★★ Directed by Marcus D. Spencer Starring Skipper Elekwachi, Alphonso Thompson, Marcus D. Spencer Indie Film Review by Georgia Wren Straight Outta Oakland follows the lives of four young men, fighting to escape the “hood” to pursue better lives. The film begins with Keith, played by Skipper Elekwachi, a wannabe rapper, fighting to escape Oakland without falling on the wrong side of the law to do so. With a decent performance by Elekwachi he is shown as the moral compass for each of the other characters. He is soon led astray however by Kevin, (Alphonso Thompson) who indulges in the criminal lifestyle, dealing drugs to make money, whilst tending to his sick, abusive father. Director and Writer Marcus D. Spencer plays Kenny, a charming man, trying to better himself through education despite relationship troubles. The film sets itself up as a classic underdog story, the hard-working, honest man, trying to make his way out of hard times through his law abiding dreams and ambitions. Keith has his foil in Kevin and both characters are given a rich and relevant background, with clear motivations for their opposing views on achieving their goals. What really works about this film is that it portrays themes that are incredibly relatable; the need to escape your home, often where people’s biggest demons lie, in abusive fathers, drug addicted ghostly mothers and heartbreak. Trouble is, I can’t help but feel it’s a story we have seen a thousand times before. Spencer’s writing deals with vast social subjects and should be commended for his attempt on such a shoe string budget however he relies heavily on cliché characters and plot lines in order to portray them. It’s understandable as it is often a quick way of establishing the situations and characters but leaves his film open to very predictable twists. That is not to say the film does not create tension however, the chase scene is exciting, well shot and well edited, and we do root for Keith, making his mugging of a mysterious young woman a source of tension throughout the film. Unfortunately, everything seems to just work out too well for him, without much effort, making Keith’s storyline fairly uninteresting towards the end of film. The film also tends to drag through long expositional dialogue scenes between the four characters, who all talk over each other, which becomes increasingly difficult to understand. It’s also a shame more of the film wasn’t shot outside as this is often where the cinematography is really at its best, with some lovely views of Oakland. Ultimately though, the story of Kevin is where Spencer’s writing and direction really begins to shine. The scenes between Keith and Kenny when they confront Kevin hold some great performances and focus the audience more intensely than any others in the film. It’s arguably one of the most artistically shot scenes in the film too, making great use of close framing and shows how on a low budget, clever thinking can create strong, believable scenes. This is also where Thompson comes into his own. His performance as Kevin is rather good and carries the film to the end, presenting the cyclical abuse poverty can create, handing down the physical beatings from his father onto Keith’s cousin Korey (Alan Walker), and eventually, shockingly, onto the women he sells drugs to. Overall, the film is ambitious for its budget and Spencer’s writing and directing sets a clear tone. In this respect the film is strong, attempting to deal with an age old issue of elevating yourself above the social standings we are assigned at birth, but fails to work its way out of the cliché avenues of every film on similar themes before it. #IndieFilmReviews #GeorgiaWren #Urban #IndieFilms #Underdogs #MarcusDSpencer #SkipperElekwachi #Crime

Directed by Diago Lozano Starring Nathalie J. Cerny and Tom Gelech Short Film Review by Rachel Pullen Marvin Gaye was murdered by his father during an argument, comedian Phil Hartman was shot by his wife due to ongoing drug use in their marriage, and of course, Nicole Simpson and Ron Goldman were found stabbed to death outside their home, sparking one of the most famous trials to date, of NFL legend O.J Simpson. What do all these tragic murders have in common? They are all crimes of passion. What is a crime of passion, well it is simply what it sounds like, where the murder or the attempt of, has taken place, often with a loved one or a family member due to a dispute or heartbreak, and Diago Lozano’s Mortem faces that subject head on. This short piece by Lozano takes us into the world of a woman (Nathalie J. Cerny) who wakes up to see a man (Tom Gelech) standing over her, he looks lustful and dominant, kind of like when a man is looking at you in a nightclub or bar and you can’t decided if he wants to murder you in an alley or make sweet love to you down by the fire, either way he certainly has a strong presence over our leading lady. She stands to embrace him, realising he is in fact her husband, but as she approaches him she is horrified to see that he has in fact killed her in what can only be assumed as a crime of passion. Yet despite this bleak story line Mortem feels like a music video that has made love with the set designer from The Neon Demon and then taken a bath afterwards in glitter. It’s bold, it’s attractive, and as I said before it’s smothered in glitter, as well as all this it is accompanied by foreboding yet lively music. Lozano’s choice of soundtrack in Mortem plays one of the most important parts, like John Carpenter before him, Lozano has realised that you don’t need all the gore and guts of other thrillers and horrors, what you really need it a chilling soundtrack to create the atmosphere of dread and fear within your audience. Spanning only over 4 minutes, Mortem is one of the most aesthetically appealing short pieces of cinema I have personally seen in many years, he has created an atmosphere straight out of your most beautiful nightmare; warm and inviting yet chilling to the bone, maybe just don’t watch it after a fight with your other half! #ShortFilmReviews #RachelPullen #ShortFilms #Thriller #DiagoLozano #JohnCarpenter #NathalieJCerny #TomGelech

★★★★★ Directed by Clyde Peterson Starring Webster Crowell & Kimya Dawson Animated Film Review by Chris Olson Like a vibrant odyssey through identity and sexuality, Clyde Peterson’s autobiographical stop-motion film Torrey Pines is one of the most sumptuous animated films in recent years, in terms of gorgeous visuals to feast on, weighty themes to chew on, and a universality to be consumed by. Telling the true story of Peterson’s experiences as a youngster, who ended up on a road trip with his schizophrenic mother, travelling across huge sections of the United States, Torrey Pines contains almost no dialogue. Aside from a few lines from TV shows, or a quirky keyboard recording session which utilises the phrase “butts” as every note on a jaunty arrangement, the film is completely visual and audial. Grunge and punk songs accompany the movie, denoting the time period of Peterson’s coming-of-age story, and provide some of the most moving sequences. The score is a huge cornerstone of the film’s appeal. One particular scene where endless rows of cornfields flow past was incredibly touching, the banality of the outlook was juxtaposed by a beautiful soundscape. As with any film appearing at this year’s BFI Flare 2017 Film Festival, there are strong themes of sexual identity that play a crucial part in Torrey Pines. The character seems to struggle to identify with a lot of the elements of life around them, then finding connection with the more fantastical aspects of characters found in television. A few confusing and almost hallucinogenic sequences touch on the fluidity of sexuality during this time in someone’s life, and also the polarity of emotions involved; some moments are violently distressing, whilst others feel ethereal and graceful. The animation itself took three years to complete, and the results are simply breathtaking. There is an artistry here that transcends movie storytelling, even for an animated film which is a genre that very often breaks social and cultural boundaries. Audiences will be able to connect with Torrey Pines on a level which requires no language. One of the most impressive aspects of the film which I noticed myself feeling, especially by the latter two-thirds, was how relatable the content was to my own feelings about my past. I say this not as someone who experienced a particularly turbulent childhood, and I am heterosexual so did not particularly struggle with sexual identity, but as someone who remembers important events visually, with music being an incredibly strong stimuli, but not what was really said during the pivotal moments of my coming-of-age. Herein lies the awesome beauty of Torrey Pines, as it captures something quite extraordinary about the shaping of someone that is both perfectly simple and painfully introspective. There are some lovely moments of humour that populate the film’s running time too, such as some classroom flirting involving upside-down calculators, and a pop concert song using only muffled vocals. These are essential in keeping the story from falling into too much inward reflection, and allow a sense of roundedness to the character that viewers will need. A lot of Torrey Pines feels like it could run away with itself if care and attention were not paid to keeping some sense of grounding. Fortunately Peterson is quite simply a master craftsman who has made a film that is original, powerful, and beautifully poignant without ever drawing outside the lines. #AnimatedFilmReviews #ChrisOlson #FilmFestivals #BFIFlareFilmFestival #Animation #LGBT #ClydePeterson #ComingofAge

★★★ Directed by Sean Baker Starring Scott Brindle, Angelique Fronike, Mike Milne, Steve Kennett, James Inman, Paul Garner, Lisa Wight, Martin George, & Matt Sweeney Indie Film Review by Chris Olson The underdog story is normally dedicated to narratives involving younger characters. Athletic journeys to victory like The Mighty Ducks (1992) or The Karate Kid (1984), pop star competitions such as Pitch Perfect (2012), or the plethora of dance troupe movies, all have this formula of starting with a bunch of hopeless youngsters that, through hard work and determination, become the success stories of their respective fields. That is not to say the underdog genre does not apply to adults, and there are some amazing films that also utilise the formula, it is just that even they have a slightly younger feel in order to comply with the thematic obligations, and using comedy to keep them tonally consistent (Cool Runnings, Miss Congeniality etc). Indie film, Any Major Dude, from director Sean Baker and written by John Holdsworth and Peter Tomalin, falls most definitely into the latter category, with a movie that is a charming underdog comedy, if a little hokey. Colin (Scott Brindle) is having something of a mid-life crisis. Facing the pointy end of a colonoscopy, as well as some doubts about the monogamous nature of his marriage, he sets about making a bucket list. The three life goals he sets are: cruising Route 66 on a motorbike, learning to surf, and playing in a rock band. After quickly ascertaining that the first two are perhaps a little too whimsical, the band idea takes shape, as Colin corrales his mates to join him regardless of their musical talent. As with all underdog tales, there must be a looming competition or deadline, which is set by a party for Colin’s wife (Angelique Fronike) which he sees as an essential way to prove many things to himself. Made with a tiny budget, it is quickly obvious that Any Major Dude will not win any technical awards. Aside from a few drone shots, the movie does not try to do anything miraculous in terms of cinematic flair, and that is to its credit. If the movie tried to be outlandish with the filmmaking, it would have struggled to keep audiences involved in what is otherwise a pretty engaging story. That being said, the audio is pretty poor in some scenes, with wind blowing through microphones and sound jarring between cuts. A little more attention to these elements would have been appreciated. The use of songs between scenes is really lovely though, and was in keeping with the film’s tone. Watch the movie trailer for Any Major Dude above. The characters are engaging, and the script offers them some good moments of comedy. At times the film slipped into Richard Curtis territory, offering a delightful combination of English wit, comic timing, and that warm, fuzzy feeling he is famous for. One particular misunderstanding that one of the band members (Paul Garner) has with a neighbour (James Inman), who thinks he is propositioning him for an orgy, is a fantastic thread which runs parallel through most of the movie. There is also an enjoyable section in a music shop involving a feckless sales executive (Matt Sweeney). This is a charming, feel-good film that has a little bit of adult humour thrown in for good measure. A little like watching your mate’s rubbish band playing in a talent content, if you go in with good intentions and a little forgiveness in your heart and alcohol in your blood, you will find yourself tapping along with the rhythm because you want them to succeed. There is nothing remarkable about the film, or the performances, but everyone does their part enough to make it a pleasurable experience with a few laughs and mild drama. #IndieFilmReviews #ChrisOlson #MovieTrailers #MusicFilms #Underdogs #SeanBaker #ScottBrindle

★★★★ Directed by Bill Condon Starring Emma Watson, Dan Stevens, Luke Evans, Josh Gad Film Review by Andy McZomb Let’s start by saying Beauty and the Beast is pretty much a carbon copy of the 1991 animation. If you’re a fan of that and let’s face it, you are, then you should be more than satisfied with this live action remake. Is there something there that wasn’t there before? No. The cartoon comes in at 1 hour and 50 minutes while the remake hits the 2 hour 10 minute mark so there has to have been some element of ‘padding’ to pick up the run time. They did this through mildly interesting, mostly irrelevant backstories. Do we need to know why Belle’s mother isn’t around? It’s like putting a bauble on top of the Christmas tree after you’ve already stuck the star up. We travel into these backstories while ignoring potentially pertinent information like, where is the Beast’s rich father aka the King? I guess that’s one of those questions you’re not meant to think about. Like why Lumière is seemingly the only French character in a story entirely based in France. Bill Condon putting more emotional emphasis on these anthropomorphic characters is a welcome addition. You learn what it means to them to break the spell and have a sense of their loss if it were to not work out for the Beast and Belle. If the animation told a story of a whimsical talking teacup, this one reveals the heartache behind a little boy that could very well never see the sun again. One thing that rarely receives any criticism in a Disney production is the CGI special effects. They don’t fail to impress here with the Beast and his legion of household item slaves flawlessly slotting into the story, fangs and all. The upcoming Lion King remake will surely be a dance in the ballroom after successfully humanising a feather duster. Although Disney’s recent live action Cinderella remake was a shambles, they stepped it up with The Jungle Book, especially with the Oscar winning special effects. However they played around too much with the original music (slow jazz Christopher Walken ‘I wanna be like you’ anyone?). Other than a few modernised, additional verses, the songs are like for like from the source material. Some would see this as a negative but realistically, would you really want them to change the music? Would you go to an Oasis reunion to hear their latest ensemble of modern flops or would you be eagerly waiting on them blasting out classic Wonderwall? Even the new songs hold up and don’t seem particularly out of place. ‘Evermore’ performed by Dan Steven’s operatic husky beast voice is a fine addition that hits much harder than the original beastly ‘roar’ as Belle rides away from the castle to save crazy old Maurice. Emma Watson leads the modern woman revolution at Disney, pilfering her father’s occupation as an inventor and not only portraying herself as a smart, well-read woman as the classic does but even attempts to teach the next generation of female to read before the disgusted residents of her provincial town shut that nonsense down. This is a not so subtle way of showing male chauvinists just how absurd these archaic attitudes are. Luke Evans stands out as the narcissistic man beast Gaston. He treats the role with just the right amount of evil washed in comedy. His back and forth with Disney’s first ‘openly gay’ character Lefou, is a certainly an attempted step forward but felt more like a wobble in that direction. It’s implied but nothing more throughout until a ONE SECOND glimpse of a man on man dance in the closing scenes. Disney promised they’d bare all and for me when they removed their coat they still had their underwear on. Overall this is what a Disney fan is looking for when they go to see one of these relentless remakes. Like an uninvited Aunty that brought 20 quid with her for you, Beauty and the Beast is entirely unasked for, but remains close enough to the original to fully immerse you in that nostalgic tale as old as time. #AndyMcZomb #FilmReviews #TheatricalReleases #Disney #EmmaWatson #LukeEvans #BillCondon #DanStevens #JoshGad #Animation #LiveAction #Remake

★★★★ Directed by Nicholas De Fina Starring Drew Current, Sam Pink, & Rasheeda Moore Animated Film Review by Chris Olson In 2016, Deadpool gave us the first foul-mouthed superhero film to go big in a mainstream way. Its crude caper appeal was a refreshing break from the smorgasbord of superhero films that have clogged up cinema slates for the last few years. Whilst there is still a huge appetite for Marvel, and to a lesser extent DC, films that use their comic characters in the same formulaic way, new ground must be broken to keep the genre from feeling like Groundhog Day with spangly outfits. Enter Nicholas De Fina's animated film, LeSeurdmin. Peter "Lizard Man" LeSeurdmin (Drew Current) is a deadbeat misanthrope who has alcoholic tendencies and severe depression - the perfect qualities for a hero then. After getting wasted in front of his partner Nicole's (Rasheeda Moore) parents and wreaking havoc across town, Peter's life starts to crumble. Not only does Nicole leave him, but a brew of extremely rare lizard beer leaves his body a medical marvel! Also, he has captured the attention of a villain known as The Grillmaster (no, not George Foreman), who speaks almost exclusively in food puns. The Grillmaster (Sam Pink) has sent his goons known as "Munions" (wordplaying Minions and Onions we think), to hunt him down. Like a cross between Family Guy, South Park and Kick-Ass, LeSeurdmin is outrageously funny and daring. The humour is incredibly adult, but in a way which (like Deadpool) stays on the side of being entertaining rather than infantile. The hokey animation is a bit of a throwback, but in a really enjoyable way for fans of this genre. A major challenge that feature length animation films face is justifying a longer running time, when quick-fire comedy very often struggles to maintain an audience's attention for even a 20-minute television episode. Herein lies the biggest kudos that writer and director De Fina deserves, as his movie completely holds its own for the duration. The jokes are relentlessly funny, with a no-holds-barred approach to all topics, and the graphic animation is eye-wincing in its stark barbarity that audience members who find themselves laughing will have to question their own morality. Watch the official movie trailer for LeSeurdmin above. One moment in the film revealed the only sense of amateurishness on the part of the filmmakers, a poorly recorded montage song which had vocals that were incoherent and sounded like they were recorded in someone's bathroom. Which was a shame as the film has such a high standard throughout that I completely forgot I was watching an indie-budget movie except for that section. That is minor criticism though in what is otherwise a heroic movie in more ways than one. The use of comic strip layouts, hand drawing, and well sketched characters (in every sense of the phrase) shows a heartfelt passion for the form whilst approaching it in a bold and unique way, wanting to contribute something genuinely worthwhile. If you like your superheroes dark, your comedy sharp (and foul-mouthed), and your animation classic, LeSeurdmin is your perfect componion (see what we did there?). #AnimatedFilmReviews #ChrisOlson #FilmReviews #MovieTrailers #Animation #NicholasDeFina #DrewCurrent #SamPink #RasheedaMoore

Directed by Michael Wong Starring Han Dongjun, Zhuang Zhiqi, & Jose Acosta Short Film Review by Chris Olson Romance is a beautiful genre, especially when filmmakers approach it with stories that are tenderly affecting and bursting with thematic depth. Director Michael Wong delivers a film that is all those things, if a little on the saccharine side. In The Story of 90 Coins, our two lead characters (brilliantly played by Han Dongjun and Zhuang Zhiqi) are in the throes of young love when we first meet them under the twinkling lights of a picturesque cityscape. The glimmer in their eyes is enough to tell anyone that theirs is a romance in the making, which is then confirmed when the major plot point is introduced. The titular 90 coins refer to a romantic ploy Dongjun plans to embark on, by giving his prospective girlfriend a 10 cent coin every day for ninety days. After which she can either use the accumulated 9 dollars to buy some drinks to toast their departure from one another, or put the money towards a marriage licence. The short film then plays with the timeline, revealing both happy and difficult times our lovestruck couple face. There is a gorgeous tone to Wong's film that completely captures the dreamlike quality of falling in love. The vivid colours, personal framing of performers, and delicate editing all contribute to achieving a genre film that stays true to its roots. The score also provides an emotional core to the movie, although at times this did slip into department store Christmas Ad territory. Therein lies the biggest possible risk with the film, as some may struggle to slip into the romance of the film if not particularly enthralled by this slightly schmaltzy approach. However, those who enjoy a good romantic outing will have plenty to enjoy. What was lovely about The Story of 90 Coins was its old-fashioned qualities. It was like a fairytale at times, and in a way that was truly immersive. The characters are delivered in such a loving manner, and then explored more diversely as the plot develops, that audiences will easily be swept up in the gorgeous swoop of the story, like a fable for urban teenager. The movie also picked out a classic theme of love versus personal ambition, but in a way which was compelling and modern (it is Zhiqi's character who contemplates furthering her career instead of love). There were a couple of excellent sequences that were genuinely moving. One shot following Zhiqi during a cab ride was smoothly delivered, as well as a marvellous and funny scene outside a shop that was really lovely. This is a film to be engulfed by, to revel in its easily relatable nuances, and to cast your eye on your own life to see how the balance between love and work is fairing. Whilst a little on the sweet side for some viewers, Wong's film is a love letter to love films, a contemplative piece of contemporary cinema that captures a beautiful, emotional tale. #ShortFilmReviews #ShortFilms #ChrisOlson #WorldCinema #Romance #MichaelWong #HanDongjun #ZhuangZhiqi

★★★★ Directed by James Gray Starring Charlie Hunnam, Robert Pattinson, Sienna Miller, Tom Holland, & Angus Macfadyen Film Review by Chris Olson "We must attempt to engage." One of the most poignant lines delivered in James Gray's epic adventure film, The Lost City of Z, and one which encapsulates its message so eloquently. Spoken by the central character, Percival Fawcett (Charlie Hunnan), as he attempts to convince his team of adventurers to "break bread" with a tribe of cannibals in the deepest depths of the Amazon rainforest, this idea of promoting cross-cultural relationships and understanding is at the heart of the movie. Fawcett is a would-be hero looking to make his mark on the world when we meet him at the beginning of The Lost City of Z. Upset by his lack of badges to commemorate his bravery as a military man, the opportunity to make maps in South America with the Royal Geographical Society does little to peak his excitement. However, once there, he gets the bug for exploration, becoming obsessed with the idea of finding an ancient civilisation which may hold important answers to huge questions. Standing in his way, though, are the ignorant powers-that-be at home who stifle his efforts, a benefactor (Angus Macfadyen) whose initial support of Fawcett's journey soon turns sour when he proves ill-equipped for the rigours of the rainforest, and a growing pressure from his family whom feel he has all but abandoned them. Not to mention the looming spectre of WWI which "sets the world on fire". Cinematically there is a huge amount to enjoy about Gray's film. It provides immersive visuals that are sumptuous yet tonally cohesive, and the avoidance of glorifying the wonders of the rainforest is a master stroke. Instead the landscape of the jungle is not so dissimilar to that of rural Britain, which makes the themes of global unity and peace even more striking. The film also draws excellent parallels between the so-called savagery of the natives in South America, and the actual savagery of so-called civilised society in Europe. Enhanced by well-developed characters, Gray brings out a quiver of excellent performances, in particular Robert Pattinson as one of Fawcett's companions. His curmudgeonly attitude towards ineptitude is brilliantly funny, as is his physical presence during the film's more strenuous scenes. One particular great line delivered by Pattinson involves a threat to shoot someone up the arse, which is beautiful. Tom Holland also plays a strong role in the latter half of the film, playing Fawcett's son. He copes well with the emotional core that gets developed over the course of a decade or so, and contributes effectively to the parallel themes of sacrifice for the sake of progress. Watch the official Movie Trailer for The Lost City of Z above. Hunnan does a formidable job of holding the lion's share of The Lost City of Z. The range of sequences he traverses are balanced well with the movie's political commentary. That being said, the initial third of the film felt a little baggy, and Hunnan does not hit his stride until he is deep into the jungle. It felt like the film leans a little too heavily on him and suffers momentarily for it. Conversely, there some excellent sequences of his struggles, in the jungle and with his wife, played by Sienna Miller, who is another fantastic performer in the film. Few films will emerge this year that try and make as intelligent points as this, and do so as eloquently. It is wonderfully cinematic and laden with hope, understanding and dignity - all things the world needs right now. The Lost City of Z is out in UK cinemas March 24th. #FilmReviews #ChrisOlson #TheatricalReleases #JamesGray #CharlieHunnan #RobertPattinson #SiennaMiller #AngusMacfadyen

Directed by Chris Hallas Starring Claire Marlein and Tom Loone Short Film Review by Michael Fiott The concept of fate is an aspect that is up for debate much of the time in day to day life. We question whether events are just ‘meant to be’ or whether our actions are the main catalyst in our fortunes and misfortunes, especially when it comes to our relationships. This is a debate that is tested in Chris Hallas’s film (aptly named) Fate, as a chance encounter in a coffee shop leads to a man and a woman having an unexpected first date that flows scarily well for their first encounter. The dialogue written by Hallas is rather exemplary from start to finish in this short film, he makes Dom and Jenny feel like natural people that we can relate to and even at times prompted me to feel as though I wanted to join the conversation to tell them both my opinions on TV, music and art. Hallas doesn’t simply allow for the dialogue to speak for itself either, with a few subtle visual cues that enhance both character’s personalities, we feel as though we know both of them almost at a personal level and are genuinely interested in where their night will lead. This effect is doubled by the humble performances of both Claire Marlein and Tom Loone whose acting improves throughout its length, neither actor goes overboard and shows exuberant amounts of character, which is rather excellent as it parallels us if we were in the same situation with a stranger. All that is portrayed is a level of intrigue and shock that they could meet someone and instantly have so much in common with, a feeling that the majority of people would find suspicious and sometimes with good reason. This suspicion reveals a major theme for the film in its second half, that being the feeling of desperation. In terms of craft, Fate hits the mark in most areas, especially in its lighting and use of music. It has a colour scheme of subtle yellows and dark oranges which at once represents the stranger’s blossoming intrigue for each other and also quietly highlights almost every feature of their faces. As the colours are used to highlight the more positive emotions, the use of music creates a nice contrast as its only melancholy love song tailors the darker half of the film in a brilliant use of montage. Not to take away from the the positives this short has, but certainly something noticeable is the rather awkward editing at the start of the film, its hard cuts create a rushed effect in between lines of dialogue, which forced an important scene along in an abrupt manner. This feeling is tapered, but not helped along, by its safe use of shot reverse shot, never truly daring to give us close ups of each character to reveal subtle facial expressions or even show both of their faces at the same time during the duration of their stay in the coffee shop. That being said, this is a great effort from Hallas to create a human story, focusing more on realism than classic Hollywood romance, he makes the film work with his precise and thoughtful dialogue which was certainly the best aspect overall. Certainly worth a watch. #ShortFIlmReviews #MichaelFiott #filmreviews #ChrisHallas #ClaireMarlein #TomLoone

★★★★ Written and Directed by Luke Jeffery Starring Magda Cassidy, Charlie Coldfield, Richard Feltham, Marie Cassidy, Phil Kingslan-John, Josh Fedrick, & Matthew Lawrenson Short Film Review by Chris Olson Morris dancing hasn't been this dark and mysterious since...well...ever! In a seriously entertaining short film, filmmaker Luke Jeffery delivers a black comedy literally with bells on, with a story which will make you question your whole reality. Or at least your perception of minority dance troupes. Magda Cassidy plays an enthusiastic morris dancer, who we meet at the beginning of Hell's Bells performing the slightly arcane moves associated with the style to a small but passionate group of onlookers. Across the way, she spots a bespectacled man (Charlie Coldfield), who seems less than enthused about the proceedings. We later learn that his presence at the event is not for the love of twirling hankies and trouser legs with bells attached. Indeed, he is there for an intervention at the behest of her parents (Richard Feltham and Marie Cassidy), because they believe their daughter has fallen victim to the sweet seductions of the morris dancing cult, who could just be the world's most influential secret society. Like a condensed episode of Black Mirror, Jeffrey's film is pitch perfect when it comes to creating that dark tone out of something seemingly banal and slightly silly. The true genius of this can be found where audiences are not quite sure whether this is a comedy or a thriller. A myriad of sequences are used to obscure the viewer's understanding of the plot, like a drug haze, which permeates the short and makes for a formidable atmosphere to enjoy. Intense moments of dialogue between Cassidy and her interrogator are contrasted with jubilant morris dancing. The script is tight and...ahem...well choreographed. Nothing in the film felt baggy or unnecessary, and the use of accordion music to sew the scenes together was a lovey touch. A particularly impressive scene is a Fight Club style sequence where a man with a green face and antlers (Phil Kingslan-John) squares off against Cassidy, who then begins a fight to the death. Or a chorus of chanting which is pretty unnerving. If this is all sounding barmy and intriguing then that is exactly what you can expect from Hell's Bells. The filmmaking is tightly controlled and well executed, the performers all turn in solid and consistent portrayals of black comedy characters, and the intelligence of the storytelling prevents the film falling into cheap and farcical territory. Watch the entire film as part of the UK Film Channel below... #ShortFilmReviews #ShortFilms #ChrisOlson #BlackComedy #LukeJeffery #MagdaCassidy #CharlieColdfield

Directed by Philip Stevens Written by Giles Kristian Starring Philip Stevens, David Clayton Short Film Review by Rachel Pullen I often think what it must have been like 100 of years ago, where entertainment was a story round a fire, where history was kept alive in the same manner, where all that was known was passed on by word of mouth. This thought crosses my mind often when I am surrounded by people who cannot tear themselves away from their phones in social occasions, who cannot spend five minutes actually listening to one another without some kind of technological stimulation, and before you question whether or not I am hypercritical within my statement, I shall take this moment to reassure you that I, like an Amish person, do not have a smart phone. We have become a society who can have any information and entertainment at the click of the button, we actually have the world at our fingertips and while that is amazing, I sometimes imagine what it must of felt like to hear a story rather than see it, to connect face to face, to let my imagination play out the words, and I wonder would I feel the same as I do when watching great cinematic masterpieces? Well I’m sure you can see where this is going and yes, The Last Viking is just that. We meet Harald Hardrada, played by Philip Stevens, who takes leave from the battlefield to sleep and feast, when suddenly he is awoken by a one-eyed figure, which without saying a word drives Hardrada to regale him with a poetic tale of the battles and triumphs of his life. This mystery visitor is none other than Odin, who was known as the father of all gods by the Viking’s. As well as this, they believed that those who fought valiantly and bravely would feast with Odin before making their way into Valhalla, and so it is no surprise that our storyteller is breaking bread with him. His tale is compelling and well versed, and over the crackling fire we are drawn into his story, one of heroic acts, great accomplishments and triumphs. Director Philip Stevens has taken every detail into consideration to create this atmospheric piece of cinema, since The Last Viking is shot predominately from one angle in the same room, atmosphere plays an important part, and Stevens hits the nail on the head. The static shot of Hardrada as he tells his story makes you feel as if you too are there, sitting around the fire, hanging on every word he says. This is a bold move in a short film that is essentially one man telling a story on camera, but add in the other effects that have been used and Stevens has created a deeply compelling and engaging stage for this tale to unfold. Philip Stevens who play’s Hardrada gives an intense performance, but with enough reservation that we believe him to be a great Viking warrior, he allows us to get swept up in his tale, and his delivery of the story is rich in pride and valour. The Last Viking is an engaging watch but it is simply a tale of a warrior and for those who have no interest in history or Viking warriors will find this a very boring piece of film, but for those who are on the other end of the spectrum this is a must see. #ShortFIlmReviews #ShortFIlms #RachelPullen #History #PhilipStevens

Written and Directed by Pishdaad Modaressi Chahardehi Starring Charlie Cashin, Michael Krause, Anne Elliott, Dan Perry, Becky Farrall, Dimitris Konstantinou-Hautecoeur Short Film Review by George Nash Gritty and violent, Writer/Director Pishdaad Modaressi Chahardehi leaves very little to the imagination with No Apologies – a blood-soaked, brilliantly shot revenge thriller with shades of the Neo-Western. After paying the price for trying to flee his livelihood as a criminal-for-hire when a job goes wrong, Vincent (Charlie Cashin) sets out on the road to revenge by punishing the men responsible. Both literally and thematically, No Apologies is a dark film. Right from the opening shot – one of overcast skies under which two men face-off either side of a leafless tree – there is a brooding darkness and overbearing sense of death that engulfs the piece instantaneously. One of the men has his finger on the trigger of a gun and blood on his mind. Vincent is seeking something, which initially presents itself as revenge, but by the end of the film’s 20-minute run time, might just be something substantially more ambiguous. Chahardehi’s story is a conventional one, but told in an unconventional way. He adopts a two-pronged narrative structure; splicing together a more linear present day account with episodic flashbacks, meaning Vincent’s motives – and any empathy towards him - are neatly kept from us until mid-way through. Such an approach paves the way for an impressive juxtaposition in lighting and character that distinguishes the two timelines, as our protagonist descends from softly spoken family man into a merciless agent of death clad in all black. Furthermore, Chahardehi’s astute camerawork compliments this brilliantly by combining shots of intimate sensitivity with those of unflinching rawness and explicit violence. Occasionally tapping on the doors of horror, No Apologies is a redemption story in which very little redemption is to be found. There is a true passion for genre here, and it’s quite clear to see where Chahardehi - and his team’s - influences lie. This is someone who, at one point, probably had the Taken speech as his voicemail recording; someone who can appreciate a good ol’ gun-slinging western or two; and there’s certainly a dusting of Tarantino in there somewhere too. But No Apologies’ strength also lies in its protagonist’s character development. Perhaps somewhat inevitably, Chahardehi’s part players – the intimidating Mason (played with ice-cold menace by Michael Krause) and Vincent’s wife (Anne Elliott) – are slightly underdeveloped; however, the same cannot be said for our protagonist, whose depiction reaches remarkable depths given the film’s short run time. Vincent is conflicted and assured; he’s victim and villain, and, at times when the script occasionally falls flat, Cashin’s deft ability to convey such character complexity through a single glance is greatly commendable. Yes, No Apologies might walk a path well-trodden, but - one overly choreographed fight sequence aside - Chahardehi punctuates this more generic revenge thriller with moments of calculated and stylistic prowess. Beneath the brilliantly done blood and gore, it is evident there is real filmmaking heart at play; making for a thoroughly impressive and comprehensive short. No apologies required indeed. #ShortFilmReviews #GeorgeNash #ShortFilms #QuentinTarantino #PishdaadModaressiChahardehi #CharlieCashin