Directed by Paddy Murphy Starring Stephen Tubridy, Brian Russo Clancy, Fiach Kunz, Mikey Casey, Conor Hayes Short Film Review by Jack Gibbs There are many cases in the history of film of movies big and small aiming high and falling short – Legacy Point, from Celtic Badger Media, is one such. The film posits a scenario that is gripping, at first – in the not-too-distant future a surgical method of backing up memories has been devised, involving the use of USB sticks and having nasty side-effects should the memories not be transferred back into their brain. Aaron (Stephen Tubridy) undergoes such surgery to preserve a memory he calls his ‘legacy point’, only to become the victim of theft, and takes it upon himself to enact vigilante justice upon the perpetrators. It is a nice concept, one that is ripe for exploration, but tragically the scant 15-minute running time does little justice to the idea. Limitations are understandable, but aside from featuring in a small handful of scenes the most interesting element of this premise ultimately ends up being the most interchangeable. With the futuristic bent left mostly unexplored, a sign that the film could have benefited greatly from just a few more minutes of time, the end result is little more than a plain and The cornerstone of any action film is, naturally, the action that serves as the centrepiece, but the fisticuffs on display ends up suffering due to different factors. The action scenes are not poor, but they are the victim of incredibly haphazard editing, particularly prominent in the group fight sequence. The camera hurls you from shot to shot in a flurry of cuts, and the most violent aspects of the action – finishing blows, gunshots and all else besides – generally take place off-screen. It’s hardly evocative of, say, Bay at his worst, but it is still disorienting nevertheless. It’s dark, grimy and looks brutal enough within budgetary constrains, but the flighty editing makes it feel soft, and the music used both helps and hinders. The score, consisting of clips sampled from a Nine Inch Nails album, is punchy where it counts but ends up becoming repetitive. The industrial percussion of NIN’s tracks suits the overall grungy, gritty tone of the action sequences, but it wears on the ears. Aside from a piano sample, also from the same band, the soundtrack is at a minimum. Never intrusive, and admittedly fitting, but a sprinkling of slightly more diverse samples would have helped to prevent monotony. On top of that, the performances are also either scattershot or mostly forgettable, with the exception of Tubridy who puts in an honest effort in portrayed a pained man desperately and violently searching for that which he treasures most. His experience in film – Legacy Point being his twentieth film with Celtic Badger – comes to the fore, packing in a lot of energy and raw emotion into a feature so short and a performance so brief, and he shines because of it. Aaron consequently ends up being the only real character in this, the only one with genuine humanity. Tubridy rolls with it, and makes for a good watch. Memorable in an entirely different respect is Brian Russo Clancy as Garmin, whose attempts to emulate the affable yet sadistic nature of such outstanding villains as Heath Ledger’s Joker and Hopkins’ Lecter fall utterly short thanks to both the script and Clancy’s delivery – one moment he is engaging in excessively energetic mugging for the camera, and in the next he is attempting to lecture the protagonist on the ramifications of his actions despite having barely any connection to said protagonist – and far too little screen time to make the predicament he imposes upon Aaron have any true weight. But in any case, he may be the first villain in cinema to use a Rubik’s cube as a flashbang. It’s a true mixed bag – a fine approach, but a lacklustre story, decently done action and frenzied camera work, one strong performance countered by several that are forgettable or try too hard. With all that in mind, Legacy Point is certainly decently made, but it sacrifices a compelling setup for a rather generic payoff. It won’t leave you suffering from brain rot – least of all if you’re into some good old-fashioned ultraviolence – but it will leave you wondering what might have been. #ShortFilmReviews #ShortFilms #JackGibbs #PaddyMurphy #StephenTubridy #FiachKunz #MikeyCasey #ConorHayes #SciFi #BrianRussoClancy

Written and Directed by Hannah Gautrey Starring Clifford Hume, María García-Concha, Charles Timson, Donna Machela, Charlotte Dunnico, Lewis Cowan, Les Dowson, Milan Mitrovic, Chloe Hatherley Short Film Review by Chris Olson A police officer, a dentist, a beautician, a chef, and an engineer walk into a laundrette...sounds like the setup for a joke right? However, this is actually the premise for the exceedingly clever black comedy short film Brainwash from writer/director Hannah Gautrey; a bleak sci-fi story whereby punters can spin-cycle away their darkest memories. Queuing outside an assuming door in an unremarkable alley, the aforementioned characters (along with a photographer who is later rejected) show the owner (Clifford Hume) their ID in order to gain entry to the row of washing machines which wait inside. From there things only get weirder. Told with deadpan seriousness and hauntingly eery intrigue, Brainwash follows in the footsteps of an excellent dark comedy like The League of Gentlemen in delivering a quintessentially unsettling, British tone whilst remaining accessible. Gautrey eschews the risk of any clunky dialogue by having none, instead intelligently letting the audience catch up with the context of what they are seeing and the possible meaning, which to be honest [Spoiler start] remains pretty ambiguous by the film's climax. [Spoiler end] Hume is an imposing on screen presence, perfectly capturing the immense power his character seems to hold whilst portraying the immense banality of his day-to-day duties. One sequence where he is napping is particularly humorous. The other performances are in tune with the comedy without overplaying their roles, although it would have been nice to have had more emotional connection with at least one of them - but, perhaps, that is the point. As with the best short films, there feels like a feature length foundation is here, which audiences would be delighted to see come to fruition. Some spectacular visual flair can be witnessed in Brainwash, such as the view from outside the washing machines as they spin their inhabitants relentlessly, or a close up shot of the owner's rear end as he finishes his tasks. All this and more signpost a filmmaker who is a wonderful talent already and someone audiences should keep a keen eye on for the future. #ShortFilmReviews #ShortFilms #ChrisOlson #SciFi #ScienceFiction #HannahGautrey #BlackComedy #CliffordHume

★★★★ Directed by Steven Soderbergh Written by Rebecca Blunt Starring Channing Tatum, Adam Driver, Riley Keough, Seth MacFarlane, Katie Holmes, Katherine Waterston, Sebastian Stan, Hilary Swank & Daniel Craig Film Review by Dean Pettipher August has been and will most likely continue to be considered as the worst month of 2017 for mainstream cinema. Certainly, in comparison to her fellow months that make up the summer season, August has, so far, not seen a movie that will stay with many audiences beyond the first twenty-four hours after its initial viewing. June burned majestically bright, thanks to Wonder Woman (2017). July scorched defiantly triumphant, courtesy of Dunkirk (2017). August has failed to exceed those high temperatures, having featured solid but ultimately forgettable adventures like The Dark Tower (2017). Of course, there was A Ghost Story (2017), which, while very popular with the critics, was for some reason not shown very widely across the main cinema chains that appeal principally to the mass market of more causal movie fans. Fortunes may soon change, however, ostensibly because of the critically-acclaimed drama entitled Detroit (2017). Moreover, the final days of the season may be sugared that much more at the last minute because of two other movies that are also set for release nationally across the United Kingdom towards the end of August. One of these pictures is American Made (2017), which appears to be to a funny action tale with Tom Cruise that is based on a fascinating true story. The other film that may contribute towards an overall contentment with the summer is Logan Lucky (2017). Steven Soderbergh returns, racing confidently over and above the standard marking true cinematic excellence with a story that combines comedy, crime and drama in a manner that instils an ultimately firm sentiment of satisfaction with the picture and indeed the summer as well. Alongside his directorial efforts in television, such as The Knick (2014-2015), in addition to his work helming movies like Magic Mike (2012) and Erin Brockovich (2000), Soderbergh proves yet again that he is one of the most versatile directors working in Hollywood today. Employing many strategies that worked brilliantly for his Ocean’s Trilogy (2001-2007), including an overwhelmingly star-studded cast with enviable chemistry together, witty humour littered throughout the script and a fairly fast-paced plot centred on a heist, he brings the infectious warmth of the Deep South to the silver screen. Accordingly, Soderbergh highlights that he should definitely not retire anytime soon. Soderbergh inspires his band of players in its entirety to drastically raise the game artistically. Nonetheless, Daniel Craig and Adam Driver in particular deserve a great deal of praise for the performances. Both actors break free of the definitive movie roles that they currently occupy, James Bond and Kylo Ren respectively. While clearly recognisable, Craig employs a higher pitch and a more animated tone in his voice elegantly and consistently. Combining this deviation with his deeper, more monotonous vocal expression that audiences know and love from his personal James Bond series (2006-Present) with his new beach-blonde hair and his more erratic body movements allows Craig to successfully bring one of the most charismatic and entertaining characters of the film to life. Driver also proves that he can skilfully adapt to different galaxies. He portrays the heroic character of a former soldier with a personality that is so distinct from the one forged for the villain of Star Wars: Episode VII – The Force Awakens (2015) and yet this bartender features a striking resemblance to the Sith Warrior, since Driver conveys deep-seated vulnerability behind a seemingly tough exterior that audiences can identify in many of his performances. The shady ride in pursuit of protagonist prosperity is made even more joyous by Seth MacFarlane, who is recognisable only by the sound his voice while he impressively portrays a pompous British race car driver. MacFarlane adds yet another performance to his extremely eclectic repertoire epitomised by Family Guy (1998-2018). Channing Tatum leads the cast with yet another charming performance that exemplifies why he is one of the busiest actors working in Hollywood at present, helped in no small part in this movie by his impressive humanisation through a story thread with his daughter that explores themes inspired by American beauty pageants for young girls. Such themes were best illustrated by Little Miss Sunshine (2006). While not at the forefront of Logan Lucky, they serve as an integral part of a bigger picture concerned with family that feels poignant enough to encourage audiences to care about Tatum’s struggles at least a little bit. Riley Keough’s glowing presence and no-nonsense performance suggests that she would be a perfect Bond Girl, if 007’s next mission ever took him stateside. Finally, Jack Quaid and Brian Gleeson play a comic duo whose scenes could be watched over and over again and still found very funny because of their sharp timing especially, albeit those viewers of a more sensitive disposition might become alarmed at the apparent embrace of controversial stereotypes. The writing is great on the whole, with numerous instances of humour that oftentimes draw upon the popular culture of today. While not hilarious, there are at least a couple of jokes that are relatable enough to keep audiences giggling to themselves for a while after their graceful deployment. A few sinkholes appear in the story not because of what is written but because of what is not written. A host of characters could have had a lot more backstory sprinkled throughout the script to encourage audiences to care even more about them and their respective goals. Furthermore, there are one or two superb moments of humour and tension in wonderful combination. One only wishes that there had been even more of that sort of scene, particularly towards the end of the picture when the impending danger does not really feel that threatening. There is, fortunately, enough of the threat to inspire some mild relief following the climax and much of the aftermath. Logan Lucky is a very good movie, which, like the Ocean’s films, could enjoy a good sequel or two in the future, despite having provided enough closure for at least one sweetly entertaining ride, as well as enough pleasure to help audiences end the latter half of the summer on an unquestionably positive final lap. #FilmReviews #TheatricalReleases #DeanPettipher #StevenSoderbergh #ChanningTatum #DanielCraig #AdamDriver #SethMacFarlane #KatieHolmes #KatherineWaterston #SebastianStan #HilarySwank

★★★★ Directed by Jacob Cooney Starring Michael Grant, Jim Norton, Booboo Stewart, Eric Allan Kremer, Samantha Basalan Indie Film Review by Annie Vincent In Pitching Tents, Jacob Cooney and writers Rob Fox and Jayme Petrille have created a feel-good coming of age story that will leave you with a warm, nostalgic feeling. Set during the summer of 1984, Pitching Tents follows Danny and his friends on a graduation trip to Trout Camp, where the boys hope to spend one of their last weekends together partying. The urban legend: that the woods of Trout Camp also play host to the beauties who make up ‘Goddess Camp’, causes excitement for some, scepticism for others, but an awakening for Danny, who is at a crossroads in his life. When he meets Alison, he finally considers his future: does he go to college or does he take the factory job his father has fought so hard to win him? This film is a great throwback to many teen movies, loaded with a cool and energetic soundtrack, ‘Frat-style’ teen jokes and some touching ‘coming of age’ moments. It is certainly an indie feature film worth a look. Michael Grant is a good cast as Danny, oozing a cool, nonchalant exterior with just the right amount of sensitivity to convey the vulnerability of a boy becoming a man of his own making. He is also a great romantic lead and produces some convincing intimate moments with Samantha Basalan, which aren’t always expected in movies like this. Jim Norton is excellent and delivers a number of laugh-out-loud lines that reflect exactly what the audience wish they could say about teenage behaviour. His character, Mr Mulligan, becomes the catalyst for the story, with a vested interest in getting Danny into college and whilst he doesn’t succeed quite as he’d like, he does remind Danny of the need to ‘dream’, making the film really uplifting. I can’t pretend that the plot is ground-breaking, but it is comfortingly familiar. At times, this is exactly like other 80s teen movies you’ve seen. The hallmarks of those fun, feel-good, American movies we used to see are all there, and it is so enjoyable to watch. Sometimes those hallmarks come out as clichés: Alison’s advice to Danny about following his artistic talents is a little too forced and sounds so unoriginal you don’t blame him for shouting at her. But then the next moment will deliver a warmth and subtlety from the actors that makes you think you’re not in ‘yet another teen-movie’ at all. The comedy can be crude and is reminiscent of American Pie in places, but the film doesn’t rely on it. The teenage romance is age-appropriate and quite sensitive, rather than coarse or mocking. And best of all, our protagonist strikes out on his own, away from what is expected, inciting that nostalgia for the freedom of our youth. Watching Pitching Tents feels like an afternoon in the pub with your old school friends, reminiscing about old times. It revisits the best bits of a 1980s coming of age film, with sensitivity and subtlety. Watch and enjoy. #IndieFilmReviews #IndieFilms #ComingofAge #Comedy #AnnieVincent #JacobCooney #MichaelGrant #JimNorton #BoobooStewart #EricAllanKremer #SamanthaBasalan

Directed by David Rock Animated Film Review by Chris Olson The craft of animation is a painstaking process that has demanded more and more from filmmakers as the genre has been exponentially explored by some of the best in the movie industry. Stop-motion in particular has seen some recent gems, including (but not limited to) Kubo and the Two Strings, My Life as a Courgette, and Anamolisa. The arduous nature of making a stop-motion movie often garners a great deal of respect from audiences, who at the very least will appreciate the effort that has gone into the shooting. Now...tie this formidable filmmaking process in with a harrowing subject matter like physical disability, and you will find one particularly amazing short film: Walk. Directed and lovingly crafted by David Rock, this short recently won top prize at the Independent Directions Film Festival, and rightly so. It portrays the efforts of one man attempting to walk with the aid of a Zimmer frame whilst creatively displaying the inner turmoil that he feels using abstract sound design and hectic montages. The animation aesthetic utilises crayon drawing which has a sublime effect of simplifying what is a very complex issue without undermining the importance of it, making the overall effect more universal. The flip book structure feels like a nightmarish glimpse into a person's innermost demons that ventures very deeply, very quickly, resulting in a powerfully immersive viewing experience for an audience of all ages. Sound is used with chaotic abandon that increases in its ferocity, possibly representing both the rawness of our protagonist's conflict at the same time as his motivation to improve. The sound and visuals are beautifully matched during Walk, so much so that it brought to mind the stunning Christmas animation The Snowman but with added pathos. The duration could prove to be a bone of contention with audiences who may feel Rock could have developed the whole thing a lot further. Conversely, Walk packs a mighty punch when it comes to making a visceral point about physical disability that is heavily reliant on being succinct. An aspect of the aesthetic which some viewers may find jarring is the jumbled numbers that appear down the side of the frame which became distracting. Regardless, it cannot be argued that this is not a marvellous piece of filmmaking mastery. #AnimatedFilmReviews #Animation #ChrisOlson #DavidRock #Disability #silentfilm

★★★★ Directed by Adam Wingard Starring Nat Wolff, Willem Dafoe, Lakeith Stanfield, Margaret Qualley, Jason Liles, Shea Whigham Netflix film review by Chris Olson Final Destination meets Wishmaster in this 2017 indie horror from director Adam Wingard. Death Note is apparently based on the manga series of the same name by Tsugumi Ohba and Takeshi Obata, and stars Nat Wolff as a disenfranchised teen called Light Turner, whose cynicism with the world is put to the test when fate grants him immense power. One day a book falls from the sky which grants the “keeper” the power to write the name of someone and that person will fall victim to whatever outlandish death the scribe prescribes. The death god that carries out these cruel tweaks of fate is known as Ryuk (voiced by Willem Dafoe and physically presented by Jason Liles), a twisted being that looks like an emo Judderman. As a premise, Death Note sticks to its guns and delivers a viscerally gripping movie that is unapologetic in its barminess. The horror moments are sparse but effective, there are some beautiful moments of dark comedy littered around the place, and the action sequences are brilliantly shot ensuring a breakneck pace is created and maintained. There was also some excellent characterisations which didn’t resort to the typical molds. Our central protagonist is dangerously blase about using the book to enact some sense of karmic balance in the world, his “love interest” girlfriend Mia (Margaret Qualley) is equally as gung-ho about the endeavour, whilst his cop dad (Shea Whigham) who lost his wife to the actions of a criminal is surprisingly restrained when it comes to using violence and murder to solve the world’s problems. Not to mention the eccentric behaviour of skilled investigator L (Lakeith Stanfield) who, whilst not sitting perched on two feet on a chair or slamming candy into his mouth, is enthusiastically hunting the keeper of the book. Wingard opts for a dark atmosphere and tone to Death Note which was essential to reinforce the bleak themes that surround the story. Light's ethics become the focal point for the audience who will likely contemplate how they would use or misuse the same power of unrestrained death. It was reminiscent to how the characters in Chronicle dealt with having superpowers and the inevitably fatal fallout that ensues when power is gifted to irresponsible minds, which may or may not have some political parallels... The movie makes a few missteps, such as being too eager to jump into the reckless killing, meaning that the central characters lose a huge amount of empathy with the viewer later on. Mia's arc is also a little hard to believe. That being said, Whigham is on fine form, delivering the movie's best performance, and Wolff is largely an enigmatic presence throughout. For sheer guts and daring, Death Note is a fierce piece of exhilarating filmmaking. Watch the official Movie Trailer below... #Netflixfilmreviews #FilmReviews #ChrisOlson #Netflix #AdamWingard #NatWolff #WillemDafoe #LakeithStanfield #MargaretQualley #JasonLiles #MovieTrailers

Directed by James Browning Starring Stephen Chance, Sidney Keane, Helena Misciosia Short Film Review by Evie Brudenall Have you ever wondered what compels people to hoard their belongings? Director James Browning and the team behind Clutter attempt to shine a light on such a question. Nigel (Stephen Chance) is a hermit who spends most of his day sitting amongst the clutter that litters his house, only venturing outside to buy some plastic Tupperware from the market. He’s in trouble with debt collectors and refuses to accept help from his concerned friends and neighbours – can anyone get through to him? The character of Nigel is developed no further beyond that of a stereotypical introvert as his social skills leave little to be desired and he rarely leaves the safety, and mess, of his own home. However, he is laced with some contradictions as his smart attire and conscientious nature to take plastic bags with him to do his shopping suggest an organised and self-possessed man – but the carnage of clutter that lies behind his front door paints a different picture altogether. The debt collectors who pay Nigel a visit also don’t escape the archetypal treatment; they’re aggressive and rough around the edges without an ounce of sympathy, whose seemingly only purpose is to rouse compassion from the audience for Nigel. Nigel’s trips to the market to purchase containers are an important plot device and acts as a way to cement the fact that Nigel has people in his life who care about him in the form of the Market Trader (Sidney Keane). He adds the containers to his impressively large collection but the reason behind the project remains ambiguous and this unfortunately is the case until the very end of the film, despite its best efforts to deliver a satisfying conclusion. The film’s focal point of Nigel being a hoarder is equally as underdeveloped; we have no idea whether Nigel has an attachment to any of his possessions and as a result, it stunts his growth as a character. Clutter does succeed with its direction by James Browning who coerces natural performances from his actors, particularly Stephen Chance who delivers great empathy with his social ineptness and tendency to avoid his problems rather than confront them. Brown also tries to maximise his limited number of locations by filming them in a very singular and unique fashion – canted angles and jaunty close-ups help to make Clutter feel big in the face of its small scale. Although the premise has a lot of promise that Clutter cannot achieve, it is supported by strong performances and an ambitious approach to filming the story. #ShortFilmReviews #ShortFilms #EvieBrudenall #JamesBrowning #StephenChance #SidneyKeane #HelenaMisciosia

★★★★★ Written and Directed by Paul Holbrook & Sam Dawe Starring Brian Croucher, Annabel Leventon Short Film Review by Chris Olson Heartbreaking and stunningly filmed, short film Sunday Worship, written and directed by Paul Holbrook and Sam Dawe, is an unforgettable piece of storytelling, combining emotional heft with aching tragedy. Brian Croucher plays an elderly man whom the audience meets at the beginning of Sunday Worship clutching an Order of Service whilst sat at a bus stop. Having had his interest piqued whilst walking past a football match, our protagonist decides to ingratiate himself with the footballers and fans, becoming increasingly obsessed with them over the course of the film. Meanwhile, his loving wife (played marvellously by Annabel Leventon) displays copious amounts of trepidation about her husband's lifestyle and failing mental health. Poignant and superbly timed, Holbrook and Dawe prove themselves as incredibly effective filmmakers. The tone of the short is a wonderful balance of subtle grief and sorrow peppered with moments of joy and even a little bit of black comedy - such as the microwaving of a metal utensil or watching a substitution at one of the matches where one player comes off and continues to smoke the cigarette of the man coming on. Overall, though, there is an overwhelming sense of tragedy to Sunday Worship which is expertly conveyed in Croucher's brilliantly nuanced performance. There were some excellent cinematic sequences during the movie which made it stand out from others of this genre. Watching a kettle boil into oblivion, whilst arguably a tad cliched, offers a tender moment of reflection for the audience who are gripped by the vulnerability being conveyed through the character whilst being audibly assaulted by the hissing screech of the steam. Another standout moment comes in the form of a distance shot of Croucher sat lonely in the pub whilst the football team celebrates in jovial drunkenness. To explain why this is particularly moving would be to spoil the story, but it is a great visual representation of the disenfranchisement which many of the older generation experience for numerous reasons. If criticism was to be found it would most likely land on the choice to use a couple of upbeat punk rock tracks over some set pieces of the football. These felt tonally inconsistent with everything else in the short film and came too early in the story to signify any importance in the character's history. It did offer a nice juxtaposition to the sadder aesthetic of the film and story but therein were the more affecting aspects. Aside from that, this is an utterly compelling piece of dramatic filmmaking coupled with expert storytelling. Watch the official movie trailer for Sunday Worship below... Or watch the short film for free as part of the UK Film Channel below... #ShortFilmReviews #ShortFilms #ChrisOlson #PaulHolbrook #SamDawe #BrianCroucher #AnnabelLeventon #MovieTrailers #UKFilmChannel #FreeShortFilms

★★★ Directed by David F. Sandberg Starring Talitha Bateman, Lulu Wilson, Anthony LaPaglia Film Review by Brian Degning Prequels to horror films generally haven't had much success. A prequel of a prequel therefore should fail miserably. That's the conventional wisdom leading into Annabelle: Creation the origin story of the creepy doll and titular character of the first film, which was itself a spinoff of James Wan’s The Conjuring franchise. Happily, this film is far from a disaster, in fact it is an entertainingly scary and well-acted horror film that adds to the mythology of its source material, like a good prequel should. We begin with successful toymaker Samuel Mullins (Anthony LaPaglia) and his wife who suffer a tragedy when their young daughter is killed in an accident. Seeking to brighten up their lives they later decide to share their home with a group of young orphan girls. When one of the young girls comes across one of Mullins creations, the doll Annabelle, strange things begin to take place and the tension ramps up as the danger mounts. The two young leads, Janice (Talitha Bateman) and Linda (Lulu Wilson) along with the supporting cast, are excellent. Likeable and earnest they are the type of characters in horror films that can be written off as the ‘creepy child who sees things’ but both performances defy their years, from moments of tenderness to moments of terror, you are with them all the way. The cast are helped by a well written script that gives most of the characters a moment to shine and manages to avoid too many exposition dumps that some horror movies suffer from. Like his previous film Lights Out, David F. Sandberg uses a combination of excellent use of sound, gorgeous cinematography and the restraint of the director not to rely on jump scares means the suspense can build nicely to a, mostly, satisfying payoff. The director clearly has a passion for the genre and even traditional tropes or clichés like scary children, rocking chairs and torches losing power feel fresh and are presented both knowingly and effectively but never outstay their welcome. Annabelle: Creation is well paced and takes its time to ramp up the tension which is palpable throughout. Unfortunately, there are some things that don't feel so fresh. The same problems which plagued previous haunted house films apply here, from characters making very stupid decisions to people staying in a house where clearly there is something amiss. While the script is good it feels at times like this was written as a stand-alone haunted house film and later adapted to fit into the ‘Conjuring Universe’, this becomes apparent toward the third act when the film breaks some of its own rules and the ‘Possessed doll’ aspect feels a little shoehorned in. As a prequel, this does its job and makes the original better and while the execution is far better than most horror films around there isn’t anything particularly new here. Good scares and performances make this a worthwhile addition to the franchise but don’t expect a cinematic classic. Watch the official Movie Trailer below for Annabelle: Creation... #FilmReviews #MovieTrailers #TheatricalReleases #BrianDegning #Horror #DavidFSandberg #TalithaBateman #LuluWilson #AnthonyLaPaglia

Written & Directed by Nathan Wold Starring Kari Elizabeth Godfrey, Jeremy Frandrup , John McConville, Lincoln Danford Short Film Review by Rachel Pullen Ah 1950’s America, where the nuclear family was abounding, capitalism was the new trend and people lived seemingly perfect yet suppressed lives. The most people seemed to worry about was their sons or daughters smoking pot or their neighbours getting a better oven than them. Things were simple, but what if this naive simplicity was interrupted by oh I don’t know...zombies? Director Nathan Wold takes us into this world full force with his black comedy short Zomburbia, where we follow the lives of married couple Henry and Martha Mandrake played by Kari Elizabeth Godfrey and Jeremy Frandrup, as they unknowingly become the victim of zombie attacks...how inconvenient. And it seems just that, like most 1950’s sitcoms of the time, Wold cleverly follows suit by making his characters see the world through rose-tinted glasses, where the things in life that would shock and cause concern now, just seemed to take away time from the weekly Tupperware meeting or reading the newspaper with a pipe. Zomburbia allows the audience to be completely immersed in to the idea that they are actually watching a sitcom from this era, not just through the storytelling as already mentioned, but through acting styles, costume, sets and shooting styles, all of which are executed stylishly and with ease, allowing for an enjoyable viewing experience. This short is more than just a black comedy with zombies, this is something that we have seen before from such films as Dead Snow and Pride and Prejudice with Zombies, Wold changes the playing field by adding that social commentary into the mix. We see the lead characters more lacking in brains than the zombies themselves, they are awash with the proper gander of the times, so much so that they cannot see the real threat that is right in front of them, something that was not uncommon for the times, the fear of not keeping up with the Joneses seemed to have more importance than getting your brain feasted on by the living dead. This is a enjoyable and comedic short, and with a fresh approach to an already over played scenario, Zomburbia doesn’t loose face amongst the overcrowding of competitors, in fact it stands tall, boasting its strong script and excellent casting as just some of its strongest qualities. #ShortFilmReviews #ShortFilms #RachelPullen #Zombies #NathanWold #KariElizabethGodfrey #JeremyFrandrup #JohnMcConville #LincolnDanford

★★★★ Written and Directed by Jack James Cinematography and Editing by Jack James Starring Roxy Bugler, Kemal Yildirum, and Jill Connick Indie Film Review by Euan Franklin It’s no secret: movies without production companies, proper ones, will always be layered with doubt. If no company could be persuaded, why should we trust that the film will make us laugh, or cry, or vomit? If Zach Braff couldn’t do it, how can the director of Malady? But, despite a few imperfections, writer-director Jack James has made a rich, disturbing, and deeply psychological movie that makes its Indiegogo finance seem irrelevant. We start off sombrely, in a fragmented scene with Holly (Roxy Bugler), a lonely twenty-something, at her mother’s deathbed. Her dying wish is for Holly to go out and find love. This story is interwoven with that of Matthew (Kumil Yildirim), a taciturn mystery of a man, who ambiguously places a ruffle of human hair inside a card. Haunted by her mother’s words, Holly dresses up and goes out into the night. She visits a bar and sees Matthew. He leaves, and she chases after him. She says, bluntly, to take her somewhere – initiating their passionate relationship, mired by secrets and sex. When Holly learns that Matthew’s mother is dying, they drive up to take care of her – but Holly doesn’t know what she’s in for. Malady blends tortured minds, mixing them together like two joining rivers. Abandoning the clichéd method of exploring a character’s mind via internal monologue, the film pursues an intensely visual approach. It unravels as a Dostoyevskian nightmare, whilst applying a brutal style of filmmaking – clearly inspired by Lars von Trier, Michael Haneke, and Ingmar Bergman. We see Holly and Matthew, both damaged, confined in uncomfortably small spaces and both trapped in their familial prisons, unable to reveal certain truths. James’ claustrophobic cinematography captures this perfectly, making us feel closer to the characters and feeling almost invasive to their secrets. Sex is a key component of the film, but it wobbles on the edge of pornographic. I sometimes felt embarrassed. But these gratuities hardly compare with similar movies like Gaspar Noé’s Love or Abdellatif Kechinche’s Blue is the Warmest Colour. Jack James is wise enough to cut down the titillation, heightening the love felt by both characters – genuine passion superseding mindless carnality. It might’ve been better for James to apply the same level of prudence to other scenes in the film, which often felt too long. It’s clear he’s tried to create a realistic, almost tortuous, atmosphere but this is stripped away when certain moments become repetitive. Important scenes lose their potency because they appeared like a 3-second GIF on repeat. Conversely, there are scenes that feel too rushed. The meeting between Holly and Matthew at the beginning should’ve been drawn out, like any romantic encounter. I don’t care how desperate or haunted she is – she wouldn’t jump in that quickly. The performances are remarkably human, living up to James’s carefully crafted characters. And despite the two leads creating such vivid portrayals of psychological torment, it is Jill Connick who steals the show as Matthew’s mother. She is subtle and evil, silently intimidating in close-up, and every word she speaks hurts like a papercut. Malady is a deep and uncomfortable exploration into two tortured souls. James possess an uncommon confidence in pursuing a more European arthouse style instead of something more conventional. It’s not as great as it could’ve been – it might’ve had a theatrical release if the producers had better funding, and if James hired another writer to tidy up some of the scenes. Despite this, as it stands, Malady is a surprising achievement. But probably not one for the family. #IndieFilmReviews #EuanFranklin #IndieFilms #JackJames #RoxyBugler #KemalYildirum #JillConnick

★★★★ Directed by Patrick Hughes Starring Ryan Reynolds, Samuel L. Jackson, Elodie Yung, Gary Oldman Film Review by Niall Maggs This is a hard movie to review. The Hitman's Bodyguard isn't intended to win all the Oscars at award season, nor is it trying to go down as one of the greatest films of all time, it's simply made for the audience's enjoyment, and nothing else. The movie knows what it is, and doesn't shy away from being silly and over the top, but sometimes this is just the type of film you'll want to see, to escape reality and have a decent time. In terms of quality, it's pretty average with good action sequences and entertaining one-liners, which is what you sign up for with Sam Jackson, and hilarious dialogue that is genuinely funny! But in terms of enjoyment, it's great fun and arguably one of the most exhilarating and entertaining movies of the year! The stand out performance is easily Gary Oldman as the 'bad guy'. He's perfect in this role, and it was a pleasant surprise to see such phenomenal performances in a big budget action movie. He was intimidating and evil, a character who kills innocent people, making your blood boil in anger, which makes the payoff and climax even more satisfying! Samuel L. Jackson is obviously the biggest star in this film, and for obvious reasons. He brought a familiar presence to the screen that we all love, and no one could of pulled off the role better than him! His quick one-liners were hysterical, and his character in general was excellent. We've seen this type of character hundreds of times before which is when the film enters cliché territory, but Jackson's performance more than makes up for it! The overall plot was actually original, and something that seemed fresh for once, and not the same rehashed story over and over again like every other action movie in recent times. Patrick Hughes' direction was also very good, and told the story in a unique way which created nail-biting tension and explosive action, giving us characters to root for and managed to bring them to life In spectacular fashion. Jules O'Loughlin's cinematography was average, but this didn't really stand out due to the charismatic performances given from the cast. Also, the editing was quite jumpy in parts and hard to follow as there was a lot going on in every scene. The humour was great, with a hilarious screenplay written by Tom O'Connor that lightened the mood, plus an upbeat soundtrack that ensures everyone has an absolute blast whether your in the cinema or at home! Overall, The Hitman's Bodyguard was an entertaining experience, and I would definitely recommend to anyone who likes to have a great time with action films. #FilmReviews #TheatricalReleases #NiallMaggs #PatrickHughes #RyanReynolds #SamuelLJackson #GaryOldman #ElodieYung