★★ Directed by: Scott Milder Starring John Hardy, Lauren Myers, and Frank Taylor Green. Indie Film Review by Bailey Claringbold Calliope (Lauren Myers) is content in her relationship with Roy (Frank Taylor Green). When she suddenly suffers from a seizure, distant memories of a veteran named Billy (John Hardy) begin to surface. However, these are much more than recollections, they are violent parts of Callie's past. From Dead Billy's description and it's opening credits, blasting out a thumping rock song, I was initially very intrigued by this indie film. I regret to say that after ten minutes or so I lost that enthusiasm. The performances were rather brilliant throughout the film. All of the main cast conveyed distress and confusion well, a key emotion throughout. I admired Myers's role, she was clearly a tortured soul, and she was definitely the character that I connected to the most from her performance. That being said, Hardy also brought his A-game as Billy, he made me feel uncomfortable at times and was an excellent casting choice. The intense acting was certainly the most powerful aspect of the film, as this is the sole element that kept my interest. This was also a decent looking film with a muted colour palette of browns and earthy colours, adding to the maturity of the story. The locations helped to keep it gritty and grounded, for example Callie and Billy's casual flats. I particularly liked one of the earliest flashback scenes, in which television static is utilised to represent Calliope watching the memory back which was a clever and well designed visual. However, the screenplay and narrative just did not cut it for me. Towards the beginning there was some compelling character development and the opening sequences piqued my curiosity, I enjoyed seeing the tension between Roy and Calliope as Billy was introduced into the mix. After the first few flashbacks, the narrative really started to face some pacing issues. Although the slow dialogue may have been intentional to make it more suspenseful and the slow progression may have been to make it seem more like real time, there was just something stopping it from keeping my interest. Comparing it to say Prisoners (2013), another psychological thriller with brutal and severe themes, Prisoners had more compelling dialogue and characters to help push the film along, whilst keeping that real time approach. Even though the concept behind Dead Billy is well thought out, its execution left something to be desired. With some fantastic performances and direction, Dead Billy looked promising. However, the pacing and the narrative kept this from being the film that it could have been. #IndieFilmReviews #BaileyClaringbold #IndieFilms #ScottMilder #JohnHardy #LaurenMyers #FrankTaylorGreen #Thriller

Directed by Gage Oxley Starring Jack Parr, Kaya Moore, Jim Bayes, Oliver Ashton, Jack Bell, & Cameron Hutchinson Short Film Review by Chris Olson Identity is a troubling thing in any culture. Who are we? Where do we fit in to the community we find ourselves in, especially when our preferences and emotions seem to contradict that of the majority? LGBT short film This World We Live In poses these questions and more, in a starkly emotive and gripping drama. The story follows Joey (Jack Parr), as he struggles to cope with his confused sexuality. Narrating his inner thoughts as he goes and musing on the world in general, Joey finds himself both surrounded and isolated at the same time in an enduring balancing act that relentlessly wears him down. Even during moments where he is able to explore his ambiguous homosexual attractions (with the helping hand of cocaine), these seem riddled with extraneous pressures and the fallout is equally as damaging as the pretense he maintains. As his inner turmoil increases, so does his reckless behaviour, building towards inevitable peril. Filmmaker Gage Oxley cleverly delivers a film that feels one part government broadcast, one part wildlife documentary, and one part social realism. The result is an incredibly powerful short film. The narration feels so detached from the visceral drama on screen that it hones in on this isolation and detachment that Joey feels, like he is weightless even with all the weight on his shoulders. The use of dark lighting captures the perfect mood to reflect the themes too, and the work from DOP Matthew Tingle is brutally honest, keeping the viewer in close proximity to Joey throughout. There were some impressive set-pieces during This World We Live In, including a brilliant tilting motion of the camera used to display Joey's phone which then sweeps back up to reveal his distressed face. This felt like a metaphor for the fluid nature of Joey's state of mind, reflecting the awkward angle he seems to be viewing life through. Another great scene is a slow zooming out of his back in the shower as the water pounds him from above, a tender sequence that felt raw and emotive. Thematically the film is ripe for exploration, tackling numerous hot topics, including the aforementioned discussion around identity. Many of the themes will feel familiar if you have seen many LGBT films, where the cores of the stories often centre on characters feeling at odds with the status quo. Where Oxley's film differs, is rendering the feeling as an almost palpable atmosphere to the film, and allowing it to swallow it's main occupant. Completely engaging, emotionally visceral, and tonally honest, This World We Live In has a special place among the short film category this year and could prove to be one to be reckoned with at any Film Festivals it appears at. #ShortFilmReviews #ChrisOlson #ShortFilms #FilmFestivals #LGBT #GageOxley #JackParr

Directed by John Clark Starring John Clark Short Film Review by Monica Jowett Short documentary film I Have Asperger’s: So What? follows John Clark, who also writes, directs and produces, a young man who suffers from the disorder. The autobiographical examination of Clark’s life with the disorder aims to provide more insight and understanding to Asperger’s. The ‘So What’ in the title is implied to mean that Clark does not let the disorder control his life and quickly establishes the John Clark is an optimistic young man who won’t let anything dictate how he should be living or what he wants to do. The film takes us through Clark’s life, from a young child to present, sharing certain and important parts of life that were all connected to his life with Asperger’s. He shares memories that have made an impact on his later life, and difficulties he faced growing up, from being diagnosed with the disorder aged five, through periods of bullying in school, finding his footing in university and his short time in the adult world. I Have Asperger's: So What? can be seen as a stepping stone into the life of someone who has the disorder, or is close to someone who has it, as it highlights the important aspects of its effect. For anyone with little knowledge about it, the short film slowly feeds the viewer information about the problems Clark faced growing up, from social and communication skills to general health. Within his narrative, Clark frequently touches upon how vital his family was in his upbringing with Asperger’s and that theme of family, whether blood or family of friends, runs throughout, showing the importance of family in his life. Another theme which is prevalent is acceptance. Clark is using his autobiographical documentary to draw focus to Asperger’s and what the disorder actually entails, and hopes the conclusion will be more people accepting and understanding it. Clark has edited the film to be a montage of home videos and childhood photographs, mixed in with footage of Clark as he is today, using a combination of close-ups and long shots that show the viewer what he is like today. Over all of this, Clark narrates his life, in an informative and reflective tone, adding touches of dry humour to it. Though the filmmaking is amateur, Clark has clearly created a film about something he is passionate about, and as it ends the viewer is let with more insight and appreciation for Asperger’s and those who have it. #ShortFilmReviews #DocumentaryFilmReviews #MonicaJowett #ShortFilms #Documentaries #JohnClark

★★★★ Directed by Gurinder Chada Screenplay by Paul Mayeda Berges, Gurinder Chada and Moira Buffini Starring Hugh Bonneville, Gillian Anderson, Gurinder Chadha, Manish Dayal, & Huma Qureshi Film Review by Amaliah S. Marmon-Halm This films starts very powerfully with a quote, “history is written by the victors.” You know a film has a lot of power embedded in it when it can make you leave the cinema with a new perspective and feel like you’ve been slapped by the hand of emotion. That was more or less how I felt after watching Viceroy’s House. This incredibly made film, directed by Gurinder Chada (Bend It Like Beckham/Bride and Prejudice/Angus, Thongs and Perfect Snogging) and written by Paul Mayeda Berges, Gurinder Chada and Moira Buffini, tells the story of a country on the brink of independence. Viceroy’s House in Delhi was the home of the British rulers of India. After 300 years, that rule was coming to an end. For six months in 1947, Lord Mountbatten (Hugh Bonneville), great grandson of Queen Victoria, assumed the post of the last Viceroy, charged with handing India back to its people. It’s up to Lord Mountbatten to usher a new age into India and make the process as smooth as possible. The turmoil that unfolds throughout the country cannot stop from spreading into the Viceroy’s house. The political elite, Nehru, Gandhi and Jinnah, offer their expertise and try to help sway Mountbatten to make the right decision. However the choice is made to create a separate Muslim state called Pakistan. The repercussions caused by this create a rift that not only runs across maps and borderlines but deep into the heart of the country and its people. You can still see the effects today. The conflict that ensues causes too many to lose their lives. As described by Chada herself, this film is deeply personal to her, since her own family was caught up in the tragic events that unfolded as British rule came to an end. Her film illustrates the events that took place through the perspective of the Mountbatten’s marriage and the hidden romance between a young Hindu servant, Jeet (Manish Dayal), and his intended Muslim bride, Aalia (Huma Qureshi). The young lovers find themselves caught up in the seismic end of Empire, in conflict with the Mountbattens and with their own communities, but they hold on to hope until the very end. Viceroy's House will touch the very core of your being and leave you feeling heavy with emotion. The beauty of the cinematography, the colour, the score, every aspect is designed to make you feel like you're there and like you are right with those characters. A truly remarkable film. #FilmReviews #TheatricalReleases #AmaliahSMarmonHalm #GurinderChada #History #HughBonnerville #GillianAnderson #ManishDayal #WomeninFilm

★★★★ Directed by John Heath Written by Anthony Montes Starring Anthony Montes, Toby Maka, Marlene Mc'Cohen, Johnny Williams, Ciera Danielle, Ryan Neil Conklin, Brian Lally, Eunice Olsen, Sam Fox, Joe Penny, Cynthia Bravo, Sam Lafrance, & Suzanne Kent Indie Film Review by Chris Olson "Real Italian leather...from Italy" Calamity and comedy ensue in the riotously enjoyable indie film The Last Night Inn. Written by Anthony Montes, and directed by John Heath, there is a marvellous blend of comedic genres that taps into other theatrical motifs, to deliver a film that could have been lifted right off of Broadway. Set almost entirely in and around a seedy motel, the audience is given multiple narrative threads to follow, each occupying a different room or section within The Last Night Inn. The occupants (and employee) range in terms of their reasons for being there, but all have an entertaining and (mostly) hilarious plot to suffer through. Such as the clumsy gangster duo (Montes and Toby Maka) that have performed a kidnapping on the wrong person, leaving them in a perilous predicament when the girl turns out to be a mob boss's lover (Marlene Mc'Cohen). The trio enjoy some hugely enjoyable banter whilst trying to figure out how they will proceed. Another storyline is a man (Ryan Neil Conklin) who is in the process of purchasing a night with a lady of the night (Ciera Danielle), however, there could be more than meets the eye to this supposed exchange. In a different room, there is a separate, but equally engaging, plot about a sting operation about the be sprung. The funniest thread, though, is a woman (Suzanne Kent), who is attempting to commit suicide but failing miserably. Her slapstick theatrics and near-silent comedy timing is simply superb! One of the aspects to The Last Night Inn which separates it from other comedy films of this ilk, is the confidence in the script to include longer scenes. Given that this is a multiple narrative movie, it would have been easy to cut away regularly and avoid having to stay with the characters - for fear of losing the audience's attention. However, Montes's script has some fantastic characters and dialogue that is given plenty of time to shine. The outcome is something more akin to a hit stage comedy than a hokey indie comedy. There was a slight soap opera feel to some of the sequences that fell just on the wrong side of being silly rather than witty. And a couple of the performers felt a little rigid delivering their lines. Some viewers may not enjoy the gangster cliches, whilst others will find them incredibly endearing. It must be said that many of the performances were excellent comedy turns. Additionally, some of the dramatic performances were really engaging, in particular Brian Lally. A little on the fun side of filmmaking, Heath delivers one of the most formidable comedy films of the year. #IndieFilmReviews #ChrisOlson #IndieFilms #Comedy #JohnHeath #AnthonyMontes #TobyMaka

Directed by Sam Gosper Starring Taki Abe, David Vuong, Laurent Boiteux, Joseph Carbone, Moustafa Dennawi Short Film Review by Evie Brudenall Masterminded by filmmaker to watch Sam Gosper, Hunt for Hiroshi is a piece focusing on the escapades of a justice-seeking Ninja. Albeit not your typical fodder for an indie short, Gosper’s creation is in no way restricted by its running time and is one of the most impressive spectacle shorts you will ever see. Hiroshi, a ruthless and exacting Yazuka crime-lord, is being stealthily hunted by Hisashi, his former mentor who is equally as driven in his goals. After turning an infamous ninja clan into a modern day organisation that monopolises the city, Hiroshi finds himself well and truly in Hisashi’s bad books and must have his men take down Hisashi before he reaches him. A simple premise of a man seeking revenge and justice is enhanced exponentially by the plethora of Gosper’s artistic flourishes, particularly his outstanding gift to direct an arresting and high-octane action fight sequence. Tightly choreographed and brutally visceral, the fight sequences you’ll see here in Hunt for Hiroshi are as good as any you’d lay eyes on in a Hollywood blockbuster – if not better. The use of long takes capture and cultivate a vital sense of peril and immediacy, a style reminiscent of the recent but acclaimed action franchise John Wick (a similarly themed straight-forward tale of revenge) that capitalises on the gloriously bloody in a minimally edited fashion. Every cut feels motivated and thoughtfully placed as not to hamper the rapid flow of the action but to keep audiences engaged and entertained as they survey the infusion of hand-to-hand combat and use of firearms. The two worlds collide and reach a pulse-racing velocity, refusing to let us take a breath. Gosper crafts the film’s action with an abundance of punch and poise, so much so you could watch the sequences on continuous loops and be left in awe every singly time. From the opening shot of a lethal-looking blade dripping in crimson blood, there is a strong indication that this sentiment will pervade the rest of the picture, which is confirmed just mere minutes later. Blood is plentifully shed and the gore and violence is rife to degrees that Hollywood heavyweights Quentin Tarantino and Mel Gibson would be proud of. Like these filmmakers, Gosper is magnificently cinematic in his approach but acutely recognises his adopted action genre. The camera swoops over the lavish and dazzling city, flash fast cars pursue Hisashi in a thrilling chase sequence that sees Hisashi plunge himself into oncoming traffic and cling onto the roof of a car to evade capture and certain death whilst a helicopter hovers threateningly over the city. Hunt for Hiroshi is more satisfying than the majority of action flicks produced by Tinseltown nowadays and is a must-see for any friend of the genre. Whilst you marvel at the stunning cinematography the film has to offer, Hunt for Hiroshi also wants the audience to ponder and ask questions, ultimately achieving their goal with a tried-and-tested formula of the pronoun game to keep Hisashi a figure of relative obscurity. On the phone to an associate, Hiroshi tantalisingly summarises, “I remember the day he gave it to me” as he delicately handles the blood-drenched sword. Excelling in every other department, it’s the dialogue that feels the least polished and professional as the script often speaks in contrived riddles and offers audiences no apparent solution. However, a title card at the short’s culmination reads, “To be continued”, encouraging us to hold onto our questions – they will soon be answered and the two equally powerful foes will eventually come into direct conflict with one another. We hope. Left with the need for more of Sam Gosper’s genius, Hunt for Hiroshi whets our appetite for a possible extended universe dense with spectacular action and sumptuous visuals. Independent filmmaking has never been so grand or ambitious. #ShortFilmReviews #ShortFilms #EvieBrudenall #SamGosper #ActionFilm #MartialArts

★★★★ Directed by Steve Gibson Starring David Gries, Jami Tennille Indie Film Review by Chris Olson Beautifully understated and incredibly intriguing, indie film The Lost Within, from filmmaker Steve Gibson, is a slow-burning thriller that delivers an almost sumptuous viewing experience that is equally unnerving and dark. Journalist-cum-would-be-novelist Jon (David Gries) is doing research on a book he is writing about reclusive people. Whilst his initial research into the topic is sadly unsatisfying, often paying leads for no reason who turn out to be rather resentful of his intrusion, his luck turns when he finds a subject that more than peaks his interest, who may just be willing to cooperate. Residing in a cheap motel is a woman called Agatha (Jami Tennille), who has a reputation around the motel of being anti-social, curmudgeonly, and perhaps violent. Jon decides to pursue her as a possible source for his book, only to find himself becoming increasingly fascinated and obsessed with Agatha, going to extreme lengths to unlock the mystery surrounding her and the reason for her isolation. There is a fantastic tenacity to the character of Jon, who is also polite and sensitive, that makes him the perfect entryway for audiences to journey through The Lost Within. As he traverses the odd landscape of Agatha’s world, liaising with anyone who happens to know anything about her, there is a slow-release of acute preoccupation that builds and builds, but not in a way which feels overtly forced, or falling into typical dramatic conventions. It is a film that has a perfect sense of pacing, thrilling when it needs to be and remaining intelligent throughout. It has subtlety where most would have a hammering effect. Watch the official Movie Trailer for The Lost Within above. The performances are incredible; Gries, is phenomenal as the lead, revelling in a character who has many facets to his personality. Some of the lighter, but equally enjoyable, moments in The Lost Within are when Gries is having banter with the staff at the motel. These comedy moments create lovely breaks in the otherwise intense thriller atmosphere. Tennille is simply immense. Her character is delivered with poise and grace throughout, never losing the sense of mystery which is the lynchpin of the movie. This is enhanced by Tennille’s curt dialogue, stiff body language, and intense eyes which keep the audience feeling uncomfortable whenever she is on screen. Alongside the great turns from the cast, audiences will also be able to enjoy some excellent moments of cinematography. During an early scene outside the motel, the camera sweeps along the ground, revealing the activity going on, finally landing upon legs of a woman (we assume later is Agatha). This had an almost supernatural feel, and was an effective way of starting the movie. Another excellence sequence involves a window curtain and a man mowing the lawn, to say more would be a spoiler, but it was an incredible moment of cinematic genius! The Lost Within wonderfully explores the dark characters it contains. This is intelligent filmmaking and an example of how to deliver thrilling drama without resorting to cheap tricks or cliches. Aside from a few scenes of wooden dialogue, it is near perfect. #IndieFilmReviews #ChrisOlson #IndieFilms #MovieTrailers #SteveGibson #DavidGries #JamiTennille #Thriller #PsychologicalThriller

★★★ Directed by Irving Franco Starring Catherine Blades, Chris Bert, Rachel Beyda Indie Film Review by Phil Slatter Towards the end of American Pie 2, there is a scene in which hapless Jim (Jason Biggs) is trying to impress glamorous foreign exchange student Nadia (Shannon Elizabeth). As he recounts one of the many embarrassing stories that happened to him, he realises his true feelings actually lie with slightly-dorky band-geek Michelle (Alyson Hannigan). ‘I am a band geek’ he realises,’ I just never joined the band’, finally acknowledging his teenage social standing lies not with the popular girls but with an altogether different group. The idea of wanting to be popular while at an age where you’re trying to figure out exactly who you are is an idea explored in many films and T.V. shows from the aforementioned American Pie series to John Hughes’ cult classic The Breakfast Club and the T.V. and film shows of The Inbetweeners. It also forms the central idea of Irving Franco’s slight but interesting indie film Cheerleader. Set in a somewhat non-descript time and place where adults are largely absent, Mickey (Catherine Blades) is a high school cheerleader dating Josh (Michael Campayno) a key member of the school’s basketball team. The initial set-up reveals that Josh has cheated on Mickey and so she sets out to make him jealous. Initially, this struggles to draw you in as it’s somewhat rushed and understated considering the importance of the plot-point. This can however be attributed to the film’s indie aesthetic, as budget often makes it difficult for additional scenes to be shot to flesh out certain characters and engage the audience with any plot intricacies. Mickey subsequently hooks up with Buttons (Chris Bert) a computer geek with whom Mickey would never normally associate. As you might expect though, Mickey starts to realise she has more in common with the nice but timid Buttons than with her own popular crew of fellow cheerleaders who spend their time making bitchy and snide comments about those whom they deem to be beneath them. It doesn’t just become a case of who will Mickey choose but who should she really be hanging around with. In short, who is she? Blades plays the lead role well, with the right amount of naivety which is crucial in order for us to not feel too angry towards her when certain events of her making have negative consequences for others. Bert meanwhile is excellent in portraying a teenager who becomes the film’s most likable but put-upon character. It’s clear where your sympathies will lie, but Cheerleader offers no easy resolutions and a downbeat, unpredictable ending that feels more true to life than your average high school film. There are issues however. Some of the humour doesn’t quite work as well as is needed and the slight nature of the over-arching plot leaves you feeling somewhat short-changed. Mickey’s voiceover too, which feels like an online dating blog, is personable but remains a tool used largely for exposing the characters inner-turmoil and feelings. Show us, don’t spell it out. Yet there is enough that does work and that suggests the filmmakers have talent that could be utilised with more funding. The relatively darker elements are most certainly a refreshing change in a film that asks familiar questions and doesn’t resort to clichéd, Hollywood answers. #IndieFilmReviews #PhilSlatter #IndieFilms #ComingofAge #IrvingFranco #CatherineBlades

Film Feature by Chris Olson If you are a film fan residing in or near London, there is an absolute plethora of opportunities for you to attend film festivals, special screenings, and events to satisfy your craving for the latest, and best, that the movie industry has to offer. The downside to this wealth of events, is that it can often be difficult to know about them all, what they have to offer, and also what their reason for being is. Recently UK Film Review sat down with Anna Mackay from upcoming film festival - On The Verge - to discuss their niche. Can you describe for us the film festival, On the Verge, and why audiences should attend? ‘On the Verge,’ is an exciting new film festival celebrating emerging female filmmakers. Featuring inspiring short films, expert panelists, and stand-up comedy, ‘On the Verge’ runs from March 2-4th at the Hospital Club, Covent Garden. The event is organised and curated by the Hospital Club's filmmakers in residence Riffy Ahmed and Jacqueline Pepall. Tickets are £5 per event. All proceeds go to the Hospital Club Foundation, providing opportunities for young people to access, explore, and excel in creative industries (registered charity 1155098). Where can audiences buy tickets and attend? Thursday March 2nd the On the Verge Festival is showing films with great female characters and hosting a panel discussion on new opportunities for women in film and television. With panelists from BAFTA, Creative England, Pia Pressure, Girls in Film, and Another Gaze. Friday March 3rd the On the Verge Festival is showing an hour of brilliant comedy short films from female filmmakers and then comedy geniuses Mae Martin and Sindhu Vee will do stand up. And Saturday March 4th the On the Verge Festival is showing short films on the themes of Courage, Hope, and Past and Future, all from emerging female filmmakers. Can you let us know some of the highlights, in terms of filmmakers and films at this year's event? We’re very excited to be showing Susan Jacobson’s brilliant, multi-award winning short film Oh Be Joyful. We’re also showing lots of new work from up and coming female filmmakers. Our Saturday programme of short films on the themes of Courage, Hope and Past and Future is brilliant. And on the Friday night, we have stand-up comedy from the amazing Mae Martin and Sindhy Vee, which should be excellent. Where can audiences buy tickets and attend? All the events are at the Hospital Club in Convent Garden. Tickets are available to buy on the Hospital Club website. [Ticket Links can be found at the end of this interview] What are the struggles of launching a film festival in 2017? For us, the issue has mainly been time constraints - we wanted to get the festival up and running in time for International Women’s Day on March 8th, but didn’t get the green light to start developing the programme until mid-January, so it’s been a mad rush! What funding process did/do you have for On the Verge? We were very lucky in that we had access to the Hospital Club facilities from the start. So, we haven’t had to fundraise for the festival. We were able to offer submissions for free, and the £5 ticket fee all goes to charity. Do you have a particular audience in mind? Any fans of particular genres you are aiming at? We’d love lots of filmmakers to come. Anyone who wants to be inspired by what new filmmakers are making! What would you say if you were a dolphin? ‘EeEeEeEeEeEeEeEeeeEeee’ TRANSLATION: ‘I’m not Tuna.’. To find out more about On the Verge film festival visit their website - https://otvlondon.wixsite.com/otvlondon To book tickets to any (or all) of the events, use the links below: Thursday 2nd March - http://www.thehospitalclub.com/events/view/02-03-17-on-the-verge-great-female-characters/public/ Friday 3rd March - http://www.thehospitalclub.com/events/view/03-03-17-on-the-verge-comedy/public/preview Saturday 4th March - http://www.thehospitalclub.com/events/view/04-03-17-on-the-verge-closing-series/public/preview #FilmFestivals #ChrisOlson #FilmFeature #OntheVerge #ShortFilms #IndieFilms #Interviews

Directed and Written by Michael James Dean Starring Luke Shaw, Darren Ruston, Tony Cook and Shelley Davenport Short Film Review by Rachel Pullen It feels ever since the success of shows such as ‘’The Walking Dead’’ the horror genre has been saturated to the extreme with zombies, the un dead and those who just love the taste of brains. Trying to find anything good in this thick sludge of rotting corpses was like trying to find a good teen slasher flick in the 90’s, hard work to say the least. So what is the greatest challenge facing directors who just can’t say no to producing another zombie picture? An original idea of course...this is where Michael James Dean steps in. Already Dead is a mockumentary style film which details the lives of zombies who, thanks to a new but rather expensive wonder drug, allows them to live among us. The main subject of the piece is zombie George (Darren Ruston), who has been living as a successful member of his community despite being...well dead. George is a comically awkward character who is not without his charms, in fact he is a character that could come from any street, town or housing estate in the U.K, simply put Dean made a smart move, with a lead focus that is relatable to anyone who has ever stepped outside and so as an audience we are connected instantly to their world. George and his mannerisms are painfully British but it works, this film oozes the dry wit and subtle humour that British comedy is famous for, Already dead feels like a script that could of been plucked from the realms of Monty Python. Alongside George is a collective cast of the dead as well as the living who express the positive and the negative of having the un dead walk the streets. Interviews with the living that have no interest in having zombies amongst them mirrors that of interviews with certain members of the public during the EU elections, confused racism, intolerance and segregation are all on the table for discussion, just executed with some latex make up and comedic timing. There are at times some questionable acting and make up, but this could largely be put down to what feels like a low budget piece of film, but this does not distract from the general light hearted nature if the film. Reminding me of films such as Warm Bodies and Pride and Prejudice and Zombies, Michael James Dean offers up another instalment in the ever popular zombie comedy. #ShortFilmReviews #RachelPullen #ShortFilms #Mockumentary #Zombies #MichaelJamesDean #LukeShaw #DarrenRuston

★ Directed by Christopher Di Nunzio Starring David Graziano, Jami Tennille, Irina Peligrad, Kris Salvi, Carlyne Fournier and Renee Lawrie Indie Film Review by Michael Fiott Delusion tells the story of Frank (David Graziano), a widower of three years who receives a letter from his deceased wife. After being encouraged by his nephew to meet somebody new, Frank crosses paths with Mary (Jami Tennille), an attractive and mysterious woman who leads him down a dark and spiritual path in the process. Director Christopher Di Nunzio obviously has an intriguing imagination and it shows from plot point to plot point, but unfortunately the film is never allowed to fully breathe and let the audience become interested in what they are viewing. This is down to a great many problems that the film has, starting with less than attractive cinematography and blocking. Whether the scene is set in a gorgeous forest or a simple bar, the camera is left completely static and on many occasions at an extremely awkward angle, a prime example of this would be a very early scene in Delusion in which Frank talks with his nephew whilst playing pool. This was a brilliant opportunity for Di Nunzio to show us his understanding of mise-en-scéne and use the camera as a tool to hopefully help us learn something about the characters. But instead it is left completely still using only one or two shots, this is the case for the majority of the film and it results in the audience becoming restless and bored because they are not given anything interesting to look at on the screen. This is not helped by the film's script, the majority of the dialogue is either general conversation, cliché or repeats of plot points over and over again, one or two elements of the script also serve no purpose to the overall plot. For example, Frank is on his phone in a car park, when who I assume is an old friend of his approaches, both of them exchange pleasantries and do small talk before they both go their separate ways. This character never appears again at any point and progressed nothing towards the plot, it existed purely to show that Frank is a popular man in his neighborhood, which is already established tenfold throughout the film's length. That brings us to the characters in Delusion, if you were given the task of describing each character without telling me how they looked, you may find it hard to come up with too many words. Frank is friendly, naive and loving and Mary is flirtatious and deviant, after that it becomes quite hard to find other characters to describe. Because of the script's shortcomings the cast is not given material with any depth to work with, an actor needs to know more about the character they are playing above and beyond simple adjectives such as ‘friendly’ or ‘mischievous’, they need backgrounds, histories and opportunities to show their characters through action, which was not provided to them. As before mentioned, the film's positives come from Di Nunzio’s imagination, the dream sequence scene at some points shows promise and even begins to be reminiscent of Stanley Kubrick’s ‘The Shining’ in its use of visuals. With better writing and utilisation of the basics, Delusion would have been able to flourish but unfortunately I wasn’t left wanting more. #IndieFilmReviews #MichaelFiott #IndieFilms #1Star #ChristopherDiNunzio #DavidGraziano

Filmmaker Feature Film Interview by Chris Olson UK Film Review had the pleasure of reviewing filmmaker Stephen Gaffney's indie crime film, Class A, a little while back. Now, I was able to catch up with the director to talk to him about representing drug use in cinema, avoiding looking like Scorsese, and Your indie film, Class A, is described as an "intriguing and compelling piece of cinema" (by UK Film Review). How would you describe it, why should audiences want to see it? I'd describe the film as a very dark comedy crossed with a realistic crime drama. I went out of my way to show details that other films would glimpse over. For example, there is a scene where the main character is explaining how to 'cut up' ketamine with mixing agent. In every crime/drug film I see this is hardly mentioned, if mentioned at all. That scene goes on for three minutes. That was the kind of detail I wanted to show instead of the usual drug deal; somebody picking up a bag of coke and selling it straight away and then they're making money. As much as drug dealers ruin lives, they are very clever and work hard at their 'job' 24/7 and I wanted to show this. Based on screenings, audiences loved the film. I got great feedback. They found it darkly funny and also shocking. That was the goal from the beginning. As a director approaching a film in the cherished gangster genre, what sort of preparation did you do? Did you look to or avoid certain classics? Well my favourite film is Goodfellas, I did consider at one stage having narration and characters breaking the fourth wall. Then I completely decided against this because I didn't want it to be compared to a Scorsese film for obvious reasons. I just wrote the script based on where I grew up in Dublin. It basically wrote itself. I had heard tons of stories about drug dealers getting into all sorts of trouble, being young and making more money than their parents. They were the basis for the script. Especially the character Warren who is completely psychotic. Unfortunately, he is based on a true person. I really tried to stick to realism, but influences of Tarantino and Scorsese kicked in during editing to make the film a bit more fast paced. In my opinion, this made the film a bit flashy and glamorized drugs. That was always the intention too; to make drugs fun. Because they are, if they weren't people wouldn't take them. It's the long term consequences that are all too often pushed into our faces. I think I handled the balance well. What are the limitations of making a film like this on an indie budget? And what are the benefits? The limitations were that we shot on two canon 60D's with minimal lighting. Locations were another problem, but I had all this in mind while writing the script. I had no money to pay cast and crew. We shot for twelve days over three months and for 9 of those days it was a crew of two; myself and the cinematographer Erica Keegan. Needless to say, we were exhausted most days. Bearing that in mind, the benefits actually outweighed the disadvantages for once. Each actor was in it for the love of the script and not the money. They really got into character and I was extremely happy with all of their performances. Another perk was having complete control since I funded it myself. I could show what I wanted on screen. I hate nothing more than censorship, especially in a film that is aimed at adults. Obviously I would have loved a big budget but I wasn't letting that stop me making a film. As a filmmaker in 2017, where do you see the movie industry going in the next few years? What trends have you picked up on creatively and/or generally? In the next few years I imagine everything will be streamed. This really saddens me because I am a huge Blu Ray collector. But I can definitely see physical media becoming obsolete. Filmmaking wise, I think it's great that anyone can pick up a camera and make a film now. I often go through Vimeo looking at people's indie films and some of them are amazing. The biggest trend I picked up on was just getting out there and making a film. There is no excuse not to. I literally borrowed everything for 'Class A' and my first feature 'Bully'. This has led me on to receiving funding for other projects I am making this year. If you could work with any filmmaker (dead or alive), who would it be and why? Mike Cahill. He would not be my favourite director but he made 'I Origins' for a budget of 1.5 million dollars. I think that is extremely impressive for the film he made. He is obviously very talented to produce a film of that quality for that budget, so he must have some tricks up his sleeve. I believe he is a micro budget filmmaker at heart and this is how he achieved a cult following. What advice would you have for filmmakers? Keep writing every day. keep directing as much as possible. Be bold and confident. Be creative and don't be a sheep, making the same films everyone has seen before. Put your own spin on any genre and make it stick out. Stay away from negative people and keep pushing forward. What's next for you? Right now I am filming a horror film 'Red Room'. As mentioned above, the premise has never been done before. I believe that will be very successful (and yes, I got a half decent budget!). I am also in the pre-production stages of a home invasion film which will be shot this spring. I am very excited to get started on that. Later in the year, I will be directing a segment for a horror anthology. As well as that, I have a thriller in the vein of Se7en which I am currently writing. What would you say if you were a dolphin? Let me out of Sea World. Class A is available to stream on these platforms: UK - http://amzn.to/2m96hce (free on Amazon Prime ) USA - http://amzn.to/2lw1chB Ireland - https://distrify.com/videos/dJWdoj-class-a The DVD will available to buy soon and will be updated on their Facebook page. To read our Film Review for Class A - Click Here. Or watch the official Movie Trailer below... #Filmmaking #FilmmakerFeature #ChrisOlson #Interviews #Directing #IndieFIlms