Jake Gyllenhaal's 5 best Movie performances Film Feature by Bradley Jones 5. Donnie Darko This is the film that kind of put Gyllenhaal on the map as an actor who could do more than deliver a solid performance in a nice film like October Sky. Film maker Richard Kelly’s twisted, ultimately befuddling sci-fi pic is an absolute trip, but Gyllenhaal sells it with everything that he’s got. The movie doesn’t work at all without Gyllenhaal anchoring this thing from a character perspective, and the nuanced darkness of the performance was absolutely a sign of even greater things to come. 4. Enemy Two Gyllenhaals for the price of one! Filmmaker Denis Villeneuve’s head-trippy follow-up to Prisoners is a divisive film to be sure, but I’m firmly on the “loved it” side. Enemy finds Gyllenhaal filling the role of a college professor who discovers that he has a doppelganger, leading him to question pretty much everything about his life. Beyond Villeneuve’s masterfully manipulative direction, Gyllenhaal delivers a pair of spectacular performances here that are just different enough to buy that you’re (maybe) watching two different people on screen. It was a tall order to be sure, especially since the narrative doesn’t do much hand-holding for the audience, but Gyllenhaal knocks it out of the park and then some. And that final scene! 3. Brokeback Mountain Gyllenhaal also has the distinction of starring in one of the great love stories of our time. It’s weird to think that just over 10 years ago Brokeback Mountain was this whole “controversial” thing where Gyllenhaal and Heath Ledger were oddly lauded for their “bravery.” The actors didn’t see it that way—they were simply bringing an intimate, tragic love story to life, and they did so in an absolutely terrific manner. Ledger towers over this thing, but Gyllenhaal holds his own in the much more openly expressive role of Jack, and the film would serve as another stepping stone for Gyllenhaal to bring his complex talent to bigger studio fare. 2. Zodiac Zodiac is a flat-out masterpiece that also makes impeccable use of Gyllenhaal’s strengths. He brings a curious sensitivity to the character of Robert Graysmith, but Fincher also brings out Gyllenhaal’s knack for comedy in surprising ways. Zodiac is dark as all hell, but it’s also hilarious when it wants to be. The obsession that haunts Graysmith isn’t easy to carry across the film’s extended timespan, but Gyllenhaal sells it tremendously, culminating in one of the great anticlimactic climaxes in cinema history. 1. Nightcrawler But Gyllenhaal’s best performance so far is even more proof that the guy is one of the most interesting actors working today. Gyllenhaal carries 2014’s dark thriller Nightcrawler with aplomb, appearing in nearly every scene. It’s a haunting performance that absolutely earns comparisons to Travis Bickle, as Gyllenhaal’s gaunt frame and plain appearance telegraph this character’s obsessive drive right from the get-go. Through all of his despicable actions, Gyllenhaal still manages to make Louis Bloom human and compelling—on some level you kind of want to see the guy succeed, even as he is devoid of any sense of decency or respect for life. The film itself is brilliant, and now serves as one of two masterful performances from Gyllenhaal. But the versatility of his career, ambition of character, and passion for cinema and performance promise that there are plenty more great performances to come. #FilmFeature #JakeGyllenhaal #FilmmakerFeatures #BradleyJones #Acting

★★ Directed by JP Mandarino Starring Drew Lipson, Charlie Patton, Marco DelVecchio, & Akanimo Eyo Indie Film Review by Phil Slatter Opening with a heavily stylised and deliberately glitched footage of a man in a mask warning us of government conspiracy, The Kaos Brief feels initially like a loud and oddly vibrant assault on the senses. However, we soon cut to Skylar (Drew Lipson), a 17 year old vlogger talking directly to camera about an upcoming trip in the mountains and it becomes clear that we are on found footage territory. Skylar, along with his boyfriend Corey (Marco DelVecchio), twin sister Dakota (Charlie Morgan Patton) and her boyfriend Tren (Akanimo Eyo), head off on the camping trip with cameras in tow, ready to capture as much as they can for Skylar’s website. As the trip unfolds though, they see mysterious lights in the sky and odd rock formations outside their tents. So far, so Blair Witch, but as the first act closes, the quartet leave their campsite and head back home. They do not however leave the strange occurrences behind them and before long strange men are appearing at the door, strange markings appearing on their bodies and strange lights invading the house. They’ve stumbled on something, but who, what or why is unclear to them, even if it is apparent that they are in danger. The most unique aspect of The Kaos Brief is that this is very much rooted in science-fiction, rather than the standard horror genre. There are some scares but few jolts with both The X-Files and Close Encounters of the Third Kind being obvious references. That we are engaged is testament to the four lead characters, all of whom give solid performances despite seeming far too old to convince as teenagers. The main issues that arise with the film however are a common trait of the sub-genre of found footage. Few films are able to escape the question of ‘Why would a person film this?’, as filmmakers struggle to balance the need for exposition with the reality of any given situation. Despite Skylar’s setting up of many security cameras around the home, too often we’re taken out of the reality of the situation(s) by the mere fact that the camera is rolling when in reality it almost certainly would not be. Equivalent to breaking the fourth wall, it takes us out of the reality of the situation, which is oh so important in order to have full effect. It also doesn’t help that at times certain shots appear to juxtapose the actual camera's placement, especially when we’re viewing a close-up of an online conversation. The other key flaw is that the story itself struggles to find an ending. While leaving some mystery for the audience to decipher is a good thing (and we do get some clues along the way), we’re teased into thinking more revelations will be forthcoming before a closing/post-credit sequence that might seem clever initially, but actually negates an element of the film's structure. It’s a shame because the actors work hard, some of the footage is excellent (the lights in the mountain sky is a particularly impressive sequence, especially when you think back) and this does try and take found-footage into a slightly different genre than we’re used to. Yet by failing to break many of the stumbling blocks that so often inflict this type of film, it fails to stand out on its own. #FoundFootage #SciFi #ScienceFiction #PhilSlatter #IndieFilmReviews #IndieFilms #JPMandarino #DrewLipson #CharliePatton #MarcoDelVecchio #AkanimoEyo

★★★★ Directed by Jon Nguyen and Rick Barnes Starring David Lynch Documentary Film Review by Lorenzo Lombardi Audiences may know David Lynch as one of the greatest surrealist directors of all-time but most are probably unbeknownst of his first artistic foray: painting. David Lynch: The Art Life focuses on just that while also following Lynch’s personal life in an effectively intimate style. The documentary acts as a biography of sorts. Lynch recounts different major periods and moments of his life --- childhood, school life, finding love and making a name for himself in the art world. As Lynch narrates the whole film, snippets of archival footage show his past to put viewers in the moment while the stories are being told. This effectively connects you to Lynch’s past through both visuals and dialogue. Different pieces of Lynch’s art is also shown to cleverly parallel his thought process and feelings during his anecdotes. Whether he is talking about the dark underbellies of suburban areas or his various dreamy visions, a visceral piece of art will be shown that reflects the scene. As a bonus, the documentary shows the process of Lynch creating art in present time, which is fascinating to watch. And most of these pieces of art were made long after the events discussed in the running time. This underlines the first line of the film perfectly: “when you are making a painting - or whatever - you go with ideas; and sometimes the past can conjure those ideas. And even if they are new ideas, the past colours them”. Passion for Lynch’s work itself is shown strongly by the directors. They pace the documentary like one of the director’s films - slowly and methodically. Atmospheric ambient sounds and an eerie score also apply, making this feel very much Lynchian. There are some genuine moments of raw emotion in the film. Throughout, Lynch’s art seems to be a manifestation of Lynch’s fear - fear itself. Sometimes, though, it can seem more personal. By the end of the documentary, we get a glimpse into the production of Eraserhead. Lynch informs that his brother and father did not want him to continue with filming since he has “a child to look after”. As fans may know, Lynch confirmed that the film was about the fear of fatherhood. This personally brought a tear to my eye. It may sway certain viewers off since The Art Life does not focus on the director’s work. Other viewers could also leave frustrated as to why he paints dark subject matter in the first place. However, the lack of clarity is honest and unpretentious. Lynch’s understated reasons for his strong passions are a captivating watch. This personal reveal takes you one step closer to understanding the characteristic enigma that is David Lynch. #FilmReviews #TheatricalReleases #LorenzoLombardi #DavidLynch #JonNguyen #RickBarnes #FilmmakerFeature #Filmmaking #Biopic

Directed by Phil Whitehead Written by Phil Whitehead and Adam Probets Starring Ian Mark King, David Anthony Cross, Adam Probets. Short Film Review by Rachel Pullen Impulsive, by dictionary definition means, the act of doing something without forethought, and of course that can often have incredibly negative consequences, a topic that director and co writer Phil Whitehead decided to explore in this British short. We are welcomed into the world of three friends who decide to take a weekend camping trip to try to take their buddy's mind of the recent death of his brother, tragically stabbed in a bar brawl in their company. Whitehead pulls up a chair for the viewer round the campfire and become part of the banter and jokes during the opening of the film; we are introduced to each of the characters and given a small insight into their personalities allowing us to feel as if we too are part of the gang. But things take a turn for the worse when it is uncovered that Mikey played by David Anthony Cross and Thomas, played by Ian Mark King had both been witnesses to the stabbing of their friend's brother in the bar and had done nothing to stop it and obviously this does not make for a pleasant weekend away for the friends. Impulsive though is not a film about revenge, but more a study of the gut reactions we have sometimes as humans, and of course the reactions that these then cause. We see Adam Probets explore this through his role as David [as well as co-writing the piece], the brother of the deceased, who delivers a compelling and very believable performance. Whitehead uses an array of interesting camera angles to add a little more spice to this low budget production, but falls short on arranging the audio, certain dialogue is lost during the campfire scene due to the microphone setup, making the sounds of the crackling fire to dominate the scene, this is something which is a shame due to the fact that dialogue is immensely important in understanding the plot of this short film. Impulsive is an interesting and emotional short piece, an investigation into the grief and devastation that comes when dealing with the death of a loved one, as well as the fallout of these emotions, and of course a lesson on not always acting on our impulses. #ShortFilmReviews #ShortFilms #RachelPullen #Drama #Thriller #PhilWhitehead #AdamProbets #IanMarkKing #DavidAnthonyCross

Directed by Sean Patrick Dahlberg Starring Stas Drakos, Alexis Drakos, and Peter Kowalchick Short Film Review by Evie Brudenall “Don’t you wish you could be with the one you love for all eternity?” Most people’s answer to that question would be a resounding ‘yes’, but how far would they go to fulfil their desire? Sean Patrick Dahlberg’s short Until Death explores just that quandary. Michael (Stas Drakos), recently bereft by the death of his wife (Alexis Drakos), orders a TaRa – 5000, a form of taxidermy that brings his partner “back to life”. Whilst he is initially overjoyed, their rosy beginnings aren’t set to last as his “wife” starts to exhibit some worrying behaviour… After the death of his wife, Michael has clearly been drinking himself into despair, a detail reinforced by the excellent camera movements that echo his instability and drunken stupor. However, the delivery of his newly re-purposed wife pulls him out of his funk and he begins to rediscover the joys that life has to offer; Michael takes his “wife” on romantic trips to the beach, offers her piggyback rides through the park and dines with her. Just like the old times. Except this time, he is effectively romancing a corpse which is slightly perturbing to watch and is reminiscent of both Charlie Brooker’s Black Mirror and Lars and the Real Girl, starring Ryan Gosling. Unfortunately, Until Death doesn’t reach the height of its influences and is neither as absurdly dark as Black Mirror or comically quirky as Lars and the Real Girl. Although, its visual prowess is extremely impressive and the cinematography, courtesy of Jon-Michael Onderdonk is one of the short’s highlights. The fluidity of camera movements and consideration of lighting suggests the thought, professionalism and collaboration between the artists involved. At first, the decision to film in black and white feels unmotivated but the reveal within the last few minutes is perfectly executed and justifies the stylistic choice. Black comedies are tricky to pull off – too dark and you risk alienating your audience, not risqué enough and you could lose their attention altogether. Until Death falls somewhere between the two on the spectrum and as a result, there is a lack of tonal cohesion. Aspects of tension aren’t suspenseful enough and in one moment we’re meant to be scared of a wandering corpse, the next tickled at its tiresome shenanigans. Whilst Until Death is tonally confused, it’s a confidently filmed short that shows a lot of promise for it’s behind the camera talent. #ShortFilmReviews #ShortFilms #EvieBrudenall #SeanPatrickDahlberg #StasDrakos #AlexisDrakos #PeterKowalchick #SciFi #ScienceFiction

Written and Directed by Paul Wright Starring Emma Laidlaw, Matt Aistrup, Amber Tasker, Lucy Hird and Joseph Stacey Short Film Review by Chris Olson With edgy visual effects and a supernatural storyline, Paul Wright's short thriller Fissure is a bleak yet gripping tale of loss, grief, and mystery. We meet Kate (Emma Laidlaw) at the beginning of the movie sleeping in a small bed with a whiteboard above it, crudely stating "Days without incident - 182". After stylishly focusing in on a calendar with an "interview" marked, the levels of intrigue in Wright's movie are already heightened, as we anticipate Kate's vulnerability is going to be tested during the always terrifying interviewing process. To say much more about the reason for Kate's 182 streak would be to spoil, but the storyline develops into revelations about something Kate has lost in her past, and her frustratingly illusive connection to it through the use of illegal substances. Combining elements of drama and suspense with a sci-fi tinge, Fissure is a short film that boldly carves its story for the audience by relying on very sturdy fundamentals. The central performance from Laidlaw is excellent, balancing the suffering and angst with the desperate hope her character feels with skilled aplomb. The script is laced with sinister intrigue and plenty of believable dialogue between Kate and her ex-husband James (Matt Aistrup). In addition to these, the movie also benefits from a fiery score that is unafraid to take risks in building huge atmosphere and tone. The developments of the plot in the final third did feel a little rushed. It was almost as if Wright was afraid of revealing his magic tricks so skipped over them. Which was a shame, as actually up to that point the storytelling had been cleverly revealed. It's more of a commendation than a criticism, but as with so many short films, Fissure could have done with an additional few minutes to achieve a bigger impact. Some of the visual effects were quite startling, and audiences who enjoy horror theatrics will certainly get a kick out of the other-worldly aspects which are dotted around. However, the strongest element to Wright's film is the human aspect. His characters are interesting, believable, and compelling, and the plot he deftly concocts for them is bulging with fantastic ideas and emotions. By running Kate through a gauntlet of emotional duress, having quickly established her to be dually troubled and grief-stricken character, everything which comes her way feels all the more harrowing and engaging. #ShortFilmReviews #ShortFilms #ChrisOlson #Drama #Supernatural #PaulWright #EmmaLaidlaw #MattAistrup #AmberTasker #LucyHird #JosephStacey

Directed by Nicolas Courdouan Starring Sue Walsh, Kojii Helnwein, Ciara Elizabeth Smyth, Brendan Sheehan, Gerry Wade, Stephen Maguire Short Film Review by Kirsty Asher Irish indie cinema has been enjoying great success in recent years. The past two years I have been to Encounters Short Film and Animation Festival in Bristol there have been numerous impressive short and animated submissions from Ireland dotted throughout the film festival. Radha, written and directed by Nicolas Courdouan is a dark and rippling mystery of a film in which a young woman goes on a rather strange journey through the night to escape her demons. The first scene is an almost occultish act by the woman, Saoirse (Sue Walsh), in a secluded glen. She digs a grave for a selection of memorabilia from her past and sets fire to them. The establishing shots hint at a need for catharsis, a need to forget and escape. The cinematography is stunning by DOP Tess Masero Brioso, with this beautiful opening scene and the fascinating experimental lighting later on in the beach scene. However, there is a sort of interval scene at a house party between this opening and Saoirse’s journey which felt unexplained and essentially only relevant as an inciting incident for the rest of the story. A man calls her by her real name while her supposed friend inexplicably calls her Chloe and it’s never revealed why she’s been living a double life. Perhaps if it had the means to become a feature film this sequence could be fleshed out some more, but in this context it seemed wholly unneeded considering the unnerving and magical quality of the rest of the film. Saoirse flees after a confrontation with the man and ends up watching a one-woman dance show eponymously named Radha. This is an exquisitely choreographed sequence where the camera extracts the harsh beauty of Radha’s body, all muscle and sinew and bone coated in ropes of shining black leather. Her audience is a vampiric gathering of both young and old, clutching at her tortuous movements as if their very lives depended on it, and, perhaps, they do. The great thing about the writing and direction by Courdouan is that he beautifully illustrates why Saoirse looks to Radha for the ‘solace and oblivion’ mentioned in the synopsis. Radha is a languid Bohemian dancer, blurring the lines between reality and fantasy: is she a demon, is she a flesh-and-blood woman? She purrs her way into Saoirse’s heart with softly-spoken life philosophy while aptly reading Saoirse like a book. The final scene on the beach is one of the most visually impressive scenes I have beheld since Moonlight. There are times when it seems Courdouan has perfectly melded camera movement with body movement as it swoops and spirals to the incredible choreography by Dagmara Jerzak and the two, briefly, seem to become one. It is a remarkable example of choreography and camerawork combining beautifully. I feel as though a star is on the rise with Nicolas Courdouan and I look forward to seeing more work from Black Ostrich Entertainment. #ShortFilmReviews #ShortFilms #KirstyAsher #FilmFestivals #NicolasCourdouan #SueWalsh #KojiiHelnwein #CiaraElizabethSmyth #BrendanSheehan #GerryWade #StephenMaguire

★★★★ Written and Directed by David Ash Starring Bethany Ford Binkley, Peter Christian Hansen, Clarence Wethern, & Bob Davis Indie Film Review by Chris Olson Described as a "cerebral drama", David Ash's indie film Twin Cities is a complete mind f*ck of existential ponderings, religious debates, relationship quandaries, and a general rolling of the eyes to the meaning of life. Buffeted by a touching and sharp script, and two standout central performances, this has all the trappings of an indie classic. John (Clarence Wethern) and Emma (Bethany Ford Binkley) exist in a typical rom-com set up. With a baby on the way and their two independent lifestyles in jeopardy, it is only natural that their silver-tongued repartee starts to magnificently underperform in their quirky coupling. However, unlike a rom-com storyline, Ash's story is quite a bit bleaker, tackling some heavier themes of existential isolation, identity crises, and an unrelenting kick-in-the-balls-from-life factor which ends up dominating many of the plot developments. As a result, the story is painfully believable and utterly engaging. The characters are sketched with spectacular foibles and are generally endearing for their lifelike reactions to the hurdles they end up facing. The dark humour which punctuates the scenes like a glass spike is both acutely funny and dangerously perceptive, delivered with impeccable timing from the main performers. Indeed, the dialogue between Ford Binkley and Wethern is like a gut-punch dose of reality when it comes to modern monogamy. Ford Binkley delivers an astonishing performance in her turn, and Wethern is as remarkably impressive during Twin Cities, elevating this potentially preachy tale into something of a masterful example of indie storytelling. A sequence between John and his pastor (played by Bob Davis) is particularly enjoyable. Littered with arbitrary issues about the role of god in modern society, as well as introspective examinations on the nature of faith, love, and death. This is then mirrored when Emma talks to the pastor later in the story, with equally as much thunderous realism. These two scenes alone could outmatch huge numbers of short films which attempt to dissect the meaning of life. The filmmaking is deftly in tune with the nature of the story, capturing the emotional intensity against the crippling isolation brilliantly. One scene where Emma talks to a support group is a masterclass in pathos. A little more score in places could have heightened the emotional core, especially in the latter section of the story, but I admit there would also have been a risk of undermining the fantastic atmosphere which was curated previously. It just felt that the audience was invested enough in these characters to pull a few levers. Overall though, a heartbreakingly beautiful film that delves deep into the recesses of humanity and serves up a bittersweet serving of grief, joy, love and so much more without ever missing a comedic beat. Kudos. Watch the movie trailer for Twin Cities below... #IndieFilmReviews #MovieTrailers #ChrisOlson #IndieFilms #BlackComedy #Existential #DavidAsh #BethanyFordBinkley #PeterChristianHansen #ClarenceWethern #BobDavis

★★★★★ Produced, Written & Directed by David Diley Starring David Diley, Mike Neumann, Arthur Sokimi Documentary Film Review by Taryll Baker When the sole reason of watching a film is to write a review, you often take mental (or physical) notes to refer back to. Whilst watching David Diley’s Of Shark and Man, there were many moments where those thoughts were erased. Not only is it a remarkable film, showcasing a side to sharks we’ve never seen, it’s an entertaining, grounded and informative experience. We hear from divers, biologists and shark experts. It’s ambitious, but it’s also ambiguous. David Diley is living a normal, tiresome life in London. He longs for something more, so resigns and heads out on an adventure to achieve one of his childhood dreams; to swim with sharks. Firstly, if you didn’t love sharks before, you will now. There’s some valuable knowledge presented here, looking at their behaviour towards humans and how we can help them survive. When under the sea, we look in awe of these magnificent creatures. When above water, we see the people that are working hard to protect them. Sharks are misunderstood and to be respected. We learn this almost instantly. What’s truly unique about Of Shark and Man is that we see many sides to the story. It’s never bigger than itself and this is something I greatly admired. The visual approach is spectacular. We get as close to the sharks as possible, experiencing almost exactly as David does. We see them in all their ferocious beauty. A huge majority of the film is captured through David’s camera, which sparks up a personal connection which is absolutely essential. Though no great amount of planning was made, the feature feels under control and wonderfully progressive. Swimming graciously beside this, is the brilliantly compiled soundtrack featuring many fantastic pieces of music written by a vast array of adventurous composers. Each track feels vital to the picture, emotions seen in the film are reflected in the music, though never overstaying its welcome. For instance; the moments underwater during the shark feedings. The visuals do a lot of the work, but having a forceful yet carefully performed layer of percussion underneath as the sharks circulate the camera, can lend a hand in the overall impact. Curating a diverse and effective soundtrack is of great importance, especially when planning such an ambitious project. By the end of the film we see a transformed and evolved David. It’s a touching reward. Of Shark and Man’s personal direction provides an intimate and exciting viewing experience that I’ll truly never forget. It’s very informative and clean. You’ll never feel outsmarted due to convoluted discussion, it’s smartly handled and thoughtfully cut together. The work has been done, now we can only hope that more people will take notice. Leaving nothing to be desired, Of Shark and Man is the captain of its own ship as pieces fall naturally into place, creating an exuberant and tasty treat to feed on. #DocumentaryFilmReviews #Documentaries #TaryllBaker #AnimalFilms #5StarFilm #DavidDiley #MikeNeumann #ArthurSokimi

★★★★★ Written & Directed by Edgar Wright Starring Ansel Elgort, Kevin Spacey, Lily James, Jamie Foxx, Jon Hamm, Eiza González, Jon Bernthal Film Review by Taryll Baker The first thing I noticed when the screen opened for Edgar Wright’s Baby Driver was that it was shot on film. Not only are less filmmakers taking this direction, there’s a lot of pressure on cast and crew. With so much going on, it’s amazing how Wright handles everything so skilfully. Whether it’s the long takes filled with seamless choreography, or the crazy action-packed stunt work, Baby Driver is an incredibly fun thrill ride from start to finish. Baby (Ansel Elgort) is a driver for a crime boss (Kevin Spacey). Suffering from tinnitus due to an accident as a child, Baby drowns out the humming by plugging in his earbuds and listening to music. Doc (Spacey), Buddy (Jon Hamm) and Darling (Eiza González) are all welcoming of his lifestyle, providing he drives well enough to keep them all alive. As time goes by, Baby becomes tired of his relentless, demanding job and eventually finds himself taking part in a heist doomed to fail. I won’t bore you by listing every actor; it’s a truly stellar cast and everyone involved is incredible. Their enthusiasm is contagious. Elgort turns in a surprisingly likeable and fresh performance as Baby. He handles the comedy very well, but shines in the more emotionally demanding scenes. He and Lily James perform so naturally that the formulaic relationship becomes something you genuinely care for. Jamie Foxx and Spacey both provide highly entertaining performances, yet again proving to be talented comedic actors. With the film being almost entirely American, Wright decides to keep his unique quick-cuts to the bare minimum. However, the overall tone feels very much the same as his British work. Fans of the latter will recognise his writing, it’s just as clever as before. The energy is still there and not once does pacing become an issue. Cinematographer Bill Pope captures the high-speed chases with ease, and the sequences with long, extended shots are beautifully crafted. Apart from a few minor scenes, Steven Price’s score is barely present. Nothing stands out, which will disappoint fans of his work. That said, the soundtrack created for Elgort’s character is perfect in every sense of the word. Each track feels absolutely essential to the story. It features a vast mix of genres and becomes just as much a character as anyone else. It’s no doubt it’ll give Guardians of the Galaxy’s ‘Awesome Mix’ a run for its money. I could go on, but I’m trying as hard as humanly possible to avoid spoiling anything. So, I’ll keep it short. It’s clear this was a passion project for Wright. It may have taken years to make, but it has come to fruition with a remarkable result. Well-executed, stylish entertainment. This is why we go to the cinema. Baby Driver is refreshingly cool and original, and Edgar Wright steers with finesse. Watch the official movie trailer for Baby Driver below... #FilmReviews #MovieTrailers #TheatricalReleases #TaryllBaker #Comedy #CarChases #EdgarWright #AnselElgort #KevinSpacey #LilyJames #JamieFoxx #JonHamm #EizaGonzález #JonBernthal

★★ Written & Directed by Christianne van Wijk Screenplay by Samantha Hills Cinematography by Edilberto Restino Starring Samantha Hills, Meredith Colchester, Alistair Lock, Jez Hughes Indie Film Review by Euan Franklin I know, it does sound like a low-budget Magnificent Seven spoof. The Ridiculous 6 was bad enough. But The Scandalous Four is neither Western nor spoof – it is a costume drama that subverts the ordinary conventions expected in the genre…but burdened with a low budget. Our heroine Penelope (Samantha Hills) is married off, by her parents, to a shy and introverted Jonathan (Meredith Colchester). They move into his family’s empty estate where not a great deal happens because of Jonathan’s hatred of social occasions, much to Penelope’s chagrin. He doesn’t even want to be intimate with his new bride. But when Penelope discovers that her new husband is having an affair with George the Butler (Alistair Lock), she finally understands Jonathan’s reclusive personality. When his secret is revealed, he hires Penelope’s ex-piano teacher, Richard (Jez Hughes), as the gardener. Richard and Penelope begin their own affair, with the support of the latter’s husband and his gay lover. Here we have our Scandalous Four, way ahead of their time. But when various Christian parties catch wind of their blasphemous activities, it becomes difficult to keep them secret. The premise is refreshingly original. Promiscuity and homosexuality aren’t often tackled in costume dramas and it was curious to watch these characters unfold within that historical setting. However, director Christianne van Wijk’s story proves to be more alluring than the tepid screenplay that came out of it. The writer Samantha Hills, who also stars as Penelope, has constructed a script with little conflict and laughable resolutions, despite the perfect environment to include them. Swimming in defiance to the Lord’s Word, the Scandalous Four face many potential threats to their collective happiness: Penelope’s strict bourgeois mother, the pious maid who bears witness to the unchristian goings-on, and the dogmatic priest who walks the gays to the gallows. You’d have thought this would be enough for an exciting and emotional drama. But these conflicts are clumsily sewn up and disposed of without any visible scars on the people they’re meant to be affecting. It turns especially silly when Penelope is gripped by an illness and her Estate companions partake in a bizarre cult ritual to revive her. And it works. Hills is clearly afraid to hurt her characters, making the film pointless. The Scandalous Four is made somewhat watchable by the performances, which, for the most part, are decent. Meredith Colchester carries off a stiff, reclusive demeanour that is both funny and heart-breaking. Jez Hughes, on the other hand, was intolerable – delivering his lines with a painful monotony that drained any and all of the character’s appeal. The visuals are often innovative and well-framed, sometimes using modern compositions that provide delicious contrast with the period setting. But the efforts of cinematographer Edilberto Restino are wasted once we realise the colour looks terrible. It may seem an obscure and over-technical point to make, but the bland colour correction affects your motivation to continue watching. It’s exhausting, and even sinful. The setting is meant to be opulent and we are meant to be greeted with cinematic grandeur, not a weak imitation. For this genre, anything less than professional just looks dirty. The premise and some of the motivations behind The Scandalous Four are admirable, but trusted with slippery hands. Every scene degenerates into drudgery once you realise there’s no threat. And when it’s clear the writers were scavenging for ideas by the end, you dig for reasons why you even bothered. Not even God could save this movie. #IndieFilmReviews #IndieFilms #LGBT #EuanFranklin #ChristiannevanWijk #SamanthaHills #MeredithColchester #AlistairLock #JezHughes

★★ Directed by Michael Bay Starring Mark Wahlberg, Anthony Hopkins, Laura Haddock, Isabela Moner, and Jerrod Carmichael Film Review By Niall Maggs Essentially, Transformers: The Last Knight is the same as the other four entries in the Michael Bay series, and could be seen as an easy cash grab to the audience, if they have experience with the Transformers movies. The plot is pretty much the same: the world will be destroyed if the Autobots don't kill the Decepticons. Sound familiar? First off, Mark Wahlberg gave a fun performance that lightened the mood and tone of the movie, which made sure that the audience enjoyed themselves, for the most part...It introduced new characters and new transformers, which was possibly an attempt to bring something fresh to the series, but honestly just felt like the viewers were watching the same film for the fifth time, that made the flick feel boring and unoriginal. It doesn't feel as though there is much passion or enthusiasm in Bay's direction, as it felt cluttered, crammed and quite hard to understand at parts, because he introduced multiple subplots in countless locations. But what's worse, is that it gives Bay a bad reputation, even though he doesn't deserve it. The film would receive a better reception if he gave the audience a unique and interesting storyline, with less of the awkward humour, and more of the funny humour, as there is quite a lot believe it or not! Also, Transformers: The Last Knight got quite irritating to watch with shaky camera shots that forced too much on to the screen at one time, again, reinforcing the crammed atmosphere. This will impact the audience's viewing experience, obscuring what they actually see. Some of the characters were extremely annoying. Isabela Moner's character was frustrating and tedious, which was nothing to do her with her performance, it's great, but her character was thinly written, and given a poor script to work with (by Art Marcum, Matt Holloway and Ken Nolan) and overall, wasn't necessary, as she didn't drive the story along, and didn't really impact the narrative or the outcome in any way. Obviously, because it's a Transformers movie, it would be a crime to not talk about the special effects. How are they? Well of course they're brilliantly crafted, with entertainment left, right and centre, keeping the audience involved, and are aesthetically mind blowing! If you take your children to watch this, I guarantee they will have a great time! The special effects team did a great job, on this one (Craig Tex Barnett and co.) it's just a shame we couldn't really see what was going on due to the cinematography, done by Jonathan Sela, which was quite dull. As always, there is cheesy and awkward humour, but for the first time in the series, some of it was actually quite funny! Cogman the crazy robot (Jim Carter) was hysterical, and made every scene he was in amusing and hilarious, and stole the show every time! Jimmy (Jerrod Carmichael) was also extremely comical, and always lightened the mood, with his silly humour and outbursts! The same with Anthony Hopkins, generating laughter from the audience due to his impatient wit! In the end, Transformers: The Last Knight was quite a lot of fun, with gripping action and funny humour, but lacked a unique and original storyline which made the movie feel dull, and samey, with a lot of awkward humour paired with good humour, which made it feel inconsistent, while the editing was choppy and didn't feel smooth at all. A recommendation to anyone who doesn't like to take movies too seriously, and for people who love to have a great time at the cinema, regardless of the quality! #FilmReviews #TheatricalReleases #NiallMaggs #MichaelBay #MarkWahlberg #AnthonyHopkins #LauraHaddock #IsabelaMoner #JerrodCarmichael #SciFi #ScienceFiction #Robots