Algee Smith, Jacob Latimore, Jason Mitchell, Hannah Murray, Jack Reynor, Kaitlyn Dever, Ben O'Toole & John Krasinski Film Review by Dean Pettipher First and foremost, Detroit (2017) is a poignant, powerful and Oscar-worthy drama that offers a compelling interpretation of one of the darkest hours in US history. The picture is yet another reminder of George Santayana’s notion that “those who cannot remember the past are condemned to repeat it." This particular reminder features some incredible performances from young stars that are only beginning to realise just how much potential they have as artists, as well as veteran players at the top of their respective games in the business. In addition, the suspense running riot throughout the tale, centred on one absolutely critical event, is oftentimes as furious as that which were raised from page and imagination to the silver screen with Dunkirk (2017). However, these qualities and more in Detroit are at risk of being overlooked. Indeed, the movie itself risks fading fast because of quite a few fundamental issues that are currently being all but totally ignored but running mercilessly rampant over anything that they can possibly tarnish. One critical problem is best explained by a prominent British journalist named Douglas Murray: “The Left has been throwing around deliberately, knowing that they’re not true, allegations against people. With the modern Left, certainly since the end of the Cold War, they’ve basically had a supply and demand problem. They want racists, they want Nazis, they want bigots and actually, thank goodness, certainly in [the UK and] I think in [the USA], they’re in pretty short supply. So these people have to find them. They want a supply of bigots and racists and fascists and actually the supply is extremely small and the people they demand are too small in number to give them enough of a political identity. So they stretch it out. They deliberately use as offensive terms as they could and use them [for] people [who] they must know do not fit [those labels]. And I think that the result is among other things that they have denuded certain terms of any meaning. And this is going to come back and bite the Left in a big way. The accusation of racism, for instance, I don’t think is going to wash for very much longer. I just don’t. Nobody cares as much as they used to about that because they have seen the Left use it on everyone. I’ve seen it for years. I’ve seen my black friends called racists. I’ve seen my black friends called sell-outs and coconuts and all sorts of things. I’ve seen the [vilest] racial abuse of racial minorities by the Left and I don’t care about this anymore. It’s too late to be willing to be blackmailed by people who are fundamentally insincere in their insults.” Two things prompt these words to the forefront of the mind. The first is the notion that ‘Hollywood’ as an entity has been unapologetically left-wing. Noting some speeches made at major awards ceremonies in recent years, especially by the prominent celebrities, as well as the endorsement of the Democrats at the last US election by ostensibly all of Tinseltown, one cannot be surprised by the second anecdotally-supported claim, which is that there are many people out there who have lost interest in Hollywood and, by extension, some of the key themes of Detroit because they are tired of, for instance, being constantly made to feel guilty at best and inherently evil at worst just because they do not share every facet of a certain point of view. Furthermore, they do not want to see Detroit or any other product of Hollywood like it, since they feel that they will get absolutely no pleasure and instead only misery out of it. Fortunately, thank goodness, while there is, rightly, a loud and clear illustration that racism is nothing but cruel and wrong, the picture never ventures as far as suggesting, for example, that all people of a certain race are malevolent. Similarly, not all who identify on the Left side of the political spectrum sit within the extreme spheres. The same, incidentally, goes for those on the Right of the political spectrum. Detroit does not seek to prompt a senseless overreaction and division based on ‘Identity Politics’ but rather a thoughtful reflection on the past. Such reflections are encouraged by various elements of the film towards establishing what unites rather than divides people, so that they can move beyond groups based on race, for example, into connections based on their shared humanness. Put simply, Detroit has been crafted by Kathryn Bigelow and her collaborators much more carefully than some might understandably think. Consequently, while the subject matter of the movie is far from rosy, Detroit may conclude the summer for many with a pleasant and definitely affecting surprise, not least because of the talent on and off-screen. The performances are sensational. Two stars in particular, who both happen to be recipients of the BAFTA’s EE Rising Star Award, act to a standard that will unquestionably see them both considered for an Oscar nomination. John Boyega’s American accent is flawless yet again, having been employed wonderfully and refined in movies like Imperial Dreams (2014) and Star Wars: Episode VII – The Force Awakens (2015). His vocal expression and physical gestures are so different to what audiences have seen before that one can quite easily become lost in the character being portrayed and forget the performer behind the illusion. This masterclass is at its height during a pivotal interrogation scene that Boyega grasps so expertly that one can only be excited for where his potential as an artist will take him in the future. Will Poulter is likewise a British actor playing an American very convincingly, having also gained experience from past projects, which include We’re the Millers (2013) and The Revenant (2015). Poulter delivers a chilling performance as an oftentimes harsh and occasionally creepy police officer. What comes to life is a compelling antagonist who appears to hold extremely unkind views for what he truly feels are justifiable reasons. His performance is a key ingredient for making the central incident of the story so intense for the audience from start to finish. Again, one becomes so absorbed in the action as a result of the performance that it is as if the character being played has consumed the performer for good. Algee Smith commands the central character with enviable grace, employing not only excellent acting but phenomenal singing along the way in order to convey the sheer tragedy of the situation. Flying deservedly high following his contributions to The Marvel Cinematic Universe (2008-Present), Anthony Mackie gives another admirably charismatic performance, highlighting that he remains the perfect fit for any character that can be said to take other characters in the tale under his wing. Hannah Murray and Kaitlyn Dever together play a charming duo of sweet but defiant young women who help illustrate the notion that one cannot just place a group of people in a box based on a single factor and hope to gain much from that box. Lastly, John Krasinski makes a fairly brief but important appearance as an attorney ruthlessly defending his guilty clients with stern professional cold-heartedness. As mentioned at the outset, suspense is excellently created early on in the film and sustained throughout much of its running time in a similar way to Christopher Nolan’s Dunkirk. Both films create a sense that some sort of explosive event is constantly imminent at any moment. While it is the conflict on and around the French beaches in Dunkirk, it is the life-changing event at the Algiers Motel in Detroit. In Detroit, however, the suspense is reduced drastically in the aftermath of the incident. One wishes that it had been maintained at least throughout the court case that followed, which in comparison to the motel incident feels rushed at times. The change is so drastic that the pace occasionally feels as if it has come to a painfully sudden halt, until one realises a certain interpretation of what the central heartbreak of the story is. Mark Boal, the movie’s screenwriter, has stated in an interview, “It was very clear to me that [Larry] had a committed life as an artist prior to what happened at the Algiers. He’s kind of on this rocket ship to fame and fortune and then this night completely derailed his life. I remember being really moved by that derailment of a life and how quickly things changed and how irrevocably they changed for him. So I wanted to write about this man and what happened to him and I branched out from there and met a few other people.” Thus, for Boal, while the racism depicted in the movie is important, the heart of the movie lies with the irreversible change of someone’s life as a consequence of an unexpected calamity. Whatever interpretation audiences adopt, what is clear is the amount of research the Boal engaged in for the project. Police document trails and first-person accounts are just some of the sources that Boal has used to craft a fine screenplay with sensitivity and authenticity dripping from its pages. It is no wonder that Bigelow had teamed up with Boal to turn such literature into an engaging motion picture, since they had in the past collaborated in order to make other movies, such as The Hurt Locker (2008) and Zero Dark Thirty (2012, which would also undoubtedly have required very thorough research. Each character of the picture, therefore, could not feel any more real than they do following Boal’s efforts. While it is far too early to tell if Detroit will win any awards, one would not be surprised over any nominations. Regardless, Detroit is one of the best films of the year so far. Returning to the opening examination, people might eventually ignore real racism, sexism, or homophobia if people use such terms simply to describe everything that they do not like. In this case, people might be reluctant to see what they perceive to be overly didactic picture seeking to make innocent people feel racist and guilty as a collective over the sins of their ancestors, which, in the long run, is far from productive. Detroit emerges from the rubble of fierce debate as a fantastic film with a story of how people overcome unanticipated disaster at its core. Yet, the movie for many may go further by providing a necessary and level-headed reminder of historical mistakes, which does not offer any life-changing answers to past or present issues but at the very least, adds fuel to a continued search for constructive solutions to serious present-day societal dilemmas. #FilmsReviews #TheatricalReleases #DeanPettipher #5StarFilm #KathrynBigelow #MarkBoal #JohnBoyega #WillPoulter #AnthonyMackie #AlgeeSmith #JacobLatimore #JasonMitchell #HannahMurray #JackReynor #KaitlynDever #BenO39Toole #JohnKrasinski

10 of the best horror films on Netflix Netflix Film Review By Rachel Pullen Netflix can be a bit of a minefield to navigate, let’s face facts there is a lot of rubbish on there, but if you're willing to get your hands dirty and sift through it, sometimes you can find a small treasure trove of horror delights. So in no particular order, here are 10 of the best horror films available on Netflix right now. Hush [2016, directed by Mike Flanagan] Hush has got to be one of the best horrors that graced our screens in 2016; shot in one house in the middle of the woods, Mike Flanagan takes the home invasion story to a whole new level by making the leading lady deaf and mute, get ready for white knuckle tension as you scream ‘’he’s behind you’’ more times than your neighbours will care to hear. Knock Knock [2015, directed by Eli Roth] Eli Roth comes back to terrorise our screens once more with his latest thriller, Knock knock teaches us what many films of this genre have taught us before...don’t open the door to strangers, because sometimes they never want to leave. Psychologically as well as visual stimulating, Knock knock teaches us many life lessons that should not be ignored. The Amityville Horror [2005, directed by Andrew Douglas] Ergh a remake, no one ever likes the remake...well that’s not true in this case. Andrew Douglas delivers shivers and terrors in this stylish and slick flick, with great casting, visual effects and a storyline that delivers new scares but respects the original, The Amityville Horror can be enjoyed all over again. #Horror [2016, directed by Tara Subkoff] So this film was not greatly received when released but for those die hard horror fans out there this is a must see. Following the story of a group of young girls who get caught up in a mass slaying, Subkoff decides to not explore the gruesome events that are taking place but more the lives and actions that these children exhibit that is putting them in such a dangerous position. Thought provoking and cinematically stimulating #Horror teaches us that the general public often don’t know a good movie when they see one. Paranormal Activity 4 [2012, directed by Ariel Schulman and Henry Joost] Yeah okay I know most people hate the Paranormal franchise and its many repetitive ghost scares, I mean come on, how much more far can we get from a door opening on its own or a floating tea cup? But if you decided to carry on after the first instalment you would have stumbled upon this little gem. Paranormal Activity 4 continues with the story of the abducted nephew Hunter who now is safely living with his adoptive family, but not for long, as the new neighbours move in, so do the creepy scenarios. With a great performance from leading lady Alex played by Kathryn Newton and her lovable best friend Ben played by Matt Shively [in my mind he steals the show with his adorable quips] this is the instalment not to miss. The Invitation [2015, directed by Karyn Kusama] Staying friends with an ex is something that some of us do and some just don’t. Me, personally, I’m in the middle, for you see sometimes you need to remember why you no longer wanted them in your life...especially if they are insane. The Invitation is a chilling and intense horror that follows the story of Will who politely accepts an invitation to a dinner party at his ex girlfriend's house, and while that alone is a tense enough situation to be in, things just go from bad to worse as the party unfolds. Most Likely to Die [2015 directed by Anthony DiBlasi] Sometimes in life we all want to watch something that does what it says on the tin, no fancy camera angles, no long drawn out dialogue, just people getting killed in a stupid and comedic way....welcome to the stage Most Like to Die. At a high school reunion party, a group of friends fall victim to a killer who takes pride in themed deaths, bowling around in his graduation robes this killer strikes little fear but many laughs and good old fashioned jump scares, enjoyable and campy this film is a great watch when you’re feeling in the mood for a light hearted kill spree. It Follows [2014, directed by David Robert Mitchell] STD’s are on the rise, which in itself is a scary thought, but what if that STD could kill you in strange and disturbing ways? What if it followed your every move? Terrifying right? Well director David Robert Mitchell brings that fear to life. It Follows is the story of a young girl who contracts an STD which causes mysterious figures to stalk and kill people, in a bid to save her life and others she must find the reason behind this mysterious disease and uncover the cause of its evolution. This witty, charming but disturbing horror will have you paranoid and asking questions for days after watching it. April Fool's Day [1986, directed by Fred Walton] Pranks galore in this 80’s classic as we follow the story of a group of college students who take a weekend break at a friend’s secluded holiday home, but it’s not long before people start to go missing or even worse turn up dead. If you’re a fan of 80’s horror this is a must watch, but if you’re not don’t worry, April Fool's Day has an amazing ensemble of characters, interesting plot twists and outstanding 80’s hairstyles that will keep you glued to your seats. The Stepfather [2009, directed by Nelson McCormick] We have all heard the stories about people not liking their stepfathers, but what if that stepfather loved a bit of the old murder scene...? Well this is the problem that Michael faces when his new mother's love interest turns out to be the ultimate imposter in this gripping slasher piece. A remake of the 1987 classic which does not lack in development as well as paying homage to the original The stepfather doesn’t miss a beat when it comes to those all important jump scares. #Netflixfilmreviews #Netflix #Horror #TopFilms #RachelPullen

★★★ Directed by Heath Hetherington and Marcus Scott Starring Adam Cryne, A. J. Salisbury, Kyle Josef Harvey, Geraden Barthwick, Stuart Ankers, Bryony Miller, Vicki Glover, and Jack Lee Indie Film Review by Chris Olson Kidnap movies are a genre unto themselves. The rules and players remain mostly consistent, as do the dramatic devices of peril, threat, violence (actual or suggested) and hope. Indie film Recovery, from filmmakers Heath Hetherington and Marcus Scott, capitalises on these themes brilliantly, offering thematic depth alongside gripping tension. Opening with an affecting point of view sequence of someone stumbling through the streets in the dark whilst obviously inebriated, Recovery immediately sets its stall among the multiple timelines lot. As the narrative gets laid out for the audience, it becomes apparent that we are primarily concerned with the wellbeing of Philip (Adam Cryne). We see Philip in a variety of scenes, all of which link up but not in order. In one he is casually chatting with a mate (Geraden Barthwick) about a house party, in another he is at said house party attempting to converse with a woman he has just met (Bryony Miller), and in another he is chained to a radiator in a religious fanatic's (A. J. Salisbury) basement. Wayne (the aforementioned kidnapper) is like a cross between the Kathy Bates character in Misery and the Paul Dano character in There Will Be Blood. Portrayed with an enigmatic performance by Salisbury, his scenes are easily the most viscerally entertaining during the movie, capturing a righteous anger and a beautifully hidden darkness. When we hear the stories of the other victims, the grim puzzle gets pieced together by the viewer and Philip. Some of the dialogue is a little clunky, stepping over the melodrama boundary a few times, and the characters have a habit of offering a little too much exposition for my taste. That being said, there are huge sections of the movie that are completely gripping, especially when Salisbury raises the threat level. Hetherington and Scott deliver some impressive visual flair to complement the story, such as that startling opening sequence, or some of the more brutal moments in the basement. These added gravitas to the drama, allowing the heavier themes to not be lost amongst the violence, which could have been a risk had the filmmakers been tempted to venture into the Slasher genre. Instead, the issues such as alcoholism, grief, and loneliness are all kept well intact, and explored with impressive intelligence. Cryne's performance as the leading character is well balanced and emotionally hefty. An excellent scene in a bar where he drinks himself into a stupor is particularly well done, offering little snippets of black comedy and tragedy about his situation. Cryne also copes well with the more physical aspects of the role, especially in the final third. Shout out to Jack Foran who provides a tumultuous score that perfectly accompanies the thriller, adding a sense of peril and mystery throughout, and the sound design by Stuart Ankers which is equally as well chosen. Like the best kidnap stories, the time has come for me to let you, the reader, go and escape to freedom but before I do I would just say that Recovery is a powerful and tense watch. Whilst being a little rough around the edges, it more than makes up for this with great performances, impactful themes and an intelligent balancing of genres. Watch the official movie trailer for Recovery below... #IndieFilmReviews #IndieFilms #MovieTrailers #ChrisOlson #Addiction #HeathHetherington #MarcusScott #AdamCryne #AJSalisbury #KyleJosefHarvey #GeradenBarthwick #StuartAnkers #BryonyMiller #VickiGlover #JackLee

Directed by John McGovern Starring Tim Casey and Eddie Jackson Short Film Review by Daniel Reason The new football season is upon us, which means that just like every year, people restart their Football Manager careers. It is the addiction to this modern hobby that John McGovern explores in his latest short film, Just About Managing. It is when Dr. Brian Robson, played by Tim Casey, meets with his next client that we see the effect of his obsession and how destructive it is to his life, but most importantly his career. Within minutes, we understand Dr. Brian Robson and are fully aware of how much he cares for the game. He is a very relatable character, which allows for some of the more “ridiculous” moments to feel oddly believable. Despite his lack of concentration in the problems that his client, Jamie (played by Eddie Jackson), is sharing, it perfectly suits his character and he isn’t treated or portrayed as ignorant or rude. One such scene in particular is where Eddie is talking about a recent traumatic event in his life, but Dr. Robson is completely “absent” with his focus set purely on the game. While these types of scenes have become very familiar, bordering on being a cliché, it still manages to bring the laughs. Despite its length being under 10 minutes, the humour is consistent, as are the performances of both Tim Casey and Eddie Jackson, who portray their respective characters brilliantly and in keeping with the tone. It is clear that McGovern has treated Dr. Robson’s love for Football Manager as an addiction. Often both characters can be seen smoking a cigarette or drinking alcohol, which are, of course, two well-known forms of addiction. Unlike smoking or drinking, however, the characters show more of a hunger to play the game, whereas they do not hesitate to smoke or drink. Through the sweat on their heads and the twinging of their movement, it is very clear how addictive Football Manager can be. This is fundamentally where the humour comes from, due to the foolishness of both characters and how little they care for anyone, or anything else. There is something very “Edgar Wright” in the way certain moments are edited. The use of sound effects and dynamic transitions work just as well here as they would in any of Wright’s films. It is because of the work by the editor, Donal Canavan, that makes the style so memorable and it truly adds to the comedy, by making those moments rely not only on the context, but in the way that they are presented. Just About Managing is not merely focused on managing a football team, as the plot synopsis would suggest, but is instead a demonstration of how to manage your life and your addictions. The way McGovern treats this subject matter is incredibly thoughtful, but through the behaviour in its characters and editing style, Just About Managing has a clear style that is sure to bring the laughs, especially for any football fan. #ShortFilmReviews #ShortFilms #DanielReason #JohnMcGovern #TimCasey #EddieJackson #Comedy

A Ranking of Netflix’s Marvel Films from Worst to Best. Netflix Film Review by Kirsty Asher 6. Thor: The Dark World Thor is absolutely my favourite cinematic Avenger, and 2011’s Thor might well be my favourite of Marvel’s post-Iron Man films. As a theatre-lover and former performer, I think it was bang on the money to hire Kenneth Branagh to direct the first outing, giving Shakespearean swagger to the Norse mythology - it was just what the character and the fictional world needed. This second installment fails to live up to the charm and wit of the first film. It’s not necessarily a bad film, but Christopher Ecclestone’s villain is pretty forgettable, and the ending is a gargantuan, messy clobber-fest that fails to satisfy. Plus, premiering the same year as The Wolverine and Iron Man 3 meant that it became lost amongst more impressive superhero films, and if Thor: Ragnarok lives up to the hype then it is sadly destined to cinematic middle-child syndrome. 5. The Amazing Spider-Man This was a very syrupy, wholesome return to the world of the iconic Spidey, and my reluctance to place it higher on the list is borne of a perhaps-irrational dislike of Andy Garfield’s whole stuttering, doe-eyed thing. I placed him in high regard after Doctor Parnassus, and he has a lanky likeability, but his performance is more dreamy indie-boy than all-out nerd who unexpectedly attains superpowers. Tom Holland and Tobey Maguire both captured that essence of being relatively attractive young men who could also pass as not particularly cool. I also find the voyeuristic obsession with Emma Stone’s Gwen Stacy as something that should be neither made light of nor encouraged, and yet it is (it’s okay, ‘cause he’s attractive). Having said that, the performances are witty, the cast brilliantly chosen, and it has potentially the best Stan Lee MCU cameo. 4. Ant Man I was pleasantly surprised by Ant Man. It’s a compact little film that took a risk which paid off by casting the gently unassuming stoner-comic Paul Rudd as its leading man. What helped this film rise to an above-average superhero film for me was the way it neatly set up the premise of Rudd’s Scott Lang as a highly-skilled cat burglar. We’re given a clear sense of a man who is not only very good at what he does, but he also does it for good, and it is the perfect kind of low-rent criminal mastery that actually works well for donning ‘the suit’. I’m sure nuclear physicists probably clawed their eyes out at the ending, but if you can suspend your disbelief long enough, it makes for an enjoyable piece of action cinema. 3. Iron Man 3 I distinctly remember the absolute ‘roid-rage blockbuster experience of watching Iron Man on the big screen, nearly a decade ago. Unapologetically swaggering, brimming with intelligent American arrogance - one knew when the credits rolled on that first Robert Downey Jnr outing that the genre had stepped up a notch. And all credit to Marvel in taking the time and effort to explore the downside of the superhero image in this third installment; the repercussions, the post-9/11 era fallout and the grim reality of trying to save the world every other day. It’s what made The Incredibles such an appealing superhero film, but Downey Jnr’s seems uneasy in his moments of grief and panic and the performance sometimes comes across as wooden, but the ‘attempt at redemption’ scenes with Harley (Ty Simpkins) more than make up for it. Guy Pearce stretches his God-complex scientist muscles once again after Prometheus, and Ben Kingsley’s red herring villain turn is absolutely brilliant. 2. Avengers: Age of Ultron Age of Ultron sets up rather than actually tackles the concept of post-war guilt and the ramifications of superhuman abilities that made Captain America: Civil War such a compelling superhero film. Nevertheless, the opening fight sequences of this film were so crisply executed that you have to, ahem, marvel at how brilliantly choreographed the Avengers series and its associated films have become. In a way, you grasp the beauty of their teamwork far better in this film than in Assemble, as they’ve settled into their roles. Black Widow’s sterilization backstory felt uncomfortable and a little out of place but I thought it was brave of the producers and writers to approach this idea, asking questions about superheroes and motherhood that have as of yet mainly only been broached in Marvel’s comic book series. 1. X2 X-Men 2 set an unquestionably high bar for superhero films, and the childhood memory of watching it for the first time in the cinema is a joy. A decade before the current climate of identity politics discourse, X2 put together a well-crafted story that approached the concepts of prejudice, witch- hunts and political extremism without ramming it down the audience’s throat. X2 not only lived up to the genre with fantastic action and special effects (Nightcrawler’s White House break-in beats Evan Peters’ Quicksilver kitchen montage in Days of Future Past, IMO) but the human (or should I say, mutant) stories in between about struggling to be accepted, grappling with personal identity and learning to live with and love oneself are all intrinsic to what fans love so much about the X-Men. Plus the story’s attention to Jean Grey’s (Famke Janssen) transition into Phoenix did precise justice to one of Marvel’s most complex, dark and brilliant superhero characters. #Netflixfilmreviews #Netflix #KirstyAsher #Superheroes #Marvel #FilmFeatures