★★★ Directed by Jordan Vogt-Roberts Starring Tom Hiddleston, Brie Larson, Samuel L. Jackson, John Goodman, John C. Reilly Film Review by Kieran Freemantle Kong: Skull Island, or as it should be known as "Kong: the 'Nam Years". King Kong, the giant ape is back on the big screen, the first time since Peter Jackson's 2005 remake and the first film intending to start a series. In 1973 a secret American government organisation known as Monarch receive satellites photos of an undiscovered and unexplored island in the Pacific. With government funds and backing, Bill Randa (John Goodman) starts up an expedition and recruits a team, including expert tracker/former SAS soldier James Conrad (Tom Hiddleston), Colonel Packard (Samuel L. Jackson) an army officer looking for one last piece of glory and photojournalist Mason Weaver (Brie Larson) who senses a big story. When the expedition arrives they are attacked by Kong and the survivors are spread across the island. Yet it is not Kong that they should fear. Kong: Skull Island is the latest film from Legendary Entertainment whose credits include The Dark Knight Trilogy as well as most of Christopher Nolan's filmography, Pacific Rim and 2014's Godzilla remake. Anyone who follows film news will know that Legendary has some big plans for the King Kong property, but for the less knowledgeable it will not be spoiled here: just stick around for the post-credit scene. The experience of Godzilla looms large over Kong: Skull Island. The 2014 film was criticised for being too serious and po-faced and having very little of its title character: but it worked as a modern disaster movie and was still an enjoyable film allowing Gareth Edwards to have his first big budget gig. Kong: Skull Island goes for a lighter approach, having more jokes in the form of character actions and the editing. There is much more self-awareness in "Kong" than there was in Godzilla. Watch the official Movie Trailer above. Kong: Skull Island also was bigger in the action stakes, giving audiences lots of the big battles that audiences would want. It doesn't disappoint. If Godzilla was the monster version of a disaster movie, than "Kong" is a war movie, proudly wearing its Vietnam War movie influences on its sleeve - particularly Apocalypse Now and Platoon. Kong: Skull Island is Jordan Vogt-Roberts' second feature film as a director and his first blockbuster and shows competence with the action sequences - whether it's the first encounter between the army in helicopters and Kong to Kong fighting various giant beasts. Vogt-Roberts was particular fond of a stylised slo-mo approach, similar to Zack Snyder - which I am a sucker for. Vogt-Roberts was properly helped by his cinematographer, Larry Fong who has worked on many of Snyder's films. However, the 3D effects are not worth the money. Although the action was impressive Kong: Skull Island had a big disadvantage: it comes in the shadow of the 1933 classic and Peter Jackson solid remake. Godzilla only had to worry about the 1954 origins which it honoured. Some of the big sequences are not much different to the 2005 version - having scenes like when Kong fights two dinosaur-like creatures and the soldiers getting attacked by a giant spider. The film is incredibly gory for a 12A and pushes the rating to its limit. Certain scenes were similar to Jurassic World with both having a scene known for their cruelty. Kong: Skull Island has an all-star cast: besides from those already mentioned, the film includes Toby Kebbell, John C. Reilly, Straight Outta Compton stars Corey Hawkins and Jason Mitchell as well as recognisable actors like Shea Whingham (Boardwalk Empire) and Thomas Mann (Project X). Although "Kong" has a great cast most of the roles are stock characters and it is a paycheque movie for them. Hiddleston is essentially auditioning for the Bond role and Larsson is capitalising on her Oscar win: both are given token attempts of characterisation - especially Hiddleston. Jackson plays up on his stage persona, especially in the latter half of the film. The most memorable member of the cast was Whigham as Cole - a slightly deranged soldier and he formed a decent double act with Mitchell. Other actors weren't so lucky. Hawkins' role can be summed up in three words: "nerdy black guy" and Jing Tian was given the token Asian chick role so that the film could be marketed to Chinese audiences. No one gave a bad performance but they were all given underwritten roles. Kong: Skull Island is big and silly and that is to be expected. It is a blast from an action standpoint, which the kid inside all of us will gleefully enjoy but it lacks the substance that other action offerings i.e. Logan. #FilmReviews #MovieTrailers #KieranFreemantle #TheatricalReleases #ActionFilm #Monsters #JordanVogtRoberts #TomHiddleston #BrieLarson #SamuelLJackson #JohnGoodman #JohnCReilly

Filmmaker Interview by Chris Olson Ahead of the release of indie film Devouring Venus, I caught up with one of the movie's actors to discuss her role in the film. During the interview, we also discuss acting hurdles of 2017, the role of social media in the film industry, and...of course...what she would say if she were a dolphin. Watch the interview in full below, or find out more about the project she is working on using the link at the bottom of this post. To find out more about Devouring Venus, visit their website - www.devouringvenus.com. For more interviews like this click here. #Interviews #FilmmakerFeatures #ChrisOlson #IndieFIlms #Acting #KristinMuri

Directed by Stacey Stone Short Documentary Film Review by Chris Olson As an accompaniment to filmmaker Stacey Stone's insightful PTSD documentary My Own War, this short film bolts on with a perfect, and relevant, tangential story about the role of service dogs for sufferers of trauma. Following Lon Hodge, a Vietnam veteran who features in both of Stone's films, and his medically prescribed helper dog Gander, the audience is treated to nearly half an hour of wonderfully balanced and unashamedly emotional revelations about the essential part these canines play in the turbulent lives of PTSD victims. The journey of Gander: America's Hero Dog as a movie is exceptionally enriched given the short running time. We see the various stages of the process in which a rescue dog is trained by prison inmates into a fully functioning service dog for a PTSD sufferer, then the impact Gander has on Lon, and the cultural importance the dog goes on to achieve. One of the most powerful aspects of this documentary film is how many lives are touched by the whole endeavour. From Lon, who absolutely adores Gander, as well as seeing him as a vital piece of medical equipment, to the prison inmates whose rehabilitation has been enhanced by the service dog programme. Medical experts also discuss the value of the relationship which forms, that patients often realise they need to look after themselves in order to look after the service dog, giving them an indispensable sense of motivation to stay healthy. The use of various footage, animations and editing effects shows Stone applying a little more flair to this documentary than My Own War, revelling in the slightly lighter mood which permeates Gander: America's Hero Dog. This capability shows a superb skill set from the promising director, who tackles two massive, and inherently connected, topics with graceful mastery. There are some excellent moments of social commentary which punctuate the movie, revealing some of society's more indecent attitudes towards the situation. Such as those who pretend to have a service dog in order to exploit the so-called "benefits", or institutions who refuse entry to Lon and Gander illegally, or demand to know Lon's illness. This morally abhorrent sector does not play an overwhelming part of the film, but do contribute a compellingly villainous element. Watch the official Movie Trailer for Gander: America's Hero Dog above. Films that depict animals are always at risk of falling into a cute and cuddly niche that will remove the potency from any important messages or themes being highlighted. Stone sidesteps this excellently by steering clear of unnecessary fluff, instead layering on heavier emotional points and the poignant issues that surround the people. A remarkable...ahem...tail, Gander: America's Hero Dog tackles some weighty topics with determination and vigour. Much like the courageous canine himself, the film is of huge value, especially when paired with the affecting feature documentary, My Own War. It seems Stone has carved a small monopoly on PTSD documentaries, luckily this is a filmmaker with a fervent voice and exceptional filmmaking prowess. #DocumentaryFilmReviews #ChrisOlson #Documentaries #ShortFilmReviews #ShortFilms #PTSD #WarFilms #StaceyStone

Filmmaker Feature by Chris Olson One of the most exciting directors in indie Indian cinema right now, Aneek Chaudhuri caught up with UK Film Review to discuss his upcoming indie film, The Wife's Letters. During the filmmaker interview with film critic Chris Olson, topics such as storytelling, funding, and the artistic work of Salvador Dali are discussed. Watch the interview below: To find out more about Aneek's project, visit his Facebook page here. For more filmmaker interviews like this, visit our Interviews page. #Interviews #ChrisOlson #Filmmaking #WorldCinema #supportindiefilm #AneekChaudhuri #FilmmakerFeature

★★ Directed by Leonid Andronov Starring Evgeny Chistyakov, Sergey Fedorov, & Andrey Karlyshev Indie Film Review by Phil Slatter Haven’t we all, at some point or another, dreamed of being a rock star? Much like being a professional athlete or A-List Hollywood star, it’s the sort of pipe dream to which many can relate but crucially that very few actually manage to achieve and it forms the basis of Leonid Andronov’s uneven but at times thought-provoking drama. Dubbed ‘The first Russian underground rock n roll drama’, the basis of the story is a failed rock group that meet up every ten years for a party. Yet over time, things have changed, life has happened and few of them really want to go to the reunion and think about how their dreams haven’t really come to fruition. As a basic premise, this sets up the film well for its thematic overtones – looking back on first love, a time before responsibility and a simple if entirely unrealistic plan of how the band as going to make it big and Andronov explores these themes well. Where, did it all go wrong? Interspersed with this through-line are visual flashes of the band in their prime and this is where, on a technical level, the film excels. The images and music work well together to create a film that is full of many ideas, a lot of them both extremely original and impressive. Unfortunately, this also highlights the shortcomings. It feels somewhat experimental at times and juxtaposes the home movie aesthetic of the central plot strand. This may well be intentional but every time we cut back to the band in the now it’s a noticeable change and it doesn’t help that the main plot eventually runs out of anywhere to go as the characters become somewhat unlikeable and un-involving and the acting falls flat at times. Your patience becomes tested at times as things enter a dark third act that feels like a forced way to create a dramatic conclusion. It’s a shame in many ways as there is much to admire, both thematically and visually. So while 29th Kilometer doesn’t quite work, there is more than enough evidence that the filmmakers could achieve better things with a script that engages the audience more with the characters and develops its central plot in a more involving, and believable manner. #IndieFilmReviews #PhilSlatter #IndieFilms #LeonidAndronov #WorldCinema

Directed by Travis Lee Eller & Tino Luciano Starring Travis Lee Eller, Jim Kelly, & Jeff Elsey Short Film Review by Chris Olson Tense and dramatic short film Bad Men and the Devil is primarily a Western in genre and themes, capturing the innate storytelling ethos and atmosphere so familiar with movie fans. From the villains that make up the characters to the stylish costumes and foreboding score, every part of this short, from filmmakers Travis Lee Eller and Tino Luciano, taps into the world of the Wild West. Inside a darkened saloon sits an array of gunslinger types, casually drinking in stony silence. Shortly after someone enters the bar and orders a drink, the silence is broken by a cacophony of bullets being fired, leaving only one survivor - the Bounty Hunter (Travis Lee Eller). The main body of the film is then made up with a static shot of Eller delivering a monologue to camera, in which he speaks in vague notions of evil deeds and retribution, explaining how he came to be in the saloon. Aside from a few shuddering cliches, the dialogue in this section is pretty enjoyable and a couple of moments are genuinely startling - such as the Bounty Hunter revelling in a maniacal laugh. Few indie films attempt a genre piece with such passion, getting right down to the details. The tone is well-sculpted, the aesthetics are perfectly rendered, and whilst there is little to chew on cinematically, the audience is drawn into the central character's motivation incredibly effectively. That being said, the film was a little light on story. It seemed a shame to not develop it more and considering all the heavy lifting of creating mood had been done superbly, more development of the plot was not a big ask. Thematically the film chomps on some pretty stale bread. There is not a huge amount to take away from Bad Men and the Devil. Other Western stories have told this kind of fable with better characters and development. However, the appeal of a short film like this should be seen more from the feel rather than the points or social commentary it makes. From a filmmaking standpoint, though, there is a lot to enjoy here. There is a formidable attention to crafting a viewing experience, by Eller and Luciano, that is immersive and boldly engaging. Fans of the Western genre will delight in the resplendent world that has been created, letting themselves be wrapped up in the dark and dirty feel whilst Eller delivers a character made up of a tried-and-tested formula that is timelessly entertaining. #ShortFilmReviews #ShortFilms #ChrisOlson #Western #TravisLeeEller #TinoLuciano #JimKelly #JeffElsey

★★★★ Written and Directed by Stacey Stone Documentary Film Review by Chris Olson A topic as emotionally harrowing and tragic as PTSD (post traumatic stress disorder) is the perfect subject for an intense documentary film. The reason being that there are still so many unknowns about the affliction, and it's impact on individuals and society at large, that an in-depth scrutiny of the subject is the only way to inform audiences as much as possible, and, hopefully, enact some form of cultural intervention. Fortunately, filmmaker Stacey Stone delivers a documentary that is powerfully candid and insightful about PTSD and its victims. Typically related to war veterans, living with trauma can actually affect many people in a variety of ways, and this is something which My Own War does exceptionally well, making it feel like a very personal experience had by a variety of people, not just military men. That being said, the film is largely made up of talking heads with a service background, offering a brilliant insight into the journey that veterans experience after serving, and how some of their more harrowing ordeals have damaged them physically, emotionally, and morally. Several physicians and doctors are also on hand to offer medical commentary on the nature of PTSD. One such discussion about the effect on a person's morality after suffering trauma was particularly fascinating. Stone uses a variety of methods to create impact in the filmmaking, such as overlaying sequences of support groups with brutally honest revelations from interviewees to connect the damaging consequences of a world at war, or intense close ups of victims on the verge of tears in order to not shy away from the emotion of the scene. There is nothing hugely cinematic about My Own War as a documentary film, but to do anything extravagant or glossy would be obscene given the nature of the topic. Instead, Stone chooses to be heartfelt, honest, and grounded in order to bring the subject up for discussion in a way which is accessible yet moving. The chapter approach to telling the story felt a little flimsy at times, and unnecessary. Essentially the turbulent journey that the interviewees discus felt raw, so much so that the titles announcing the chapters just felt at odds with the chaos. Like it was trying to organise the nightmare rather than let it play out with unrestrained brutality. However, some of the final sections are utterly captivating and enhanced by the small threads which tie them together, and I am not ashamed to admit I shed a few tears. My Own War is as dignified a film as you can ask for on a subject as ambiguous and fluid as PTSD. Whilst fictional War Films often do credit to the characterisation surrounding the ailment, few are able to tackle the issue with such tenacity as this. The outcome is an incredibly poignant piece of filmmaking that deserves to be recognised as one of the foremost examinations of a global problem, that reaches hidden depths that uncover a troubling pandemic. Watch the official Movie Trailer for My Own War below... #DocumentaryFilmReviews #ChrisOlson #Documentaries #PTSD #WarFilms #StaceyStone

Directed by Patrick Ireland Starring Eddie Chamberlin, Christopher Laws, Scarlett Marshall, Harrison Osterfield, Olivia Lahaye, Holly Boyden, Roisin Monaghan and Louise Devlin Short Film Review by Michael Fiott One in a Million is a dark and haunting short film produced by The London Film School that follows the young character of Kevin (Eddie Chamberlin), an autistic orphan who in many ways struggles to fit into his surroundings. This leads him into many situations in which he is taken advantage of and is made to feel different from his peers, he struggles through all of this whilst hanging onto his one dream of winning the lottery and becoming a millionaire to escape. The first thing that is evident from the very beginning of this short is how well it is shot, it has a dark and dreary tone that is multiplied by its use of black and white throughout, which reminded me of the visual aesthetic of 1977’s Eraserhead by David Lynch, (although this film is decidedly less strange). It uses many gorgeous establishing shots of England’s South End that remain completely still and achieve a feeling of melancholy by the lack of busyness, these shots show us that on these streets and piers there is nobody going about their daily business which results in a very quiet and subtly haunting feeling for the audience, which I can only assume was a deliberate and smart choice by director Patrick Ireland as he tries to subconsciously inform us about the loneliness that Kevin experiences on a day to day basis. To compliment this bleak tone, Ireland also uses eerie, string-based classical music composed by Sam Wise, the music is audible in the film throughout Kevin’s most vulnerable and personally important moments and assists us in our understanding of him. The most in depth character in the film is of course its protagonist, he has many different elements to him such as his social awkwardness, his endearing want for attention from the opposite sex and his belief in heaven that remains his only hope of feeling connected to his deceased mother. However, many of the other characters do not have enough time to be truly fleshed out and certain inconsistencies begin to rise with them, most notably in that of Charly portrayed by Scarlett Marshall. Who at one moment seems to be rather condescending when offering Kevin the opportunity to go on a date with her and at the next seems to almost miraculously fall in love with him after a few short hours. Had the other characters been given short and subtle backgrounds to them like that of Kevin, these small issues would have been able to be worked out and would have resulted in the audience having a clearer understanding of why they treat him the way they do. That being said, these young actors all gave performances to the best of their ability, Eddie Chamberlin was believable as the awkward teen and proved to be a stand out performer managing to create a genuine feel of unease in scenes that do at times truly inflame our human sense of empathy. This is doubled by Christopher Laws' performance as the psychotic Leo, whose deep voice and unwavering stare fills us with anger at the mere sight of him knowing what he is capable of. Overall this film is an exciting effort from Patrick Ireland who’s eye for aesthetic is one to look out for. #ShortFilmReviews #MichaelFiott #ShortFilms #PatrickIreland #EddieChamberlin #ChristopherLaws #ScarlettMarshall

★★★★ Directed by Brendan Prost Starring Carolyn Yonge, Sean Marshall Jr., Jennifer Kobelt, Monice Peter Indie Film Review by Chris Olson In what deserves to be an instant cult classic, filmmaker Brendan Prost delivers an indie film that stands toe to toe with the best of witty comedies. Carolyn Yonge plays Dolore, arguably the most anxious onscreen character you have ever seen, whose panicky tendencies seem out of proportion to her situation. With a doting boyfriend, Ryan (Sean Marshall Jr.), and being about to meet up with her estranged BFF Sinead (Jennifer Kobelt), who has been away travelling for years, Dolore does seem to coping, mostly, with her crippling self doubt. However, upon Sinead's return, she is introduced by Dolore to Ryan, and it seems they may have met before, causing Dolore to spiral. Luckily Dolore has another friend (Monica Peter) whose fierce attitude towards life may be just the cure...if she is even real. Part rom-com part social drama, Sensitive Parts is an intelligent, tactful, and very funny film. Benefitting from an outstanding script from Prost, and an incredible central performance from Yonge, the movie felt like a lost gem from Woody Allen's back catalogue. There is a genuineness to the characters which is the foundation of the film, their interaction is completely believable and their emotions are poignant without feeling saccharine. Yonge delivers a turn worthy of cult cinema history books, like a Juno of the digital age. She is smart mouthed but racked with insecurities, her heartfelt attempts at engaging with life are a fraction of what she does to escape it, making her totally damaged and likeable. Similarly, Kobelt is...ahem...fierce as the best friend. During one sequence where she has it out with Ryan about the difference between guy friendships and girl friendships, the audience will be left bludgeoned by the brutal reality of her words and delivery. Marshall Jr. also has a fantastic journey through the film, and plays a character who subverts the male cliche, that he too is damaged and fragile. There do exist a few flaws in Prost's film, some of which are likely down to an indie film budget. The first is the sound editing. A few sequences are spoiled by an irksome lack of background noise, which I know seems crazy. However, during a scene where Dolore has picked Sinead up from the airport and they are driving back, there is barely any noise in the car other than their voices, and this happens in a few other scenes too. The effect is jarring for the viewer, as it made the scene feel constructed rather than natural. That being said, it was most likely microphone constraints rather than an oversight. Another small criticism would be the lack of cinematic daring. Nothing in Sensitive Parts could be described as visually bold, apart from a dance section involving strobe lighting, but everything is handled with strong capability so it could be down to personal taste, letting the story and characters doing the heavy lifting. Aside from those small nags, Prost's film is utterly enjoyable and honest. There is a dedication to the characters and storytelling which transcends any minor technical issues, leaving Sensitive Parts as a hugely successful comedy film for the generation of young people trying to survive the emotional gauntlet of having a relationship in the digital age. #IndieFilmReviews #IndieFilms #ChrisOlson #BrendanProst #CarolynYonge #JenniferKobelt #SeanMarshallJr #MonicePeter

Written & Directed by Nicholas Connor Starring Nicholas Sheard, Katie Quinn, Geraldine Connor Short Film Review by Rachel Pullen We all die, that is a fact of life, but how we deal with death is different from person to person. They say grief manifests itself in different stages and one of them is denial. Think of Me tackles this subject head on, we follow Ben (Nicholas Sheard), a young boy who has lost his older sister (Katie Quinn) and is deeply in denial about her death. He spends his days alone in the forest with his imagination which manifests as his sister, continuing on their sibling traditions, afraid to let go as he does not want to never see her again. Ben’s mother (Geraldine Connor) is on the opposite end of the grief spectrum, and is in the phase of depression, crying and saddened by her loss yet also concerned for her son as he cannot come to grips with what has happened. This short film won the ‘’Into film of the month’’ as well as being nominated for the best student film at Selby International film festival and the independent direction competition at Leeds young film festival, and these awards and nominations are clearly deserved. Think of Me is beautifully shot, capturing the isolation of the forest where young Ben spends most of his time; we can feel the overwhelming loneliness of his situation, but Nicholas Connor juxtapositions these moments with those of a more light hearted nature. We are thrust in to a world of delicate and personal memories, of Ben and his sister enjoying their time in the forest and as an audience we feel his connection to the location, thus it becomes not a place of loneliness but the centre of their intimate connection. Think of Me gives the audience a jarring insight into not just death, but the grief that comes along with it for the loved ones after and it is something that many people can relate to. Yet Connor as the writer and director places those who may not have had to deal with grief in their lives in a position where they too can relate, by casting competent young actors and choosing a moving and fitting soundtrack, he has created a subtle yet moving atmosphere which is engaging for any viewer. Think of Me is a compelling short which conveys a powerful message in a very short space of time and is certainly a must watch for any person who is struggling with the subject at hand. #ShortFilmReviews #RachelPullen #ShortFilms #FilmFestivals #NicholasConnor #KatieQuinn #NicholasSheard

★★★★ Directed by Ed Christmas Starring Richard Southgate, Daniel Ormerod, Charlotte Asprey, Terry Sweeney & Simon Dobson Film Review By Jack Bottomley “A Story to Die For” Journalism is a cruel, malicious and (quite often) ethics-free business, every so often someone can chase the truth and use their journalistic credentials to tell a worthwhile story or inform the public, sadly a lot of the time that is not the case. Journalism can often be a gateway to obsession, striving for fame and the erosion of our basic morality and humanity. You can literally pick up any newspaper and see such erosion or, in these easily accessible times of multimedia, you can simply search online to find folk phone filming their way to viral fame with a video- sometimes helpful often intrusive and insensitive. The pursuit of fame and/or a “juicy” story can truly twist someone into something else, and in many ways this is the whole idea that underpins Writer/producer/director Ed Christmas’ film The Man with Four Legs. Despite sounding, if you were to take the title at face value, like a documentary about an over-limbed gentleman, this title and it’s meaning, only really comes to make sense later on. The film follows Angus (Richard Southgate), Tom (Daniel Ormerod) and Ethan (Terry Sweeney), a group of young guys with documentary aspirations. Angus has been circling a potential story that revolves around a recently released hospital patient named James (Simon Dobson), who seems to be suffering from some kind of amnesia. James was found on a street corner one night beaten over the head and all he recalls is waking up in hospital. As the morally dubious team follow James, salivating for a story, they begin to wonder just whether James’ delusions, are all that insane? From the opening moments of this film, this reviewer was reminded a little of the- far bigger budgeted American fare- Nightcrawler (2014), and as this film progresses, it shares a similar tone with Dan Gilroy’s thriller, of going to dark lengths to follow a story. From the offset, aside from the more reserved Ethan, you take an immediate indifference towards the characters, who seem insensitive towards their troubled subject and are too taken on with banter about knobs (and we don’t mean the door opening kind) than this project. This would be a problem and initially it appears as though it may be, until you get drawn into the film and realise the purposeful construction. Christmas lures you in, not with particularly nice characters but believable figures in a realistic story of some arrogant young guys biting off more than they can chew. As the clearly confused and fragile James struggles to understand why the people he “remembers” as his friends and family pass him in the park, these guys are more taken on with reaction shots, constructing their own spin on the narrative at home on a laptop and getting as many cameras as possible capturing their good side. Initially slow and with a little bit of a vague direction, Christmas eventually pulls the strings together and- much like Henry Joost and Ariel Schulman’s engrossing 2010 documentary Catfish (which inspired the inferior TV series)- you find yourself mulling over everything you are watching thanks to clever direction, that leaves you pondering where it is all heading. Is James right? Is this woman Sam (Charlotte Asprey - who is very good in her supporting capacity) really as baffled as she says regarding this man who claims to be her husband? At one point this writer even wondered if a Sci-Fi twist could come along. Needless to say the resolution is far more grounded in reality and tops off the film’s comment on the consequences of obsessive aspirations of journalistic fame driving you to darkness. The twist, or more accurately payoff, may feel a little too simple for some but the budgetary constraints of Christmas’ film was always going to mean there was a limit to how far he could go but the impact is lingering. However the emotional element and almost daydream like sequences – that do admittedly jar a tad with the mockumentary style shooting style- are one of the film’s most impressive aspect and they visually enlighten the film. No doubt Director of Photography Markus Ljungberg has done a sterling job here. As has Luis Almau, whose music is enormously professional and polished and quite emotive, especially in the film’s home video sequences. The Man with Four Legs may seem like it is going to be a bit of a chore with the leads and their braggadocios waffle but everything actually comes to fit neatly into place and, minus the odd jarring line of comedy, the script is of very good quality. However the most impressive quality is perhaps the acting, which in low budget or independent films can be wonky but here is thoroughly consistent. Richard Southgate is excellent as the self-adoring Angus, who overseas his crew and carries himself as though he is a Pulitzer Prize winner and just slumming it with these guys. Daniel Ormerod is also good as Tom, a very easily led character, who only really comes to his senses in the final stretch of the film, while Terry Sweeney offers the only likable presence of the trio, as the quietly spoken cameraman Ethan, who comes to see past the story and acknowledges the humanity of this figure. And to that point, Simon Dobson is superb as James, a truly sympathetic and believably fractured and confused soul. In fact he is the soul of the narrative. The Man with Four Legs may have the odd flaws and some may struggle to spend time with the purposefully vane and shallow characters but that is the point! We urge you to stick with this story and like the characters themselves, you will be taken to a dark place that carries a lot of weight with the real world of viral fame and unethical journalism. A great surprise and a film that makes one think. Indie Film Reviews this way #filmreviews #Indiefilmreviews #JackBottomley #IndieFilm #SupportIndieFilms #Mockumentary #filmreviewsUK

★★★★ Directed by James Mangold Starring Hugh Jackman, Patrick Stewart, Richard E. Grant, Boyd Holdbrook and Dafne Keen Film Review by Bailey Claringbold An elderly Wolverine and Professor X are struggling to get by, wearing away slowly. When Logan is approached by a mysterious woman and asked to take care of her daughter, the young child (Dafne Keen) is not what she seems. Charles (Patrick Stewart) and Logan (Hugh Jackman) are forced to protect her from a pursuing militia and pushed past their limits to survive. First of all let me just say, FINALLY, an R-rated Wolverine! This is the portrayal we've all been waiting to see, a brutal and savage Logan that doesn't hold back on dismembering his opponents. The action sequences were some of the best I've seen recently, excellently choreographed and superbly shot without using an abundance of cuts. It was so refreshing to actually be able to see what was going on with blood and limbs flying left, right, and centre. All of the stunt work was so realistically represented, taking into account the vulnerability of an older Logan who isn't able to rapidly regenerate anymore. He didn't fly through the air like Superman, he forced his way through with barely any aerial acrobatics. Visually, this film was a delicious feast for the eyes. John Mathieson's cinematography was perfect, utilising grand wide shots and tracking shots. The locations and set pieces looked beautiful, they really managed to capture that futuristic apocalyptic feel due to the desert backdrop. On the whole, the CGI was blended pretty well, apart from some obvious stunt scenes where the animation leaked through for a split second. Jackman nailed this role once again. After seventeen years of playing Wolverine he pulled off a different take on the character here. This was a Logan that had almost given up on life, not caring about his actions, or anyone else. Thanks to the film's mature rating there was a good deal of swearing throughout which added to the intensity of the performance. Stewart was also brilliant, acting as the comedic levity at some points. He was convincing in his portrayal of someone beginning to lose their mind, not the all-powerful super being we've seen previously. However, I have to say Keen was the standout for me. She was perfectly cast as Laura, giving some of the most emotionally investing scenes and some of the most ferocious scenes. Unfortunately, the screenplay was not quite up to scratch. Although there was some fantastic dialogue and plot points scattered along the way, the film faced some pacing issues, seeming to slow down drastically, which isn't necessarily a bad thing, but I found my attention dwindling now and then. There was also one major plot point that I didn't think worked too well and seemed a little forced, but didn't ruin the narrative at all. Overall Logan is a vicious bloodbath, offering some astounding performances and totally revitalises the X-Men franchise. This is a film that is emotionally investible and possibly my favourite X-Men film to date. #FilmReviews #BaileyClaringbold #TheatricalReleases #Superheroes #JamesMangold #HughJackman #PatrickStewart #RichardEGrant #BoydHoldbrook #DafneKeen #Marvel