Directed by Sophie Peters-Wilson Written by Sophie Peters-Wilson Starring Timothy J. Cox, Sara Ruth Blake, and Abigail Spitler Short Film Review by Lorenzo Lombardi It’s Not You deconstructs divorce in a way that is simple yet heartfelt. That way is through the effect on the offspring - in this case, the daughter of a couple. What follows is a relatable journey that starts with harmony and joy but ends with disconnected acceptance. The short film begins with the aforementioned couple trying to explain to their daughter that they are breaking up. Structure then shifts to the past - a period of which the girl was ecstatic to see her parents’ thriving love. This part of the narrative also shows the cause of the couple’s downfall. A film of this topic is only as good as its characters. In It’s Not You, the performances shine with believable moments of both devotional love and relational distress. Sara Ruth Blake and Timothy J. Cox respectively give these characters the type of emotional depth that really captivates the audience into caring for them but also especially the daughter. By focusing the perspective on a daughter whose feelings of her parents’ love are haplessly under attack, the audience connect with the story and circumstances. Abagail Spitler plays the daughter with a sense of innocence and unknowing that - when the divorce is happening - it is all the more impactful. Coupled with handheld cinematography, the short gives off an almost documentary feel with its realistic look and powerful performances. The song played throughout the piece - ‘It’s Lonely around People’ By Mountain Range (Teen Daze Remix) - gives an emotional drive that adds to the devastation without going overboard. And as a creative choice, establishing the divorce at the beginning makes the short all the more effectively saddening while we witness more of the happy times. Overall, It’s Not You is a well-balanced but sad slice of life. #ShortFilmReviews #ShortFilms #LorenzoLombardi #TimothyJCox #SophiePetersWilson #SaraRuthBlake #AbigailSpitler

Directed by Jonny Phillips Starring Jonny Phillips and John Kirk Short Film Review by Chris Olson Two tree surgeons going about their daily wood chipping should not be the ingredients for a gripping, edge-of-your-seat short film, but writer and director Jonny Phillips has concocted just such a piece with Woodwoo. With breathtaking camera work, a stark sound design, and a monumental lead performance, this is the stuff of expert cinema. John (Jonny Phillips) is a tired and weary worker when we meet him at the beginning of Woodwoo. His exhausted demeanour is in clear contrast to Geoff (John Kirk), who seems remarkably sprightly by comparison. As the two chow down in a greasy spoon before heading to a remote field, the audience is lulled into their seemingly banal working schedule. However, once the perilous tools of the trade are fired up and John makes his perilous ascent into the tree, there is a palpable sense of threat which increases as we start to combine the obvious dangers of the employment with our protagonist's questionable mental and physical well being. Beautifully filmed using fluid crane shots and acrobatic stunt work, Woodwoo is a remarkable short movie. The landscape and cinematography is gorgeously presented by DoP Andy Parsons, utilising the arresting natural beauty against the wholly unnatural and dangerous work of the tree surgeons. The sound design from Pat Roche is almost completely devoid of score (until the final frames), allowing the sounds of the birds and nature to create a base for the sparse dialogue and raw chainsawing sounds to punctuate the viewer's sense of calm brilliantly. Phillips proves himself in front of, and behind, the camera with skill and aplomb. His performance is laden with subtlety that suited the tone of the story perfectly, coping well with the insinuation of his state-of-mind without splurging a load of exposition. Likewise Kirk is a great on screen presence, capable of adding moments of believable drama as well as dread through the more physical moments. A sequence where a branch nearly decapitates him is expertly delivered. It's proof of talent when the seemingly innocuous becomes incredibly engaging and compelling. Woodwoo is this and more. The level of filmmaking is captivating on the highest of measuring standards and audiences will be hard pressed not to leave their cinema seats (other forms of leisure furniture are available) with fingernail marks in the armrests. Looking to watch free short films online? Watch the whole Woodwoo below... #ShortFilmReviews #ShortFilms #ChrisOlson #Drama #Suspense #JonnyPhillips #JohnKirk #JonathanBlagrove

Directed by Vivek Krishnan Starring Ashwani Kumar, Shardul Bhardwaj, Kritika Pande, Devesh Chobe, Jijoy, Anurag Uhra and Shivam Parekh Short Film Review by Michael Fiott Without Cheese is a stylistic light drama that tells the mystery of a man named Shivam Parekh and his untimely death. It begins when we see a customer named Sam sat in a fast food restaurant brilliantly named ‘Cheeses Christ’. As he enjoys his food, a stranger (Ashwani Kumar) informs him of Shivam and begins to tell the entire story and his involvement. From the first word of this ten minute short we are intrigued, it develops at it’s own brilliant pace and dictates our thoughts and feelings with a mixture of melancholy music and slightly humorous subject matter. Vivek Krishnan achieves this by using an array of different shots, not just restricting his vision to an ‘over the shoulder’ angle, which is commendable given that the film mostly consists of a conversation between two characters. Instead, he shows his creativity by using two shots, close ups and panning shots which keeps us invested in every word. The performances are also very believable, with it being difficult to pick a line that feels in any way fake, it all manages to feel very real and delivered with a great amount of humble charm, this is of course helped along by the very well written dialogue. Although, I do think that these positives are greatly enhanced by what I consider to be the best aspect of the filmmaking; its use of music. It completely guides us through the story and sets the right emotional ques at the right times, beginning with an acapella folk song, moving into a soft acoustic piece that is gently whispered to us, a rejuvenating guitar piece and finally finishing with a film noir esque ballad from times gone by. However, with all of these positives, Without Cheese is not without criticism as the sound recording sometimes can falter. While dialogue for the most part is clear, it does generally feel like a quiet film, this is not helped when the music is played at a higher volume than the dialogue making it sometimes a struggle to hear what is going on and subsequently results in the audience finding it hard to follow the plot. In regards to its plot, it does at times feel convoluted leaving the audience with a lot of questions, which by all means could have been a purposeful effect, with the opening segment stating that the film was based on events that happened to Vivek and people he knew, “all of whom are liars”. Whilst the film is not without flaws it is certainly still worth a watch in terms of its craft, it rarely falls flat in its pacing and even after a few watches never truly feels like a chore, a great effort from Krishnan. #ShortFilmReviews #ShortFilms #MichaelFiott #WorldCinema #VivekKrishnan #AshwaniKumar

Directed by James Cappadoro Starring Lars Lee, Trevor Williams, Timothy J. Cox, Alexandra Bartley Short Film Review by Andrew Galvin If this year’s brilliant Raw taught us anything, it’s that the tired college “frat” movie was in desperate need of an update. Focusing on the exploits of a group of young women in their freshman year, and using cannibalism as a background metaphor, the film felt fresh, daring and willing to give a new voice to intelligent young people. The same cannot be said of We Just Want To Play, the debut short film from James Cappadoro, following the mishaps of a male rugby team at the fictional Ruckland University. The filmmakers openly admit their debt to the film that birthed the frat-house comedy, Animal House. That film’s sheer gall not just broke the mould on its 1978 release, it tore it into a million pieces, then set fire to it. However, the film’s attitude to women and stereotypes have dated, and Cappadoro has failed to recognise this, and learn lessons accordingly. Four women feature in the film. While one member of the female cast stands as college president, two others are there to pillow fight in their bras, and the other (Alexandra Bartley, recalling Sarah Silverman in School of Rock) is on shrew-y girlfriend duty. So while we can’t necessarily judge a film like Animal House due to its age, we can expect a little more from a film made in the 21st century. Writer Frank DeRosa’s script is as insipid and uninspired at his characters. His style aims for a knowing wink at the camera, but it lands far closer to smug and not-as-funny-as-it-thinks-it-is. Apparent zingers about Asians and noodles are too broad to find the irony those sort of risqué jokes need, and pretty much every other gag lacks punch, despite an often over-active delivery. There are signs of promise for We Just Want To Play elsewhere, however. Cappadoro’s visual style feels bold, employing on-screen text and graphics well in our post-500 Days of Summer world. His editing style is energetic too, without pushing the speed of cuts to vomit-inducing levels. Given less deadweight material, he is a filmmaker who could really find his groove. Among the bland stereotypes, lead Lars Lee carries more than a little of Zac Efron’s charm, combining boyish good looks with a precise delivery—he gives his all, it’s just a shame that the film around him is closer to Dirty Grandpa than Charlie St Cloud. Of course a run-time of just sixteen minutes makes it difficult for other cast members to make an impact. But when dealing with writing this hackneyed and lazy, they never really stood a chance at a try in the first place. #ShortFilmReviews #ShortFilms #AndrewGalvin #TimothyJCox #FrankDeRosa #LarsLee #TrevorWilliams #AlexandraBartley #JamesCappadoro

★★★ Directed by Grant McPhee Starring Patrick O'Brien, Mariel McAllan, Jason Harvey, Kitty Colquhoun, and Craig James Moncur Indie Film Review by Phil Slatter Delving into Night Kaleidoscope is in many ways like delving into the mind of lead character Fian (Patrick O’Brien) – a psychedelic drug-smoking psychic who is hired by an aloof character (whom we presume to be a policeman) to track down two murderers with a penchant for human flesh. Opening with a disturbing sequence that serves as a cross between a zombie attack and vampire horror, director Grant McPhee utilises every trick in the editing book to create murder scenes that are in equal parts gory yet murky, horrifying yet suggested. From slow-motion to fast cuts, a fragmented picture is often created as if viewed from the perspective of the Fian’s murky, complicated mind. It’s a fresh technique albeit one that gets somewhat overdone at times – the murder scenes are continuous and accompanied by a heavy 80’s style soundtrack that feels like overkill. Proceedings do occasionally pause for minimal dialogue, refreshingly light on exposition, to move the somewhat slight plot along. These ‘conscious’ scenes are aided by the world weary performances of the small cast, who work well with what little screen time they have. That it takes time to engage on an emotional level is more to do with the film's structure than the acting talent. The introduction of a victim of the perpetrators to assist with the investigation is a welcome addition as the events unfold, injecting some much needed emotion into the events. Yet this is more about Night Kaleidoscope's look and feel, and the technical skill of the filmmakers is undeniable. It’s not style over substance by any stretch of the imagination, there is just enough of the latter for such an accusation to be unfair. Yet amidst the tower blocks and night time of an unspecified Scottish city, McPhee has created an unusual experimental horror film that, while not wholly successful, showcases significant technical and a certain degree of artistic ability. #IndieFilmReviews #IndieFilms #PhilSlatter #GrantMcPhee #PatrickO39Brien #MarielMcAllan #JasonHarvey #KittyColquhoun #CraigJamesMoncur

Filmmaker Interview by Chris Olson A mover and shaker in the world of film, I have been lucky to catch up with filmmaker Aneek Chaudhuri for a second time this year. During our previous interview we discussed The Wife's Letter, Chaudhuri's feature film. This time, though, we speak to the man shortly after his visit to Cannes Film Festival. As well as his upcoming movie White. How was Cannes Film Festival for you? Cannes is special! In a word. I may also prefer to call it an extravagant experience when I was exposed to the most polished country of Cinema, where Cinema is practised more as an artform than anything else. Film markets to festive carnivals, every bit of Cannes enthused me with an aggravated ambition and it is going to help me in the future for sure. But, to mind this fact, Cannes is more than a red-carpet show; it is a networking place for professionals, and as soon as my job is complete, I prefer to return back to my nation. Overall, I had a few meetings with distributors and buyers, and things have gone fine. However, it is not that easy to adjust in such expensive environments; it is hectic too. Tell me about the night of the 17th. How did your screening go? A good one! Attended by people who understand Cinema, I got some good feedback too. It will only help me as a filmmaker in the long run. I was not nervous though and I was ready for criticisms (which did not come as a matter of fact). Would you recommend Cannes for filmmakers at a particular stage in their craft? Or would all levels find it useful? One should be prepared before going to Cannes, as a person is suggested to choose Cannes once you think you are completely ready otherwise; the press is always eager to boo a film off. It can be discouraging for any budding director. Even Michael Haneke got booed here this year! Your next film is going to be White. Can you tell us a bit about that? In today’s world, ‘hope’ is the element that is getting diminished day-by-day; hence, the film ‘White’ details on three stories that comment on hope and how a person goes along even after getting mentally and physically taunted in each part of his/her life. White is a feature length film and forms as a result of three short films of the same theme and coherence is highly maintained among these films. White brings along the subject of rape in contemporary society where the "rape child" is brought up and after the child grows up, he goes through the phase of existential crisis (shown in the third short film). To be concise and very much correct (as per my viewpoint) being raped is not the fault of the victim; however, they are actually dealt with huge mental torment in society. Now, in my film the story is about acceptance and then fighting against the natural course of life. White explains how a woman is strong enough to bear the victim child in her womb and giving the child a world to live in. Therefore, I must also strongly point out that my film also comments on the fact that it is too, not the fault of the victim child as well; though a forceful intercourse with the victim results in a rape child, but aborting it can be equated to the murder of an innocent being. In short, this film echoes the greatness of three women depicted through three short film. Bringing in a coherence, the films combine to form a feature length display of courage, serenity, power and femininity. When you attend screenings of your own films, do you hope that the audience reacts a certain way? I do not think that a festival always cares about the auteur; each film has its own derivatives. It depends on the quality of the film how the audience reacts to it. As per me, the same has occurred each time and people are more interested in watching the film than applauding the director walking on a red-carpet. Do you take the lessons from past reactions into your present filmmaking? It depends whom the reaction is coming from! Yes, if I find taking them forward will help me, I definitely try to incorporate them into my mindset. However, not unconditionally! How would you change the film industry from an audience's perspective? I do not want to change it, but want to put an agenda before the common audiences i.e. through exposing them to World Cinema. I firmly believe that there will be a day when people will start admiring silent cinema once again if one truly admires the concept of world cinema. There will be no language barriers in Cinema. However, the conflict between art and commerce will prevail. I know I have asked this question before, but, would you say anything different if you were a dolphin now? We are getting extinct in our country! I do not want fall into endangered or extinct category! To see our original interview with filmmaker Aneek Chaudhuri click here. #FilmmakerInterviews #ChrisOlson #AneekChaudhuri #FilmFestivals #Interviews #WorldCinema #Filmmaking

Directed and written by Jacob Foster Starring Jacob Foster Short Film Review by Rachel Pullen We have all heard the phrase ‘’If you want a job done well, you have to do it yourself’’ and in Jacob Foster's short film The Great Intellect that certainly seems to be the case. Writing, directing and starring in the piece, Foster takes on a lot for a man so young and early into his career, but that’s not to say that he can’t handle it and The Great Intellect is a platform for him to display his talents, either that or he is a total control freak. Shot in his apartment on a Nikon Coolpix, microphoned by Foster's iPhone, this low budget short tells the story of a young man who’s living in a world where access to the internet is powered by the human mind, which they call the perceptive palace. But soon our leading man’s perceptive palace decides to malfunction, throwing him into a world of despair, unable to function like everyone else he does what any of us do without the internet in our lives, calls I.T support. With little to no help offered from the perceptive palace support team, he begins to deteriorate further and further until his basic skills such as walking are slowly being taken from him. As I said earlier this is a very low budget movie, but that’s not to say that it is without its charm; Foster confidently carries the role throughout, expressing the pain and frustration of the character well allowing the viewer to be involved in the storyline and its journey without over the top visual effects. Unfortunately, this is where The Great Intellect falls short, the storyline does lack greatly, denying the viewer any basic explanations and guidance as to what is going on with the leading character, and even though I believe in not treating the audience as if they are stupid and allowing us to figure plot lines out ourselves, the movie is a little too light on exposition. Foster creates a platform for his leading role to communicate his fears and worries with another character in the piece by having him text a friend on two occasions, and while this could have been used as a way to give some narration to the storyline and guide the audience a little more throughout the plot, Foster simply uses it for two friends to text about homework. Overall this piece is a credit to the many hats that Foster wears within the filmmaking process, and while that is admirable, perhaps it is his undertaking of so many jobs that has caused his neglect of the script to be so apparent. #ShortFilmReviews #ShortFilms #RachelPullen #JacobFoster #SciFi #ScienceFiction

Written & Directed by Steve Anderson Short Film Review by Taryll Baker First and foremost, Steve Anderson has given us very little information regarding the film’s production; cast, crew, editors, music, to name a few. So, while Drifter is an enjoyable short film, its advertising (or lack of it) sets a pretty clear message from the start. In order to pull off the ‘silent film,’ you must be skilled in writing, allowing the audience to connect to the characters or setting. Drifter is a good attempt. We’re not given any introduction, simply thrown into the journey of a homeless man as he stumbles through town trying to repair his fractured relationship. The girl, also not named, is mostly seen through flashbacks as our ‘drifter’ searches for food and water. Anderson takes the classic approach and shoots the film in black and white through a dismal low resolution. It complements the setting very well and when paired with the music of Ludwig van Beethoven (“Egmont, Op. 84: Overture”) it becomes an engrossing picture. However, if you were to remove these elements, the entire painting would feel unfinished. Anderson’s strokes are colourless when it comes back to the characters. Both performers are suitable in their respective roles, however they’re written with very little inspiration; listless and mundane. The final scene doesn’t feel powerful or rewarding in any way because we’ve hardly had time to understand them. There are many shots of the ‘drifter’ scavenging, which of course is useful in the storytelling, yet we’re (ironically) force-fed too much. This fills a majority of the running-length with little left for complex character building. The locations used are appropriate backdrops for the lead character. It looks dark and gritty, applying an aged look to the picture. That said, it proved difficult for filming as some continuity errors are clear as day, most notably in the shots with traffic moving in the background. Though, as it’s a film with little to no budget we can let this slide. Everything in the production aspect, from costumes to music and editing is wonderfully crafted and thought through. It begins to lack when the story attempts to subdue the audience with a lacklustre plot and wearisome (though nicely performed) characters. An uninteresting plot with a palisaded, brilliant production behind the lens. Whilst Steve Anderson’s Drifter isn’t an amazing feat, it does hold the viewer until the bitter end. #ShortFilmReviews #ShortFilms #TaryllBaker #BlackandWhite #silentfilm #SteveAnderson

★★ Directed by Joachim Rønning and Espen Sandberg Starring Johnny Depp, Geoffrey Rush, Javier Bardem, Brenton Thwaites and Kaya Scodelario Film Review by Jay Hussain This movie review might sound very negative, but Pirates of the Caribbean: Dead Men Tell No Tales does have some positives and some really enjoyable moments. Firstly, comparing it to the last two movies this one felt more like an action adventure movie similar to the very first film. Pirates of the Caribbean has always had some of the best musical score, and once again the music and sound editing fitted perfectly with every scene. The action sequences were bigger and better, the humour was good throughout, the acting was solid from all the cast including the new additions and it was quite an entertaining film. Now…here are some of the issues… Whatever happened to the Johnny Depp who was nominated for portraying such a memorable charismatic character and delivering such an iconic performance known as Captain Jack Sparrow? What we loved about the character was that he was clever and witty, fresh and original, he was brilliantly funny and sarcastic, he was loveable but also at the same time he was feared by his enemies. However, as this franchise has progressed, his character seems to have become really silly and cartoonish. It’s almost like watching a clown who somehow manages to luckily overcome and escape whatever the odds he's up against. We know Depp is a great performer, we’ve seen him deliver some incredible performances in the past, but lately any character he seems to portray his acting goes too over the top. He’s still good as Jack Sparrow, and being that this film doesn’t all focus on his story, that certainly helped with the flow of his character. Geoffrey Rush’s character as Captain Barbossa is definitely one of the best things about this franchise as his character has consistently developed keeping in line with all the other movie’s storylines. Javier Bardem as Salazar was a nice addition playing the leading villain, his performance was very good but there were times where his CGI version did feel out of place. Overall the special effects are brilliant throughout the movie and there are some fantastic action sequences which visually looked spectacular. You can clearly see that this film had a huge budget, the film certainly felt bigger in all aspects with some great set pieces and locations used. Dead Men Tell No Tales's storyline was quite convoluted where it should have focused on one simple plot, rather than having too many side stories with unnecessary scenes, some of which didn’t make much sense. Even though it was a nice introduction with the new characters such as Henry (Thwaites) and Carina (Scodelario), it would have been more interesting had the storyline revolved more around their backstories building up the next film or a possible spin-off. The pacing of the film felt longer than its actual running time, it felt sloppy at times and the script could have been executed better. Overall, no pun intended but unfortunately this franchise was already a sinking ship and this fifth installment has done no justice to recapture that magic from the very first film. The ship has certainly sailed now being that the last film was made over six years ago, many people had already forgotten and given up on this franchise and another film wasn’t really necessary. However, there are some entertaining moments and some unexpected surprises with a strong conclusion in the final act. Watch the official Movie Trailer for Pirates of the Caribbean: Dead Men Tell No Tales below... #FilmReviews #TheatricalReleases #JayHussain #JohnnyDepp #GeoffreyRush #JavierBardem #BrentonThwaites #KayaScodelario #MovieTrailers

Directed by Ashley Belgrave Written by Colm Field Starring Seb Humphreys, Hilary Derrett, & Kathryn Hamilton-Hall Short Film Review by Chris Olson Told with a kind of Big Little Lies approach of talking heads, short film Leticia Drowned from director Ashley Belgrave, is a gripping psychological drama about a recent death at a school, and the subsequent interviews between the students and a counsellor Zoe (Hilary Derrett). As the various teenagers are questioned, one stoic student called Joshua (Seb Humphreys) seems particularly interesting, especially when he begins to display sociopathic tendencies. High schools often provide a buffet of cliched storylines due to their microcosmic environments, frenetic hormonal traits for characters, and the coming-of-age landscapes populated by insecurities. That is not really the case in Leticia Drowned, however, as something far more menacing seems to permeate the atmosphere, most notably enhanced by Humphreys' performance, which is subtle and affecting. The characters are delivered mostly through static close-up shots which prevent the audience from feeling able to put the bigger picture together, and also makes the plot feel more intimately on the side of the school kids, when it could have just as easily been the colder, distant approach of so many crime dramas where the cops are the focus. The sound design at times was really effective, in particular a sequence involve water which was startling. However, at other times the sound was noticeably uneven and amateurish. The volume jumps erratically, and there was an attempt to overlay voices which ended up being hugely distracting. Also, the end credits music was totally jarring which was a shame. Cinematically the short film felt impressive, and Belgrave proves capable of avoiding too many televisual stylings, instead occupying a more filmic space. The tone was darker, the characters more intriguing, and the exposition was kept minimal. The sharp editing was a nice touch too, letting the peaks of conflict be slightly enhanced and keeping the audience in a state of uncertainty. A notable performance alongside Humphreys was Derrett. Her chemistry with Joshua is a delightful watch, especially as it develops through the different stages of the short. Kathryn Hamilton-Hall who plays Joshua's mum Eleanor also turns in a striking scene which is ladened with intrigue and dramatic flair. Aside from a few technical let downs and a lack of attention to supporting characters, Leticia Drowned is a formidable psychological drama with suspense to spare, capable of gluing the viewer from the opening frames to the thrilling climax. #ShortFilmReviews #ChrisOlson #ShortFilms #PsychologicalThriller #Drama #AshleyBelgrave #ColmField #SebHumphreys #HilaryDerrett #KathrynHamiltonHall

★★★★ Directed by John Jencks Written by Stephen Fry Starring Roger Allam, Matthew Modine, Fiona Shaw, Emily Berrington, Tim McInnerny, Geraldine Somerville, Tommy Knight Film Review by Taryll Baker Adapted from Stephen Fry’s novel of the same name, John Jencks’ The Hippopotamus is a smart and intelligently written picture that tells the story of a drunken, down-on-his-luck poet (Roger Allam) who is enlisted to investigate a series of mystery miracle healings at a country Manor, Swafford Hall. As the screen opens we are instantly greeted by the huffy Ted Wallace. Presented with a delightfully promising diegesis, Stephen Fry’s first screen adaption quickly becomes mysteriously investing. With Roger Allam - playing a disgruntled poet-turned-theatrical critic who presents a likeable, convivial charm that occasionally bursts through his bitterly and waspish personality - we are unexpectedly drawn into the situation by virtue of his realistically poignant performance. The supporting cast are as suitably radiant to the screenplay as Allam. Michael & Anne Logan (Matthew Modine & Fiona Shaw) providing a true sense of authenticity in their roles, but it’s the terrific absurdity that Oliver Mills (Tim McInnerny) presents that steals the show in many of his lightly amusing scenes. Much of the film revolves around David (Tommy Knight) and his curious “healing powers” that provoke excitement in the residents of Swafford Hall. Knight’s fun execution is the groundwork for many of the cast, creating an opportunity for well-timed comedic exuberance. Cinematographer Angus Hudson captures the film with a beautiful and keen eye for the surrounding environment, which only adds to the flourishing story. The locations have been marvelously hand-picked by the location management and contribute greatly to the performances on-screen. Everything in the production aspect of this film feels tightly wrapped, especially the editing. It’s a smooth and eye-pleasing experience that never once jolts or creases the screen, thanks to Robin Hill and John Richards. During its second act, The Hippopotamus does become less interesting for a few beats, but eventually we are brought back to the fine storytelling that felt so inviting in the first moments. Director John Jencks plays with Stephen Fry’s existing material very well, and though at times it feels stilted, the fire is rekindled by the third act. Samuel Karl Bohn provides a sublime, fantastically fitting original score that not only sounds lush, but is entirely functional. His classical writing and compositional skills are clearly visible through his music, which is a pleasant treat for composers like myself. Although the screenplay sinks toward the second act, John Jencks, Roger Allam and cast put The Hippopotamus back on its feet for a mighty and satisfying resolution. #FilmReviews #TheatricalReleases #TaryllBaker #JohnJencks #StephenFry #RogerAllam #MatthewModine #FionaShaw #EmilyBerrington #TimMcInnerny #GeraldineSomerville #TommyKnight

Written & Directed by Susannah Hunt Narrated by Tamsin Heatley Short Film Review by Chris Olson A real nags to riches story in this charmingly funny short film, written and directed by Susannah Hunt, that combines delightful, poetic narration, with thematic pathos surrounding identity, and...of course...the titular Colin the Pantomime Horse, a fantastic on-screen presence. Imagine if you were born into the completely wrong environment. For some people, this could mean they lack connection to their community on a social, economic or ethical level. Or that one's inherent sexuality or religious leanings are at odds with their peers, especially in more conservative areas where oppression might reign. For Colin, he was born as a Pantomime Horse in a farm, surrounded by your more "typical" horses and animals. Failing to ingratiate himself with farm life, and being cast out by his owner, Colin goes on an equestrian adventure of a lifetime which will show all the neigh-sayers that you can lead a Pantomime Horse to water, and instead of drinking he will become a thespian star. Apologies for all the Horse puns, but hay, why not. Wonderfully narrated by Tamsin Heatley using rhyming lines of exposition, Hunt's film is thoughtfully crafted to maintain the gimmick, which is funny, without losing its pastiche appeal. The comic timing is intelligent, letting the jokes come naturally. The funny script is complemented by superb framing and cinematography from Oscar Ferguson, one sequence where Colin enters the city streets is excellently shot, letting the stark contrast of Colin's appearance against the urban sprawl do the talking for the audience. The pacing of the narrative is great, keeping the plot plodding along, allowing the journey to feel fleshed out without overstaying its welcome. It was also lovely to watch a short film which stuck the landing in the final third - which is so often a place where filmmakers struggle to bring their efforts to fruition. Sometimes comedies are the best place to make poignant social commentary, especially ones where the premise may seem slightly ridiculous, as the audience isn't expecting to be particularly moved. Hunt proves herself more than capable of injecting some beautiful moments of pathos without bludgeoning the viewer by becoming preachy. Colin's struggle to find himself, and his place in the world, is a universal motif, as is the ultimate vindication he finds when locating a space to truly be himself. Colin the Pantomime Horse is a film, much like its central character, made up of two main parts: fantastic comedy and excellent filmmaking. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #SusannahHunt #TamsinHeatley