Directed by Michael Beddoes Starring Briony Redman, Richard Soames and Katharine Bennett-Fox Short Film Review by Andrew Young Garnering plenty of attention on the indie film festival circuit, Forget Me Not is a wonderful little slice of observational comedy. A light, slight riff on relationship tropes, it both pokes fun at its characters and allows some sympathy with them to develop. It asks searching questions about the way we conduct relationships, both common and uncommon, funny and serious. The filmmakers ask enough of these questions to make Forget Me Not more than just a passable comedy short. Richard Soames plays Freddie, who is led into a café by Laura (writer-star Briony Redman) after taking a blow to the head. Insisting that he is okay, he thanks this kindly stranger for helping him out. However, Laura isn’t actually a stranger at all – she is Freddie’s girlfriend. A stumbling block to their relationship is that, following his accident, Freddie has no recollection of who she is, how they got to the café together, or indeed any of their five-month relationship. It is a nice premise, swiftly setting up amusing exchanges between Laura and Freddie as she quickly becomes irritated at how “conveniently” his amnesia erased the same months they had been going out. Freddie meanwhile struggles to piece together what has happened and seems rather bemused at having a (sort-of) new girlfriend. As time goes on, little details are revealed, keeping the simple set-up fresh and ensuring Freddie always be aggravated, charmed or befuddled. The depth and curiosity of the short film comes when the implications of the forgotten relationship are considered. How differently would Freddie behave towards Laura, when the relationship is fresh for him, but tired for her? Most interestingly, however, Forget Me Not probes the issue of how much timing and circumstance affect a relationship. Would Freddie and Laura’s relationship go the same way if they met again for the first time, or would the stage they are at in their lives make it vastly different? The interesting complexity here is that while Laura is pondering these questions, Freddie is still trying to process what has happened to him. Director Michael Beddoes keeps all of this a low-key affair, his unobtrusive direction a perfect fit for the dialogue-heavy and action-free material. Rarely using more than the same three camera angle to show the different perspectives of the conversation, Beddoes and cinematographer James Lafferty’s only visual trick is to blur the picture occasionally, putting everything in a softer focus. This effectively conveys Freddie’s disorientated state and, as we discover the details of the relationship as he does, appropriately puts us more in Freddie’s shoes than Laura’s. It is a particularly clever trick because of the softness and subtlety of it; there are much more visceral and attention-grabbing ways to convey the effects of Freddie’s accident, but the lightness of touch here suits the tone of the film much better. Beddoes’ main job with a film like this is perhaps to work with his actors to get the most of the script. That is precisely why Forget Me Not succeeds, because of the strength of Redman’s script and the quality of her and Soames’ acting. He does a good job of showing the multiple emotions of Freddie’s situation without letting things get too heavy. Redman, meanwhile, has great fun playing off the irrational, psychotic woman trope, adding in an element of love-chasing desperation too. They both deliver the script’s many funny lines with an effective naturalness. Some of the jokes feel a little predictable and safe for a generally clever film, but Katherine Bennett-Fox’s delightful facial expressions make up for it in her small role as a waitress. This is a strong short, built on a strong script, so much of the credit must go to Redman. She plays off conventional gender roles, with the light tone ensuring that this feels like a knowing light mockery rather than a film that earnestly believes in these stereotypes. The couple’s bickering whilst Freddie is sitting there with a potentially harmful brain injury is a joke in itself. It’s tongue-in-cheek and it’s funny, much like the film in general. #ShortFilmReviews #ShortFilms #AndrewYoung #FilmFestivals #MichaelBeddoes #BrionyRedman #RichardSoames

★★★★ Directed by E.B. Hughes Starring George Katt, Waylon Payne, Peter Greene, Rosebud Baker, Sayra Player and Judy Jerome Indie Film Review by Chris Olson Acts of friendship, no matter how benevolent or well intentioned, rarely go without consequences, and they are a regular source of material for storytellers who are inevitably gifted with characters, storyline, and conflict all wrapped up in a neat little bow. Filmmaker E. B. Hughes’s personal and emotive indie film Turnabout eschews much of the trimmings which usually accompany these kinds of movies, instead focusing directly on the two central characters, and how a simple act of friendship from one to the other becomes the catalyst for so much fallout. At the beginning of Turnabout, we see Billy (George Katt) attempt to commit suicide by jumping, whilst intoxicated, into a freezing ocean. After being pulled out by some local nighttime fishermen, Billy makes a call to one of his oldest, yet sadly estranged, friends Perry (Waylon Payne). Perry makes his awkward goodbyes to his obviously irritated partner (Judy Jerome), and brings Billy a fresh set of clothes. After reminiscing briefly in a nearby diner, where we learn about Billy’s ne'er do well lifestyle and Perry’s straight-laced approach to growing up, the two old friends embark on a night of booze, brawling and baes. Using the (almost) single night structure, the story here is grippingly revealed with edgy plot points, and a huge sense of mystery and danger surrounding the character of Billy. His presence keeps the viewer firmly on edge throughout most of the film, whilst Billy’s continual slip into chaos is also compelling - if a little predictable. The dialogue between the two friends is genuine and believable, hashing out life lessons over a couple of brews whilst taking arbitrary punts at identifying their own fatal flaws. Several key plot points change the course of the story for the better, keeping the movie moving without sinking into philosophical dead air. With the introduction of drug dealer Leo (Peter Greene), Turnabout kicks into another gear, with his phenomenal (if brief) turn. Aesthetically, Hughes’s movie is littered with amazing shots of almost noirish cinematography that felt like classic cinema blended with modern thrillers. The pacing of the film is kept pretty slow for the most part, allowing the rich visuals of Billy and Perry on their epic adventure to immerse the viewer into this meaningful and ill-fated relationship. There was slightly too much attention paid during some of the stip club scenes (and a few moments after) that felt gratuitously focused on skin. That being said, I think the atmosphere being aimed for was to make the viewer seem as uncomfortable as Perry was, which was important. Ultimately a stylish and deeply emotive film with two standout central performances, Turnabout is a film that reveals the danger or vulnerability we sometimes leave ourselves open to by simply being charitable, and the outcome of associating ourselves with people who may not have our best intentions in mind, or who look to exploit our own sense of friendship. #IndieFilmReviews #ChrisOlson #IndieFilms #EBHughes #GeorgeKatt #WaylonPayne #PeterGreene #JudyJerome #Noir #Thriller #Crime

Directed by Sebastiano Pupino Starring Sumit Chakravarti, Daphne Di Cinto and Tony Honickberg. Short Film Review by Cameron Frew Not quite mirroring Brooker’s psyche. It wouldn’t take a genius to instantly sense the likeness of Black Mirror in Sebastiano Pupino’s short film Gadget. We see our main man Neem (Sumit Chakravarti) tactfully pointing his fingers in the air to the ‘beeps’ and ‘boops’ of some virtual program – sounding more like a child let loose on xylophone than anything else. We soon learn that it is an architectural ‘app’, accessed through Neem’s special glasses. Memories of Black Mirror, a TV show written by Charlie Brooker, become a familiar theme as you watch Gadget. As Neem works away, and as time marches on, we learn that the glasses aren’t just for work, rather they are like a digital assistant. This is accompanied by a blissfully serene score, carefully composed by Sami El Enany, that serves it’s clear purpose perfectly – it’s not there to relax us, it’s there to build dread. Cut off from working by the in-program host, Freud, overvoiced by a distracting Tony Honickberg, it is suggested to Neem he should meet someone and ‘release some stress’. Freud speedily whips up the option of escorts, before suggesting a night out at a club called Salvation as an alternative to simply meeting someone, an activity which is stated as ‘being bad for productivity’. The message of Gadget becomes clear at this point; society has become so addicted to technology, as a result it’s dictating our lives, of course it is more literal here. Pupino then takes us to the club, which contains the film’s most powerful scene. We watch as Neem strolls through darkness commanded by colourful strobe lighting, and people dancing around him to typical dance music. However, we then see that the glasses, which everyone apparently wears, play music for you – meaning people are essentially dancing whilst wearing earphones. It switches between musical cuts and shots of people dancing to the bare sound of feet shuffling on the floor. Not only does it grab your attention, but leaves a haunting sense of unease. Neem inspects the club, pushing his way through the crowds – also encountering a woman who after being rejected by our lead, briefly comments on his ‘rating’ – another Brooker nod from the Nosedive episode last year. From here, the mystery builds alongside Enany’s once again spot-on score, hypnotic and reminiscent of the mighty Vangelis’ work. Chakravarti’s performance is a mediocre one at best, perhaps trying to reinforce his detachment from society due to the big bad world of technology, but instead coming off as a bit annoying. Thankfully, the more minimalist script itself shouldn’t draw much criticism, and Pupino’s direction – cleverly utilising handheld and first-person shots to put us in there with Neem – deserves much praise considering this is a brief 9 minute movie. It’s just a shame that the pay off has nowhere near enough impact, which should have made us feel like we were kicked in the stomach, but rather only brings out a quick “Oh, right then”. Brooker very much remains the king of eerie dystopia. #ShortFilmReviews #ShortFilms #Scifi #CharlieBrooker #CameronFrew #SumitChakravarti #SebastianoPupino

★★★★★ Directed by Mel Gibson Written by Benedict Fitzgerald & Mel Gibson Starring Jim Caviezel, Monica Bellucci & Maia Morgenstern Film Review by Dean Pettipher All people will at some point relate to being overpowered by a sudden light shining upon them, resulting in striking revelations of indisputably benevolent sacrifice that they until now had taken for granted. One form that such a light may take could be a chocolate Easter egg, which a newly independent individual buys for himself or herself, recalling those bygone years of childhood when some dear family members or friends happily had those seasonal treats covered. In that moment gleams one of the truly secular Easter messages. That is to say, people are frequently reminded at Easter that to love and to be loved are arguably the two greatest feelings of all. Even if through a visual depiction that is so brutal and uncompromising in its intensity that the picture requires a great deal of perseverance to watch, few films so fittingly illustrate these notions, along with their heightened significance around the Eater period, like Mel Gibson’s The Passion of the Christ (2004). Cinema lovers of all faiths or no faith at all will gain some profound understanding of that ineffable force that drives people to do so much for others while expecting absolutely nothing in return, not least because the crucifixion remains one of the only parts of Jesus’ life that scholars almost totally agree on being historically accurate. Thus, putting faith aside, the knowledge that Gibson’s movie is likely to have been based on a true story, has the capacity to unite and inspire rather than alienate those outside of the Christian spheres. Boldness alone did not raise the movie to the seat above the clouds reserved for the highest grossing foreign language film and/or subtitled film in US box office history. Indeed, filmmaking that combined courage with sincerity at least set Gibson’s work on course for becoming the highest grossing religious film in worldwide box office of all-time. Sincerity here comes in the form of various qualities, which combine to create a dramatic masterpiece. At the heart of what makes the movie triumph are specific scenes serving as defiant interpretations of what Jesus’ crucifixion might have been like to experience, both as a participant and as an observer. Acts of abuse and torture here are so harrowing that one wonders at times whether or not Steve McQueen employed them as the main inspiration for the similarly vicious but no less compelling scenes of his period drama entitled 12 Years a Slave (2013). Christ in those instances in particular and throughout the story is brought fully to life through the remarkably composed performance of Jim Caviezel, who performs as if his purpose on Earth revolved around it. The poignancy of the action is heightened by expertly-timed flashbacks with succinct dialogue that together firmly place the crucifixion of Christ within the context of his life from childhood into adulthood, as well as the principle events of the crucifixion tale that occurred just before the tragic climax on the cross. Gibson and the crew cleverly manage to keep the focus on Christ while exploring the role of a few principle supporting characters in the story, such as his mother, Mary, and his disciple, Judas, to an extent of intriguing depth. One only wishes to have seen even more exploration of those characters that were not quite as lucky, such as Mary Magdalene, or some of the other eleven disciples. Moreover, noting how beautifully Gibson brought key moments from Jesus’ story to life, which to reveal here would spoil the cinematic experience, to have witnessed any of the other endeavours of Christ and his disciples, such as the wedding at Cana, when Jesus turned water into wine, might just have enhanced the drama that much more. Fortunately, audiences witness enough in the final cut to leave them speechless when the story closes. The impact of The Passion of the Christ still burns as fervently as ever. So much so that Gibson announced in late 2016 that he was working on a sequel with the Braveheart (1995) screenwriter, Randall Wallace. Virtually all that is known right now is that the sequel has been entitled The Resurrection and that Gibson is determined to make a film that at least reaches that standard of its previous chapter. Recalling the outrage endured by its predecessor at the hands of some critics over a decade ago, this new undertaking will certainly attract a relentless plague of controversy from all directions. However, if Gibson and his collaborators can maintain a focus on the secular values of the religious source material, which every year encourage people from all backgrounds to take part in Easter-themed celebrations to the extent that they feel like truly wanted and fully integrated parts of the festivities, then the upcoming project will achieve the greatest miracles of the movies, which include entertaining through great storytelling and inspiring positive change, in thought, word and/or in deed, along the way. #FilmReviews #FilmFeatures #DeanPettipher #MelGibson #JimCaviezel #Religion #Religious

★★★★ Directed by Lone Scherfig Starring Gemma Arterton, Sam Claflin, Bill Nighy, Eddie Marsan, Jeremy Irons, Jake Lacy, Jack Huston, & Helen McRory Film Review by Chris Olson It's 1940 and Blighty is at war. Whilst the fight goes on overseas, at home the propaganda machine is in overdrive, with the Ministry of Information cranking out a plethora of feature films and instruction movies that are meant to entertain and, more importantly, boost morale. With many of the young men who make up most of the work force away fighting Hitler, roles previously unattainable for women suddenly become vacant. Enter Catrin Cole (Gemma Arteton), a spunky and tenacious writer who finds herself as another cog in the military machine of movie making. With arguably the most formidable cast to have emerged in one film in 2017 (although this did preview at last year's BFI London and other Film Festivals), it seems introductions would be appropriate. Arterton is joined by Sam Claflin, a fellow scriptwriter with a penchant for being surly yet heartfelt. Bill Nighy plays a flamboyant actor who, like Catrin, has been able to snag a role in showbiz that would have usually gone to a man half his age. His agents agents are played by the always enigmatic Eddie Marsan (complete with matching dog), and his mother Helen McRory (of Peaky Blinders fame). Richard E. Grant plays a ministry type, as does Jeremy Irons, whilst Jake Lacy and Jack Huston play a soldier and an artist respectively. However, doth a great cast a great film make? In the case of Their Finest, it must be said the ensemble is the most finest. Arterton delivers a passionate and compelling turn as a woman torn between her passion, her country, her partner (Huston), and her supposed 'place' in society. Many of her scenes are layered with pathos, frustration and hope, making for a rounded portrayal. However, it is Claflin in a career-best performance who steals the show. Every part of his nuanced delivery and timing worked perfectly to display a character riddled with complex emotions and biting cynicism. It should also be mentioned that Nighy is on top comedic form, causing many audience members in the screening I attended to burst out laughing at the sheer framing of his face. There was a lot to digest, thematically, about director Lone Scherfig's film. Social struggles for women are pitted alongside the war effort (including an attempt to entice the U.S. into the conflict), as well as multiple cases of life versus art. Throw into the mixture the nature of truth in storytelling, and one could very well spend a solid afternoon discussing all the merits and connotations of a film like Their Finest. That being said, the movie fell into gloopy territory on more than one occasion, the sentimentality running away from the filmmakers. This seemed to occur most often when the overbearingly cliched score was given free reign. However, this was more than balanced out with a gritty depiction of London bombings and other scenes that required a more visceral touch. As a film within a film, the story unfolds with enough richness to remain intriguing throughout. The characters are very well sketched, and when this array of fine acting talent step into the frame, there is nothing left to do but Keep Calm and Carry on Watching. #FilmReviews #ChrisOlson #TheatricalReleases #FilmFestivals #GemmaArterton #SamClaflin #BillNighy #JeremyIrons #EddieMarsan #JakeLacy #JackHuston #PeriodPiece

Directed by Dave Thomas Starring Cheryl Allison, Gabriel Rush, Angie Bolling, & Michael Hunsaker Short Film Review by Chris Olson Deeply affecting and superbly filmed, short film Far From The Tree is a story about coming to terms with intense grief in your past and the way it can destroy your relationships with the people you love in the future. Abbie (Cheryl Allison) is a seemingly typical single mother when we meet her at the beginning of Far From The Tree. Her smart-mouthed teenage son Evan (Gabriel Rush), seems to have a relationship with his mother that would mirror that of any number of mother and teenage son relationships - witty backchat and teen angst being his main hobbies. However, we soon see that Abbie stumbles slightly when it comes to performing her maternal duties. Forgetting to pick Evan up from football practice, driving her pick-up truck with a beer in the holster are just some of the initial signs that all is not well with our heroine. The cause of Abbie's unrest seems to be the arrival of a man (Michael Hunsaker) across the way, whom was the source of a violent moment in her past, and one that played a significant part in her current relationship with Evan. Few short films ever deliver on this scale. The story and screenplay penned by David B. Kear, and additional writing from Dave Thomas (the latter also directs here), has some exquisite moments of pathos, navigating a truly emotional story with believable characters, motivations and plot points. The performances are simply incredible. Allison manages to tell her character's whole backstory simply through troubled facial expressions, but also gives a handful of impressive sequences opposite Rush as the two wrangle with this heartbreaking relationship. Rush is formidable in this role, playing it understated when necessary and then putting his foot to the floor when given the right opening. Cinematically you could utterly lose yourself in Far From The Tree. The music, supplied by none other than Moby, is such a wonderful accompaniment to the sequences, layering them with increased tone and emotion to really pull the viewer in. Some of the cinematography, from Oren Soffer, is totally arresting, such as the use of lens flare during one moment of breakdown in a field, or a simple rising shot of a kitchen counter. These delicate and intricate moments reveal a degree of attention to detail which is often missing in short films that attempt to tell harrowing stories. Too often, the bulk of the heavy lifting is done by the sheer force of the plot’s horrific narrative, whereas here, the filmmakers have not ignored the craftsmanship and skill of what can only be described as a gifted cast and crew. Watch the official Movie Trailer for Far From The Tree above. There was only one scene where the momentum was slightly lost, luckily it is quite early in the film. A scene between Abbie and her aunt (Angie Bolling) in the kitchen felt a little “TV Movie” in terms of the dialogue. That being said, there was a necessary expositional quality to this scene which paid dividends later on. A genuinely moving drama that boasts phenomenal performances, from those both in front and behind the camera, Far From The Tree delivers on so many levels that movie fans will not be able to escape its intelligent and formidable filmmaking. #ShortFilmReviews #ShortFilms #ChrisOlson #MovieTrailers #DaveThomas #CherylAllison #GabrielRush #AngieBolling #MichaelHunsaker

★★★★ Directed by James Choi Starring Merrick Robison, Elizabeth Stenholt, Madysen Frances, & Ryan David Heywood Indie Film Review by Chris Olson The disenfranchised rarely find a home in mainstream movies, often not because audiences don't want those kinds of stories, but because green lights don't get given by studios looking for "sexy stars". I'm generalising here, but the reason for it is to highlight the massive appeal of indie films that are able to depict protagonists that don't fit the Hollywood silhouette. Empty Space, directed by James Choi, written by Paul Boring and Judith Krant, is a sublime coming-of-age tale that is occupied with outsiders as it's main characters, offering a fresh and unique perspective on adolescent frustrations and connections. Tom (Merrick Robison) is a teenager trying to escape, in every sense of the word. He flees his hometown to go live in his grandmother's empty house in a rural town. He avoids getting close to anyone, and he is tormented by the cruel ghosts of his past and present whom relentlessly bully his large weight. Finding an unlikely friendship with a local roustabout called Rebecca (Madysen Frances), whose turbulent relationship with her drunkard father (Ryan David Haywood) is the cause of plenty of conflict, as well as developing a possible romance with a witty blind girl called Lilly (Elizabeth Stenholt), Tom's escapism becomes increasingly difficult to maintain. Beautifully filmed with a marvellous indie soundtrack, Choi's film is full of engaging spectacle, excellent performances, and tender themes about growing pains that will tug audiences in all the right places. The relationships being depicted on screen not only feel authentic and believable, they also feel incredibly intimate without resorting to haphazard flesh tactics that would have undermined the heartfelt tone. Robison is a charming and disarming onscreen presence, but also steps up to the more demanding dramatic moments with a ferocity that is compelling. Stenholt is also excellent, delivering some lovely comedic moments, as well as one of the most emotionally poignant sequences where she reveals herself to Tom. The dynamic between these two performers is utterly captivating to watch. Whilst Frances delivers a decent turn as Rebecca, her character felt the least clearly drawn. Elements of her storyline seemed shoehorned in alongside Tom's arc, and the relationship with her dad felt like it was too heavy as a subplot to attach to the movie. That being said, it was nice to see a female character being a formidable nuisance and bad influence rather than the precious stereotypes that audiences are usually treated to. A moment involving Rebecca and Tom's trumpet was particularly enjoyable...although that sentence does sound incredibly misleading. A classic tale of coming-of-age delivered with honesty and beauty, Empty Space captures the infuriating chaos of trying to find one's self, when every moment feels like a hurdle, a challenge, or a whole load of star jumps and push ups. #IndieFilmReviews #ChrisOlson #IndieFilms #ComingofAge #JamesChoi #MerrickRobison #ElizabethStenholt #MadysenFrances #RyanDavidHeywood

★★★ Directed by F. Gary Gray Starring Vin Diesel, Jason Statham, Dwayne Johnson, Michelle Rodriguez, Tyrese Gibson, Ludacris, Charlize Theron Film Review by Andy Furlong Very few film fans could have predicted the sensational longevity that The Fast and the Furious franchise has endured since the original film's simple Point Break with cars conception way back in 2001. It is a longevity that has at times strained cinematic credibility, even more than the length of the runway scene in The Fast and the Furious 6. But it is the franchise's hyperbolic flamboyance that has kept fans of the series coming back time and time again for more audacious adrenaline-fuelled adventures. As somebody who isn’t particularly a fan of the franchise in general it would be churlish of me to judge The Fate of the Furious entirely through the prism of the audience that it isn’t intended for this late into the series. After all, once you get this far into a franchise it almost becomes a genre in its own right and I will be conducting my film review based on that perspective. While it is true that the series reached its peak by the time Fast Five was completed, or indeed by the time the original was finished, depending on who you ask. The series has become a colossal cauldron of larger than life characters, dream match ups, macho-motional storylines and action sequences that defy any kind of logic. Not to mention, more people coming back from dead than a George Romero zombie flick. The Fate of the Furious continues this tradition when it is at its best, which excuses the lacklustre nonsensical plot and the stagnant family first rhetoric that Dom (Vin Diesel) has been spouting since the very beginning. The characters are very stale at this point but the film relies heavily on the fans’ lust for interactions between action mega stars like Dwayne Johnson and Jason Statham. It is the dream interactions between stars such as these that breathes fresh life into the franchise this late into the series and bypasses much of the limitations of the characters. Watch the official Movie Trailer for The Fate of the Furious above. The plot of this film centres around a super villain played by Charlize Theron who, for reasons unbeknownst to the audience, convinces Dom to work for her and betray those closest to him. It is the most convoluted, lacklustre plot device that had me fast becoming furious and one of my most hated tropes in movies. I can never understand why characters being blackmailed can’t take two minutes out of their day to just tell their allies why they have turned. But of course they don’t because there wouldn’t be film without this ploy and holding back a character’s motivation is meant to generate intrigue and wonder in the audience, but guess what? It doesn’t. The film, despite starting strongly, meanders under a myriad of exposition and nonsense for some time because of this ridiculous plot contrivance before thankfully finding its feet with a few genuinely breathtaking sequences later on in the film. When The Fate of the Furious concentrates on these silly yet larger than life pulsating implausible set pieces it is at its best and quickly makes you forget about its many failings. There are also a few genius scenes between Statham and one character that made me anxious for a spin off movie between the two of them, which is high praise when you realise what I am talking about. Fans of the Furious will get everything they expect going in, and more. For everybody else, I think there is enough genuine action gold in this film to at least entertain in satisfyingly silly ways. #FilmReviews #TheatricalReleases #AndyFurlong #ActionFilm #MovieTrailers #FGaryGray #VinDiesel #JasonStatham #DwayneJohnson #MichelleRodriguez #TyreseGibson #CharlizeTheron

Directed by Youcef Mahmoudi Starring Alain Allard, Aleksandr Belinskij, Nina Lisauskas, Giedre Milinyte Short Film Review by Rachel Pullen Have you ever sat down to watch a film and thought to yourself, this needs to have more different languages in it, more people bleeding from the eyes, more angry Russians and ginger haired women who can kill people with the power of thought? Well if you have, Kosmodrome offers all that and much more. The film opens the day after the Americans first stepped out onto that dusty bleak surface of the moon in July 1969, and whilst the most of the world celebrated and watched in awe and disbelief, some people in Russia were a lot less pleased. Deep inside a KGB bunker there is a young woman who goes by the code name ‘’little eagle’’ played by Giedre Milinyte who possesses the power to manipulate people’s minds and kill them, she’s like a little Russian Darth Vadar but instead of chocking them to death they bleed from their eyes...it’s very satisfying to watch if you like that kind of thing. Little eagle is brain washed into believing she is an assassin and must kill the flight director of NASA, a French lieutenant who is also capable of the same Darth Vader style mind powers, he also serves as our guide through this piece, narrating the story as we go in exploration of space and mind. And that’s what Kosmodrome is, an exploration of the mind, and despite the main idea drawing from director Youcef Mahmoudi’s love of space and astronomy, Kosmodrome explores the power which the mind has and the power we can have over others if we just explore its depths. Mahmoudi looks at the mentality and manipulation of the human condition, what it’s like to be trapped within your own insanity while the insanity of others creeps in to your personal space, this is more than just another sci fi flick, Kosmodrome is an adventure externally and internally. As I said before this film uses three languages at different points, Russian, French and English, giving the experience a unique twist, it gives more depth to the historical context of the piece, reminding us of how many countries were involved in the race to the moon, involved in beating communism or destroying capitalism. The narration keeps the audience engaged and on board with the complex story line and multiple languages, and couple that with solid performances from the cast Kosmodrome is a witty and thought provoking piece which stands up to its reputation and many awards. #ShortFilmsReviews #RachelPullen #Scifi #ShortFilms #FilmReviews #YoucefMahmoudi

★★★★ Directed by Daniel Espinosa Starring Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Hiroyuki Sanada, Ariyon Bakare, Olga Dihovichnaya Film Review by Jack Bottomley In an age where the world is fast catching up with Sci-Fi cinema, where phones are not just handheld but contain - essentially - your life on one small flat screen and everything from movies to funerals are being streamed live, it is becoming an apparent necessity for Sci-Fi to work that little bit harder to retain distinctiveness. However, as the constant sequels/prequels/remakes looking to expand on classic pieces of Science Fiction (Rogue One: A Star Wars Story, Alien: Covenant, Blade Runner 2049) denote, we have not forgot about the past and sometimes you cannot beat a good old fashioned Sci-Fi caper. Enter Daniel Espinosa’s (Safe House, Child 44) new film Life, which is not a film of breathtaking, groundbreaking originality but is a film that embraces core genre ideals and offers reasons to care about the characters and to be gripped by the well tested and still thoroughly effective content. The set-up is very akin to the claustrophobic Horror/Sci-Fi trappings of John Carpenter’s The Thing and, most recognisably, Ridley Scott’s landmark Alien (there is even a sly answer to the iconic chestburster scene here), with dashes of Alfonso Cuarón’s Gravity. The film sees a crew of astronauts aboard the International Space Station examine a soil sample from Mars and in the process discover an organism that is the first definitive proof of life beyond Earth. However when the organism becomes dormant the team panic and come up with a plan to wake the lifeform - named Calvin by a school in America back on Earth -....big mistake (but, of course, you already knew that)! The inevitable unleashing of Calvin on this international crew is expected but despite the familiarity of the film’s construction, Espinosa’s movie tells this story of a dangerous alien picking of a crew of brainy scientist/astronauts...and tells it well. The film is never boring and hits the ground running, with a action-esque sequence straight out of the gate and from there on relies on genuine suspense, as well as some icky extraterrestrial violence, in a brisk and welcome, 100 minute approx run time. Like last year’s Passengers, this is an enjoyable offering that does not re-invent the wheel, unlike that film though, Life is edge of seat stuff that never really lets up and escapes the fact you have seen similar things before by working to be a better experience than you ever expected it to be. Pre-release hype has suggested - unlikely as it may be - that the film is a prequel to the upcoming Venom film and while it does come from Deadpool scribes Rhett Reese and Paul Wernick (and stars the merc with a mouth himself), that is likely where the comic book connection ends. All the same, this is one heck of a fun ride that is filled with plenty of thrills and while we are all banging on about the fact nothing is particularly new (in an innovation sense) we are missing out on all the joy from this old school space-set Sci-Horror jaunt. The effects are top notch, utilising CGI in the best possible ways and “Calvin” is one of the best designed movie monsters to come along in some time, recalling the body Horror shock of ‘The Thing’ meshed with the B-Movie tentacled monsters of old. This Octopus-influenced force of natural terror is perfectly realised and themes of how nature trying to survive cannot really be evil are well placed and a welcome addition to this story. In many ways, this film outperforms and it such a shame more have not seen it in cinemas as it is the perfect Friday night movie, offering thrills, intensity and the odd scare to boot, whilst also being backed by a very good crew. We have made much of the film’s familiar Sci-Fi tropes but that is not to say it doesn’t surprise, be it an early act death or the brilliant ending that misdirects you and goes to the dark level you are hoping for but not entirely expecting and it is in this moment particularly that Jon Ekstrand’s score - heavily a homage to the restraint of Jerry Goldsmith’s work on Alien - really breaks out (appropriately). The film is just really enjoyable and is helped by the fact that the cast and script work to make these characters likeable, to the point that you care about their potentially grisly fates (and boy are some of them grisly). Sure they all fit the conventional token roles (talented scientist, family man, jokester, loner, etc.) but escape any restrictions of this by giving great performances, with some good lines of dialogue and plenty of actual time. Jake Gyllenhaal as American medical officer David is interesting enough, as he is more at home away from home (much like Sandra Bullock’s Ryan Stone in Gravity), while Rebecca Ferguson’s duty bound but caring British Quarantine Officer Miranda is a welcome opposite to the cut off David. Ryan Reynolds is his usual cheeky but charming self as system engineer Rory, while Japanese pilot Sho is character you deeply care about thanks to the emotion brought by Hiroyuki Sanada, with nice support also offered by Olga Dihovichnaya as Russian crew commander Katerina and Ariyon Bakare as British biologist Hugh, who invests himself in the mission (and in Calvin). It is a crew that does not annoy but instead carries along the plot and Calvin is the film’s deadly bogeyman...or rather bog-ET...does that work? Hmm, anyways you get the point. Overall Life is worth your time and escapes its familiar structure of its chosen Sci-Fi, by simply embracing it and becoming a heck of a fun ride in the process. It still seems that in space no one can hear you scream. #FilmReviews #TheatricalReleases #JackBottomley #Scifi #ScienceFiction #JakeGyllenhaal #RyanReynolds #DanielEspinosa #RebeccaFerguson

★★★★ Directed by Asghar Fahadi Starring Taraneh Alidoosti, Shahab Hosseini, Babak Karimi Film Review by Hannah Sayer On Sunday the 26th February, the day of the Academy Awards ceremony, Sadiq Khan hosted an outdoor screening of Iranian film director Asghar Farhadi’s The Salesman in London’s Trafalgar Square. With support from Curzon Artificial Eye and Amazon Studios, the free event was hosted by the Mayor of London in response to Farhadi’s refusal to attend the Academy Awards ceremony as a protest against Donald Trump’s travel ban and out of respect for his fellow Iranians affected by the ban. The screening was presented by Mariella Frostrup, with speeches from director Mike Leigh, actor Lily Cole as well as Sadiq Khan. Film industry figures who gave their backing to the event included actors Dominic West, Keira Knightley, Noomi Rapace and director Sarah Gavron. Around 10,000 people attended the screening as a form of positive protest and a means of celebrating Iranian cinema in the face of adversity. Sadiq Khan emphasised to the crowds who gathered in Trafalgar Square that London is a diverse city that is open: “There are people here from Iran to Iraq, from Shoreditch and Streatham, from Lebanon and London - showing the world that London is open. Open to talent, open to creativity and open to people.” The Salesman was awarded the Foreign Language Film Oscar at this year’s ceremony. Farhadi joins the company of renowned foreign language film directors after winning his second Academy Award, which includes Federico Fellini and Ingmar Bergman. He previously won the Academy Award in 2011 for A Separation. The Salesman follows a young couple, Emad played by Shahab Hosseini and Rana played by Taraneh Alidoosti, who are performing the lead roles in a production of Death of a Salesman by Arthur Miller. Their relationship is tested when they move into a new apartment as Rana is assaulted when someone breaks into their new home. Farhadi constructs an expertly crafted study of trauma and its effects on Emad and Rana’s relationship, as Emad seeks revenge for what has happened to Rana. The Salesman is thought-provoking and is successful in focusing on the impacts of this traumatic event and how it affects the couple’s lives rather than focusing on the action of the incident. Farhadi’s use of prolonged and intense scenes evokes a feeling of dread throughout which is unsettling and develops a suspenseful atmosphere to the otherwise quite slow and performance driven narrative. The performances from Hosseini and Alidoosti are accomplished and never feel showy as the narrative moves from a mystery to revenge study which is suspenseful without feeling over exaggerated or cliché. There is no question that The Salesman is an inferior film when compared to Farhadi’s previous masterpiece A Separation, yet The Salesman is still an intelligent and contemplative study and reflection of trauma and the devastating impacts it can have on victims and their relationships. Farhadi sent a live video message to be played before the film to the crowds in Trafalgar Square where he expressed a poignant response to the politics surrounding his film’s release and the message of unity it has promoted amongst communities around the world: ‘I am extremely happy that the scattered reactions from people and art communities across the globe shown to the oppressive travel ban of immigrants has developed into a powerful and unified movement. Despite our different religions, cultures and nationalities, you are all citizens of the world and I will try to protect and spread this unity.’ The Salesman’s Academy Award win is certainly well-deserved and will no doubt be a film to be remembered for years to come. #LondonIsOpen The Salesman is now in cinemas and on Curzon Home Cinema. #FilmReviews #HannahSayer #AsgharFarhadi #Oscars #AcademyAwards #WorldCinema #IranianCinema #TaranehAlidoosti #ShahabHosseini #BabakKarimi #London

★★★ Directed by Dean Israelite Starring Elizabeth Banks, Bryan Cranston, Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, Becky G. Film Review by James Burgess Blockbusters either based on, or as a result of the synergy of toy merchandising are a prolific, if not always lucrative, cinematic staple. Transformers, G.I. Joe, not to mention Disney characters and Marvel and DC’s innumerable gaggle of superheros. Is it the factory-production of money-spinning cynicism, or simply the desire of filmmakers to re-imagine established franchises in a new way for each generation? For this latest entry into the canonical pantheon, Power Rangers, popular consensus seems to favour the former. The vast majority of reviews have been terrible, dismissing it as a shallow, cookie-cutter cash-in. But the reason the notion of these remakes appeals so much, is to see how they’re interpreted and refreshed in terms of tone, stylistic choices, ideas and invention - how different are they from previous versions - if possible, even original? Power Rangers was a fun, bright revisionist update of a popular nineties TV series. These reboots always work best when they encapsulate an evocation of childhood. So for reasons of nostalgic posterity, it worked - I had a figurine of the Blue Ranger years ago! It takes a long time (almost three-quarters of the film) for the characters to become those florescent, publicity-adorned heroes, and actually put the suits on. Up until then, it’s mainly the U.S. high-school teen mixture of camaraderie and angst, (but, this was once a frequent sub-genre, particularly in nineties comedies, so doesn’t feel entirely out of place here). Also, the flip-side of this is that several relevant, contemporary issues for the characters are allowed to be raised liberally, without being treated as too heavy-handed. The young cast are promising, if a little soapy (Dacre Montgomery as Jason, The Red Ranger, is a doppleganger for a young Zac Efron). There are some great supporting performances - Elizabeth Banks is wonderfully evil as the aptly named megalomaniac space-villain, Rita Repulsa, and a digitally enhanced Bryan Cranston lends his inspirationally dulcet tones. The climactic action and effects are well-staged (with an occasional burst of the original theme-tune), but it does descend into a rather overblown Transformers battle towards the end. Enjoyable, and left open for a sequel… #FilmReviews #TheatricalReleases #JamesBurgess #ElizabethBanks #BryanCranston #DeanIsraelite #DacreMontgomery