Written & Directed by Usher Morgan Starring Joel Bernard and Elyse Price Short Film Review by Chris Olson A character transplant from Transylvania in Usher Morgan's stylish short film, Fine Dining which takes the infamous cafe scene from Quentin Tarrantino's classic Pulp Fiction and swaps out the man and woman for a male vampire (Joel Bernard) and female vampire (Elyse Price). Instead of being forlorn with robbing liquor stores, our fanged male protagonist is fed up with drinking blood from the blood bank which has robbed him of the excitement of a "fresh" hunt. The pair enjoy a biting dialogue about the dilution of life by the accessible nature of modern society, but also hope to exploit that same society's atheistic tendencies for their own gains. Whilst the premise already is unique, filmmaker Morgan goes one step further to deliver something completely compelling on a visual level. The frames have been "painted and processed" to create a stark and vibrant aesthetic that seems one part comic book to one part video game cut scene. The result of which is a madcap blend of genres and tones which coalesce to create something really rather engaging. The chemistry between the two performers is excellent. Bernard is a formidable leading man, dousing the screen with volatile hunger and energy, whilst Price offers a more stable yet equally as ravenous portrayal as the leading lady. As the movie was born as a filmmaking challenge (to rewrite a famous film scene using a folklore character and new dialogue) the two performers enjoy the spoils of a fantastic script, powering through with ferocity line after line. A few small moments of visual effects are thrown in to Fine Dining by Ricky Monroe, which added a nice depth to the storytelling and enhanced the background for the characters. It would have been nice to let these play out slightly longer to increase their expositional quality. That being said, the end credits scene is simply wonderful! A brilliant use of music and warped caricatures. It was awesome to see the mash-up of a classic tale and a classic film work so seamlessly. Where the mixture seemed to work the best was the enduring themes which were present in both worlds that Morgan then translated into Fine Dining. Themes such as being cynical about the world, craving a life fuelled by excitement, and doing more than just existing, emanate from the two vampires having been enriched by their forebears. To then deliver this mash-up in a cacophony of stylistic artistry is simply masterful. Read our exclusive interview with filmmaker Usher Morgan. Or dying to see Fine Dining for yourself? Watch the short film for free below... #ShortFilmReviews #ShortFilms #ChrisOlson #AnimatedFilmReviews #Animation #UsherMorgan #JoelBernard #ElysePrice #WatchShortFilms

★★★★ Directed by Feng Xiaogang Screenplay by Liu Zhenyun Cinematography by Luo Pan Starring Fan Bingbing, Guo Tao, Zhang Jiayi, Li Zhonghan Film Review by Euan Franklin Lian (Feng Bingbing) is a peasant-woman, recently divorced – well, sort of. According to her, it’s only a fake divorce used to gain a singles-only apartment with her (ex-)husband Qin Yuhe (Li Zhonghan). But, following the “divorce”, Qin marries another woman. Lian attempts to sue him, but the village court don’t deem it a worthy case. She continues climbing up the political ladder, straining for support, going as far as Beijing to persuade the bureaucratic government. They try and shut her up by sacking all the members of the village legal system, but she still isn’t happy. She spends as long as 10 years returning to Beijing and filing the same lawsuit, but without the desired result. I Am Not Madame Bovary engages us with a strangely typical narrative: peasant against government, Weak against Powerful, Us-Against-the-World. The rebel is always an appealing character. But what makes this film different from the traditional, heavily politicized, Hollywood biopic? It’s not about apartheid or civil rights – it’s about vengeance for a cheating husband. It’s a small issue taken to such unbelievable heights. The government officials, beginning with indifference, elevate to being fearful about Lian’s potential lawsuits. The harmless peasant becomes a threat. And it’s this unsteady balance of power and authority that makes the film so engaging – even more so than whether or not Lian is successful in her quest. The aspect ratio is a point of contention among film critics. Feng Xiaogang and cinematographer Luo Pan tell the story through a restricted frame, mostly in the shape of a circular peephole. When Lian travels from her rural community to the urban landscape of Beijing, the frame shifts into a rigid, vertical rectangle. Only in the last five minutes do we have anything familiar. This radical method has been dismissed as nothing more than a distracting gimmick, but it’s more than that. It’s about narrow imaginations. Despite the film’s central focus on Lian, the camera appears to be seeing through the eyes of the suppressive bureaucrats, who collectively insist on their version of the truth. The tunnel-vision suggests a limited perspective. There’s more to the story beyond what we are permitted to see. Some of the film’s moral integrity is chipped by an ambiguous rape scene between Lian and Zhao Datou (Guo Tao), a man she has known since her schooldays. In a hotel room, the peephole focuses on Zhao repeatedly exiting the frame to approach Lian, off-camera, on the bed. Lian keeps pushing him away, back into frame. Every time he comes back, he removes more of his clothes and approaches her again. It plays out like a Charlie Chaplin sketch. Are we meant to be laughing at this character’s attempt to assault our heroine? In the next scene, she happily agrees to marry him and the suggestion of abuse is no longer an issue. Are Xiaogang and screenwriter Liu Zhenyun trying to romanticise rape? That’s how it comes across. After this scene, it was long before I could return to the rest of the story. I Am Not Madame Bovary is bizarre, but not too absurd – sitting somewhere in between Kafka and The Thick of It. You do need a certain degree of patience to stick with the story, but this isn’t difficult with the alluring cinematography and Bingbing’s strong emotional performance. The film does fall short of its comedy moments and you lament the potential. Even though the satirical scenes between the bureaucratic officials are often hilarious, the laughter is scarce. It’s a shame because the surreal situation would’ve lent itself, free and willing, to comedy. Perhaps the funny stuff was happening out of frame. #FilmReviews #TheatricalReleases #EuanFranklin #WorldCinema #Drama #Erotic #FengXiaogang #LiuZhenyun #LuoPan #FanBingbing #GuoTao #ZhangJiayi #LiZhonghan

Directed by Marina Bruno Starring David Lee, Chris Cottrell, Marina Bruno Short Film Review by James Burgess A delightful, quirky and clever comedy short, made with great affection and clockwork precision, Reverse Psychology is a deceptively ambitious work from Marina Bruno, who stars as well as directs. An ideal antidote to 2016’s political cataclysm, it tackles the serious theme of psychiatry, but in a very funny, acerbic yet never parodied way. What could have been just another satirical swipe at the Scorsese chiller Shutter Island or the left-field surprise Stonehearst Asylum - is instead charming, zippy and consequently refreshing. That’s immediately evident from the painterly titles and retro-soundtrack. Both are upbeat, and aptly feel as if they’re from a bygone era, making their incongruity with the dark subject matter, just another plus. The performances are universally winning, from David Lee (an absolute double for David Hyde-Pierce) revelling in dry, monotone, deadpan delivery as the therapist. Chris Cottrell effortlessly goes from every-man normalcy, to exasperation as the patient, and Bruno proves multi-talented; skillfully directing a light, fast-paced farce, while also playing a kooky, optimistic assistant - both are accomplished with a natural ease. Each character in Reverse Psychology is visually identifiable through bright, simple props and costumes, (stripy-coloured socks, bow-ties etc) - but they never feel stereotypical or gimmicky, instead the characterisation is just exaggerated enough to suit the broader moments. This is because of the alchemy of script, director, gentle parody and the way the form doesn't mean the subordination of the quality of all of these - in fact the constraints enrich all of these elements and more. The more slapstick, almost cartoon aspects work in the context of its sub-genre of madcap comedy, but may become a little excessive for some, as it gets slightly more frenetic towards the end. The plotting is ambitious, deceptive in its apparent simplicity. Without giving too much away, the fact that the audience may or may not see the twist coming, shouldn’t detract from the enjoyment or entertainment value either way, of a film which is a surprising and fun piece which should appeal to a broad age-range. Comedies (shorts or not), require the skill and lightness of touch to make them as airy as a soufflé. That skill is extremely rare, and it’s one shown in frothy abundance in Reverse Psychology from all involved. So many comedies fail, because they aren’t diamond-sharp enough to sparkle. While this isn’t perfect, its conceit is daring, it's likely to produce a smile, and it may become even funnier with multiple viewings. #ShortFilmReviews #ShortFilms #JamesBurgess #Comedy #MarinaBruno #DavidLee #ChrisCottrell

★★★ Directed by Nathaniel Thomas McGill, Vincent Vittorio Starring Mark Andol, Merrie Buchsbaum Documentary Film Review by Lucas Wilson In some respects one might call American Made Movie prophetic. Its central thrust, an argument for an insular American economy, where American made products are bought by American people for other American people, might sound suspiciously familiar but do bear in mind that Nathaniel Thomas McGill and Vincent Vittorio’s documentary was made in 2013, long before its positions were proclaimed with far less sensitivity by a rather well-known figure with even more well-known hair. And although Mr. Trump would applaud the ideas, the execution has a subtlety which, with the best of intentions, few Trump supporters would say he’s exemplified. In fact it’s the lack of sledgehammer provocations that make American Made Movie a rather relaxing watch. Additionally, there’s a welcome debt to Michael Moore, the interspersing of real life stories within the arc of big concepts being the main mode of argument. We get to meet some rather appealing characters within that mode. Foremost of these is Mark Andol, an entrepreneur who, unable to compete with China and other overseas markets, has struggled under the weight of economic globalisation. While the impact of these challenges has led him to cut staff, a number of which were personal friends, we’re invited to watch as he attempts to create a new business, an all American superstore, which itself is an ironic commentary on the economic change he's experienced since the 80s and 90s boom years. The incandescent belief in the American values of enterprise and goodness which radiate from Andol, genuinely moving without ever being arrogant, make him an almost George Bailey figure and, if nothing else, are a testament to the large team of researchers behind American Made Movie who certainly chose their central character with cunning and intelligence. Elsewhere however, it’s never the object of in-depth analysis that Andol’s troubles stem from decisions made by the American business class (though it is brushed over awkwardly and in the hope that you won’t examine it too closely) and, by deciding not to address that rather pressing issue in any meaningful way, McGill and Vittorio open the door to speculation about their motives. Are we to think that they believe that “greed is good” so long as it’s the host country that benefits? Are they afraid of upsetting the wrong people? If so, it’s here that they depart from Michael Moore and the film (while few of us want a re-run of Moore badgering a dying Charlton Heston) is poorer for it. Danielle Cognetta’s fancy visual effects, as fun and accomplished as they are, never make up for this glaring lack of courage which is a fatal flaw in an otherwise highly professional and, at times, engaging documentary. #DocumentaryFilmReviews #Documentaries #LucasWilson #FilmReviews #MichaelMoore #NathanielThomasMcGill #VincentVittorio

Written & Directed by Basil Al-Safar and Rashad Al-Safar Starring Daragh O'Malley and Pedro Monteiro Short Film Review by Chris Olson Told with mystery, suspense, and intrigue, short film The Jigsaw is an absolute marvel. Written and directed by Basil Al-Safar and Rashad Al-Safar, it tells the tale of one man (Pedro Monteiro) who travels to a small town to purchase the titular Jigsaw. Once there, the vendor of the shop (Daragh O'Malley) foretells of the Jigsaw's mysterious nature, and that it always returns to him. Reminiscent to a story like The Monkey Paw (brilliantly parodied by The Simpsons in one of their Treehouse of Horror episodes), there is a fable-like quality to the Al-Safar's movie, making it feel immensely timeless and slightly spooky. The standard of filmmaking, however, is incredibly modern and potent. With some incredible camera techniques being used, such as a road-floor view of a car passing by overhead, or the camera moving into said car after showing the view from the roof. Rashad Al-Safar is the cinematographer here (among many other duties) and does a spectacular job. The pacing of The Jigsaw as a short film was excellent, moving with a thriller tempo but punctuated with softer dramatic beats that let the mystery seep in. Throughout, there is a foreboding atmosphere which is deftly cultivated by the various aspects of the movie, without feeling like they are being crow-barred in for the sake of cheap thrills. By the final third, a crescendo of storytelling prowess culminates in a simply beautiful yet harrowing fashion. Armando Filipe's sound (edited by Rashad Al-Safar), creates a formidable atmosphere for the events to play out against, reminiscent of horrors and psychological thrillers. Both of the central performers are wonderful. Monteiro is a stoic yet engaging lead, keeping the audience glued to his endeavours and...ahem...too close to the picture to figure it out. O'Malley is utterly terrific as the antagonist and propagator of suspense, especially in the scene in the dusty shop when the two interact. Like a 1000 piece, The Jigsaw is intricate filmmaking at its best. Every tiny piece of detail or movie aspect has been carefully constructed to fit into this gorgeous tapestry. It's a rare thing to see a short film created so personally and independently as the Al-Safar's have, taking on so many elements, and still have it emerge as beautifully crafted as this. Watch the whole of The Jigsaw short film below... #ShortFilmReviews #ShortFilms #ChrisOlson #Fantasy #Thriller #Drama #BasilAlSafar #RashadAlSafar #DaraghO39Malley #PedroMonteiro

Written and Directed by James Todino Cinematography by Calum Jump Edited by James Todino Starring James Todino, Eugenia Caruso, Freddie Almond, Micky Dacks Short Film Review by Euan Franklin Arts courses are bloated with short stoner movies. As a film student, I’ve seen my fair share. They usually involve characters smoking weed in a park, talking to strangers who, it turns out, never existed. Then it ends and the student filmmaker’s deep intentions are stripped away to reveal their true lack of imagination. In short film Groovy, filmmaker James Todino dodges these laughable attempts at profundity and throws us into a psychedelic wormhole that is both immersive and ridiculous in equal measure. Gary Newman (Todino) is a Fine Arts student, who needs to submit his graduate painting before the deadline passes. But he’s stuck in an hallucinatory trance, where all sorts of weird and disturbing obstacles get in his way. Within two minutes, he kicks and kills a dog – believing it to be a Nazi baby. Unfortunately for Gary, in a twist worthy of Martin McDonagh, this dog belongs to a Gangster Boss (Micky Dacks) who seeks a bloody vengeance. The film is an accelerated experience, similar to other drug-induced movies like Natural Born Killers and Fear and Loathing in Las Vegas. Like both films, Todino and cinematographer Calum Jump electrify every shot with a high aestheticism that could only come from passionate artists. Todino cuts like rapid-fire back-and-forth between disturbing animations and disorientating live-action, sucking us into a surreal world punching at full speed. However, where the animation could win multiple awards, some of the live-action looks like an A-Level Media project. This amateurism feels out-of-place in an otherwise professional environment. It is a wonder why Todino didn’t animate the entire film, since it’s clearly where his passion is strongest. In spite of this imbalance, there is still much to admire in the live-action. The stylised fight scenes are some of the best I’ve seen in a short film, choreographed with thrills and violence – paying homage to the Crazy-88 sequence in Kill Bill Vol. 1. The characters are also vividly drawn, with their idiosyncrasies stunningly exaggerated by Jump’s uncomfortable close-ups and Todino’s punchy editing style. All the performances possess an absurd amount of craziness, which suggests that the actors are absorbed in the film as much as we are. They never feel half-baked and I can’t see how they could be improved. Dacks sticks out from the rest, playing a character similar to Breaking Bad’s Tuco, but as if directed by David Lynch. He is demented and unpredictable, but his shivering, staccato delivery pulls us into a performance that is both surreal and sinister. To watch the film is to take the plunge into a violent and colourful Unknown. There are times when Todino abandons the narrative to show off his artistic abilities, but it’s never too obstructive. And although Groovy feels like a Fine Arts project in itself, there is enough story to balance out the aesthetic indulgences. It is not so obscure in its absurdity to discourage further viewings either. Groovy may not be for everyone – but I, on the other hand, could easily take another hit. #ShortFilmReviews #ShortFilms #EuanFranklin #JamesTodino #CalumJump #MickyDacks #EugeniaCaruso #FreddieAlmond #Drugs

Directed by Sean Cutler Starring John Corby Short Film Review by Daniel Reason The Joker Journal is a short film by Josh Venkataraman and aims to give us some more insight into the mind of Heath Ledger as he prepared for his role of the Joker in the 2008 film The Dark Knight, which was directed by Christopher Nolan. Ledger’s performance is regarded by many to be one of the best performances in film over the past few decades, and, as a result, he won the Academy Award for Best Supporting Actor at the 2009 ceremony, but due to his unfortunate death on 22nd January 2008, he did not get to see the impact of his performance. It has been widely publicised how much work Ledger put into finding the right interpretation of the Joker, and this is something that the film achieves brilliantly. Sean Cutler’s direction shows an urgency and gives us a clear idea of what is going through Ledger’s mind. John Corby plays Heath Ledger brilliantly as he is able to deliver an emotional performance, and is also able to provide some humour to the film – especially when he attempts to find the perfect Joker voice, one of which sounds like an impression of Christopher Walken. It would be easy for certain elements of the film and Corby’s interpretation of Ledger to come across as disrespectful, but the film shows an appreciation and, most importantly, admiration for what Ledger managed to create. There is a clear arc shown here, as Ledger starts as a normal actor, but by the end he has been fully transformed into his character. Perhaps a criticism is that the transition is too immediate, and it would have benefited to see a few more “Heath” moments. One such moment that does gives us more of an understanding about the man behind the character, is when he is listening to his daughter on his phone. It is a very emotional moment as she asks for him to return home, but due to his dedication to his job must continue with his one month stay in the hotel room. The score by Richard Kaydas is one of the film’s biggest strengths. It suits the tone of the short perfectly and makes it that much more engaging. There are some clear influences from Stanley Kubrick’s A Clockwork Orange (1971), and this is an inspired choice, as not only do the deep chimes of the score suit the mindset of Heath Ledger, but it is also in reference to The Joker Journal itself, as Ledger used that film and Malcolm McDowell’s character, Alex DeLarge, as a primary form of influence. To accompany the music is the clever and inventive use of lighting, also by Sean Cutler. Cutler uses a variety of tones within specific scenes to demonstrate a journey of emotions and the continuing struggle within Ledger’s constant spiral into his character – the way the film has been edited, by Venkataraman, does a similar job through quick cuts that get us more invested into the story and give us that much more understanding. Where both the editing and lighting work best is when Ledger has been truly overwhelmed by the character, as they manage to demonstrate Ledger’s conflicting thoughts, while he struggles to achieve perfection. The Joker Journal successfully shows Heath Ledger’s transition into the Joker, and does it with care. It is able to demonstrate Ledger’s commitment to the role and does it in a thoughtful, yet realistic, manner, while still being detailed and accurate to true events. For anyone that is already intrigued by this story, this is a definite recommended watch, but for those who, perhaps, are unaware of how much Heath Ledger did to get into character, then this will give you a clear insight and will highlight how much dedication acting can require. #ShortFIlmReviews #ShortFilms #Biopic #HeathLedger #DanielReason #SeanCutler #JohnCorby #DC #ChristopherNolan #StanleyKubrick #Acting

★★ Directed by Guy Ritchie Starring Charlie Hunnam, Astrid Bergès-Frisbey, Jude Law, Eric Bana, Aidan Gillen, David Beckham Film Review by Andrew Galvin Geezer Guy does the Knights of the Round Table: more SPAMalot than Camelot… Remember the fear when Guy Ritchie started branching out? Is Sherlock Holmes going to start talking like Vinnie Jones? Who’s playing Moriarty, Jason Statham? (Actually, that sounds amazing). Thankfully, with two entries in the Sherlock Holmes universe and a better-than-you-think-but-it-flopped The Man from U.N.C.L.E, Ritchie showed just what a versatile filmmaker he can be, adapting his by-then dated visual style and dialogue into a fresher setting. In all three, no one talked like a geezer, and crash zooming was only delivered when absolutely necessary. Unfortunately, in his fourth non-gangster film, all of our Ritchie nightmares have come true. Perhaps it shouldn’t be a big surprise that he’s taken on King Arthur: Legend of the Sword; a tale of a young man realising his destiny to usurp the monster at the top could come from the crime underworld, and he’s fallen into old habits hard. During flashback, we meet young would-be-King Arthur as his uncle Vortigern (Jude Law, who we know is evil because he kisses creepily) makes a grab for power, and Arthur is sent down river to “Londinium”, where he is picked up by wenches. We then vomit through a crash-zoom of Arthur’s tough upbringing (he gets slapped a lot), before we catch up with him in his 20s, where he is now Charlie Hunnam and hanging out with a bunch of Cockerneys. They have nicknames like “Goose Fat” Bill and “Flat Nosed” Mike, call each other “mate” a lot and talk like they’re in Lock, Stock and One Round Table. Elsewhere, a scenery-masticating Law who stalks sets thinking he’s in Game of Thrones. It doesn’t gel. Then David Beckham shows up. With dialogue. And yes, it’s every bit as bad as that sounds. Practically looking at the camera, he delivers lines such as, “’ands on the ‘ilt stoopid” like a two-year-old looking at words for the first time. Nothing here feels convincing, from the boring CGI-drenched sword fights, the lack of chemistry between the leads, an uncharismatic Hunnam and an over-reliance on gloom, worsened further by the inevitable 3D light loss. Perhaps most unforgivably for a Medieval actioner, there is none of the mud 'n blood that the genre requires to really grab the audience. During pre-production, both Ritchie and studio were eager to talk up this $105m monster as the first in a six-film franchise. There’s a lesson to learn there: something about chickens and counting… King Arthur: Legend of the Sword is out in UK cinemas now. Watch the movie trailer below: #FilmReviews #TheatricalReleases #AndrewGalvin #MovieTrailers #GuyRitchie #CharlineHunnam #JudeLaw #EricBana #AidenGillen #DavidBeckham

Written & Directed by Philip Iyegbe Starring Philip Iyegbe, Tori Hargreaves, Yinka Awoni, Jenai Anderson, Stephanie Bailey-Wright, Aidan Creegan, Vinta Morgan, & Edie Newman Short Film Review By Chris Olson Short thriller Collision Discourse is a highly stylised and potentially engrossing piece of filmmaking, but one that we are yet to view. We had the pleasure of reviewing a short version, coming in at just under 7 minutes, whereby writer, director and star Philip Iyegbe flexes his filmmaking muscles with some thrilling sequences, intriguing characterisation, and a startling premise. Iyegbe plays Jason "Jay" Mansa, who opens the short with some compelling narration about being a scientist and only believing in logic and inevitability. What transpires is a smorgasbord of scenes between Jay and various female characters and some violent criminals that gives you an indication that Jay is mixed up in a complex world, where his smarts might not be enough to get him out alive. This then culminates in a dramatic conclusion that will logically and inevitably leave audiences gagging for more. If we take Collision Discourse as a short film, it fails some very fundamental storytelling elements straight away. The plot is under cooked, the characters are shallow and wooden, and there is nothing to grapple with other than surface details and "shiny" sequences. However, when taken as a rather long movie trailer, the form then very much fits the function. There are engaging moments of interaction between the characters, there seems to be a degree of finesse in terms of cinematography and camerawork, and the the final plot point could be a brilliant start to a wonderful science fiction film. It cannot be ignored however, that Collision Discourse shows some pretty revealing flaws already. The sound editing was hapless and uneven, letting the amateurish quality seep in very early which is never a good indication, and the delivery by some of the performers felt quite wooden and hackneyed. Whilst the feature length could end up by a really fascinating science fiction film, it could just as easily result in another cliched crime caper that feeds off the dregs of Guy Ritchie outings and so many television shows. Impossible to recommend at this stage, audiences will need to remain poised and cross-fingered until a fully fleshed version of Collision Discourse is released that fully realises the potential which is definitely there. Watch the official, extended movie trailer for the film below... #ShortFilmReviews #ChrisOlson #ShortFilms #MovieTrailers #PhilipIyegbe #Scifi #ScienceFiction

★★★★ Directed by Drew Casson Starring Bethan Leadley, Cherry Wallis, Drew Casson and Tom Scarlett Indie Film Review by Bailey Claringbold Chloe and her sister Sam live a normal family life with their parents, until one unthinkable day. When reports come in of an attack, their mother goes missing and their father is killed before their eyes by an otherworldly creature. Along with the help of a dysfunctional group of scavengers, Chloe and Sam must do what they can to survive the invasion. Although the story was not the most original, the compelling characters, and focus on the relationships between them, helped the film to achieve a certain uniqueness and charm. The Darkest Dawn was very much in the vein of District 9 (2009), in terms of its tone, storytelling and filming. Although there were elements of a Sci-Fi flick like District 9, this was much more of a character study than expected, which put an enjoyable spin on things. The way the film chose to have a very brief setup and jump straight into the main plot was interesting, adding to the realism of the strange events suddenly taking place. The performances were generally sound, driving the screenplay well. The cast had a believable chemistry, not knowing who to trust and creating different factions between themselves. Chloe (Bethan Leadley) was the most fleshed out character, and almost acted as the audience, questioning what was happening and not knowing what was around the corner. This was a wise choice on the writer's behalf. Cowen (Drew Casson) was another stand out character, the leader of a gang trying to survive in the deserted wastelands, he brought a sense of uneasiness into the mix. Another little thing that jumped out was the fact that Tom Scarlett's performance as Adam, a no-nonsense hard case, was reminiscent of Tom Hardy in his mannerisms and speech patterns. Shaky cam can be a risky move, considering the amount of found footage films that use it as a cheap way to film, it can be hard to make it seem necessary. Thankfully, The Darkest Dawn did not fall into the trap, the shots felt natural and fell perfectly into place. Although, the editing could be a little choppy sometimes, meaning that some emotional scenes were cut short in places. The CGI held up nicely for an independent film, even though some scenes were clearly animated there was not an over reliance or over reliance on the effects, meaning that for the most part it blended in with the post-apocalyptic locations rather well. By only using diegetic sound and lacking a soundtrack, the indie film had a much more tense and grounded atmosphere. With no music, it led the attention to character's footsteps and breathing which gave eerie vibes and complemented the screenplay. Though scores such as Alan Silvestri's for Predator can emphasise the confinement of a scene, the movie managed to get away with its exclusion. The Darkest Dawn was most definitely surprising in terms of its screenplay and character development. Though it could have come off as a bland Sci-Fi movie, there was much more depth here, in terms of writing and from a technical standpoint, that leaves this as one of the best recent independent films. #IndieFilmReviews #IndieFilms #BaileyClaringbold #Scifi #ScienceFiction #Dystopianfilms

Directed by Daniel Bergeson Starring Chris Larson, Alex Weiland, Rodney Bergeson, Nate Hults, & Nic McGuire Short Film Review by Kirsty Asher The opening of this film greets the audience with a man cheerily humming La Dona è Mobile while preparing a lasagne for dinner. This could have been amusing if I’d been able to see the facial expression of the actor as he flamboyantly smells his food but unfortunately a high angle over-shoulder close-up means all we see is an uncooked lasagne. Definitely a mark missed here. The same can be said for much of the comedy found in the rest of What’s Up Water Cup?. The story, according to the filmmakers Daniel Bergeson and Chris Larson, is a farcical tale of a father with a steely determination to help his son pick up women while he is unwittingly married to a man. In the age of identity politics and transgender activism, the ‘she’s a dude!?’ story falls a bit flat and the larger-than-life father character Jerry with a filthy sense of humour quickly becomes tiresome. It’s a shame, because there are moments that could have been funny but inevitably fall short at the punchline. There is a moment where the father mistakenly shows his son a picture of Orson Welles on his phone instead of his wife and then claims it’s a co-worker. When the son then castigates him for mistaking his wife for his “bearded male co-worker” it takes the joke a step too far by assuming the audience will still find it funny having recognised Welles, but this is 2017 and not everyone is that clued up. The main issue I take with this film is that it’s been marketed as farcical. There are certainly elements of farce in the compilation of the screenplay and I think in the hands of more well-versed actors this could have been displayed more fervently. Yet the earnest, straight-man performance in the American comedic style doesn’t match up with this genre, and the camerawork is far too static for a short film that claims to be farcical: a Trailer Park Boys-esque mockumentary style of camerawork could have pulled this story off with real aplomb, but it seems more that the filmmakers wanted to employ techniques that showed off their technical skill rather than adhered to the style of comedy. What’s more, for a story that centres itself on cross-dressing and transgenderism it’s clear the filmmakers have done little research into either subculture. Again, it’s disappointing, as employing an actual drag queen in the library scene where the father hits on a guy in drag would have endlessly boosted the comedic potential. It’s not even a question of the $250 micro-budget when research nowadays can be as easy and cheap as reaching out to the trans and drag queen community on Twitter with a few questions. In light of the budget, though, they’ve done incredibly well to produce an excellent credits sequence, clean editing and a skilled mastery of continuity. The strongest asset of What's Up Water Cup? is the son Chris and his love interest Alex. Alex Weiland’s performance in the role is confident, naturalistic and alluring. The two actors play off each other so well in their scenes together, and the actor playing Chris gives a good performance as a befuddled and anxious teenager with finely-tuned comedic timing. Despite the crass handling of the content, the story ends in a touching mode of acceptance and revelation, although this is somewhat goaded by the cutesy xylophone music so often utilised in baby animal YouTube compilations, and it’s clear that the film has been strongly storyboarded and presents a clear narrative. #ShortFilmReviews #ShortFilms #KirstyAsher #LGBT #DanielBergeson #ChrisLarson #AlexWeiland #RodneyBergeson #NateHults #MicMcGuire

Directed by Cris Haris Starring Cris Haris and Mathilda Davies Short Film Review by Jay Hussain The Turnover focuses on an estranged individual named Dave (Cris Haris), who lives in Leeds (UK) and is going through some traumatic and emotional changes trying to understand what is happening to him and his situation. We all as individuals have to overcome obstacles in life, some of whom may have it more difficult than others. This short film concentrates on the character going through multiple challenges in his life and expressing every type of human emotion possible. Throughout The Turnover we get to see Dave grappling with depression and loneliness, anger and confusion, pain and suffering, love and affection, and how he has been traumatised witnessing certain incidents regarding his family. You do get the sense that the character may be suffering from schizophrenia or split personality (or some type of illness or amnesia) being that he is on medication. However, are these some of the side effects from the drugs or is it the cause of not taking any medications? Is he imagining all of this? Is this even reality or a dream? And how is he going to react to the outcome if he comes to realisation? It's one of those narratives where the viewer can interpret and analyse the film in different ways, and that is what is fascinating about the way The Turnover was written (Trey Gledman) and directed (Haris). It's clever use of screenplay and narrated dialogue, the musical sound and score that resembles the movie Whiplash, which coincidently deals with similar issues, and maybe the director could have been inspired from that film. Overall, the short is produced and directed in an unique, stylish way being filmed in black and white, the musical score suited the tone of the film and the cinematography from George Kravvaritis is very good. Although all the actors do a great job, Haris as Dave delivers an incredibly emotional performance, where you are connected and invested in the character from the beginning. The film is probably aimed at a particular demographic audience and it doesn’t have that re-watch-able factor. However, from the perspective of a film #maker or film critic, it’s creative and original with an interesting premise which will leave you wondering. #ShortFilmReviews #ShortFilms #JayHussain #BlackandWhite #CrisHaris #MathildaDavies