★ Directed By James Foley Starring Jamie Dornan, Dakota Johnson, Eric Johnson, Kim Basinger, Marcia Gay Harden Film Review by Jack Bottomley Well...in a year full of big sequels (Pirates of the Caribbean: Salazar’s Revenge, War of the Planet of the Apes, Guardians of the Galaxy Vol. 2) and reboots (Kong: Skull Island), we approach one that is pretty darn divisive. The Fifty Shades novels by E.L. James are - like it or not - one of the biggest literary adult phenomena's to emerge in years, garnering a reputation as taboo, sensual and exciting. Now whether that billing lives up to what is on the page is for the gazillions who read the books to decide but going by Sam Taylor-Johnson’s 2015 film adaptation, the billing and the truth are vastly different. Johnson’s film was tepid, toothless and (worse still) boring...but successful, so here comes Fifty Shades Darker. This sequel sees fetishist billionaire CEO Christian Grey (Jamie Dornan) try and reconnect desperately with Anastasia Steele (Dakota Johnson), as he deals with his dark obsessions and attempts to change his ways. However as Anastasia begins to get into his heart and teach him how to express real love, dark reminders of Christian’s past lurk around the corner. If this all sounds a bit more exciting or seductive, then it might well have been had there have been any emotional connection at all, alas there is about as much warmth here as a record setting chill in Antartica, to such an extent that even - though admittedly steamier - the sex cannot get any blood going. If this film were honest about being a rampant sex fest then it would be fine but Niall Leonard’s screenplay seemingly tries to tell a story it thinks is psychologically deep and twisted and fails miserably. The love never blossoms because, no matter how much nookie you throw at the screen, the narrative is just a woeful piece of corporate pap. Nothing goes deeper than surface level, with cinematographer John Schwartzman working overtime to make things look good, and he does, the cinematography is great but the whole plot can be summarised as ‘shag, brood, party’. The plot is paper thin and built on odd foundations, with a relationship that feels stalky and one-sided, while the earlier scenes of romantic reunion are so caked in cringe that the dialogue would only be more embarrassing for these actors if they had to deliver it while dressed as salmon. While the later action/thriller esque developments are so forced they feel like the cast got bored and just decided to film “billionaires do the stupidest things’. Oh and that psychological/abused sub-plot is essentially resolved at a birthday party with champagne, a phone call and a hanky. Watch the official Movie Trailer for Fifty Shades Darker above. There is a feeling that everyone here has really tried to make something out of this but - appropriately enough - the film feels shackled by its source material and this supposed craze is just a vanilla franchise. Johnson and Dornan look bewildered at points and it is as if nobody expected this franchise to be a success and now are just grinning and bearing it (maybe that is why Darker and next year’s Fifty Shades Freed were filmed back-to-back). Even the mid-credits scene is badly done and feels like someone accidentally slipped part of YouTube video on during the credits. Somewhere in all of this there is probably a very alluring, deadly and dangerous tale to be found but much like the infamous tits up Basic Instinct 2 (although, in fairness, Fifty Shades Darker is a slight improvement on that garbage) it is just sex scenes strung together with pretentiously naff melodrama that would make daytime Channel 5 programmers blush. Some might say the ideal way to watch Fifty Shades Darker is blindfolded but even then you’ll have to listen to it, masochism indeed. Maybe this writer just doesn’t get it and yes many audiences seemed pleased at my screening but if you just want a film about sex, why not watch pornography or (heaven forfend) enjoy your own private time with a loved one?! In summary:Fifty Shades Darker is not fifty shades better. #FilmReviews #JackBottomley #MovieTrailers #1Star #Romance #TheatricalReleases #JamesFoley #DakotaJohnson #JamieDornan #EricJohnson #KimBasinger

Directed by Kevin Kopacka Starring Anna Heidegger, Cris Kotzen, H.K. DeWitt, Ufo361, Jonas Hofrichter, Philip Grüneisen, Vanessa Drosdatis, Philipp Droste, David Garzón Bardua Short Film Review by Chris Olson Follow up to the surrealist short film Hades, writers Kevin Kopacka (who also directs here) and H. K. DeWitt are back with a visually daring and boldly engaging movie. TLMEA (or Tolomea), like its predecessor, descends into an abstract idea of hell, where life, dream and death coalesce in a thrilling story about two cops investigating a drug dealer whilst experiencing a blurring of reality. TLMEA is a sublime piece of experimental filmmaking, gracefully touching upon the cornerstones of cinema whilst serving up a completely fresh viewing experience for audiences. The use of stark imagery is enhanced by menacing lighting, the use of jolting title cards, and a soundscape which is utterly breathtaking. In fact, whilst I loved the visuals, plot and performances of TLMEA, the score, provided largely by AIKO AIKO & Kevin Kopacka, was my favourite aspect - hauntingly intriguing, there was a coldness to it which perfectly suited the tone and atmosphere of the short film. Moving on to the performances, Cris Kotzen who plays Schweitzer (one of the cops), is absolutely fantastic. His stoic facade and intensity is brilliant to watch, navigating the increasingly bewildering scenes and locations as the main focal point for the viewer. Anna Heidegger delivers some of TLMEA's most beautiful scenes, a non-speaking role that is still marvellously engaging. The cast as a whole, many of whom appear on Hades, are superb, all contributing to the dark and thrilling tone of what is a challenging mix of crime, fantasy and thriller. The film does suffer from an incoherence that is more prominent than in the first movie. Some audiences may struggle to stick with the plot, but for viewers who are accustomed to the narrative devices of experimental filmmakers and arthouse films there is a lot to chomp on here, not to mention being far more accessible than some movies from those genres. Intensely gripping throughout, TLMEA is a challenging film in all the right ways. Succumb to its dark enticement and there is a huge amount of viewing pleasure here. Be warned, though, you just lose your soul. #ShortFilmReviews #ShortFIlms #ChrisOlson #KevinKopacka #ExperimentalCinema #CrimeThriller #Crime #AnnaHeidegger #CrisKotzen

★★★★ Directed by Chad Stahelski Starring Keanu Reeves, Ruby Rose, Laurence Fishburne, Ian McShane, Riccardo Scamarcio, & Common Film Review by Amaliah S. Marmon-Halm After appearing on our screens in 2014, it was confirmed that John Wick was the badass we needed in our film lives. He was cool, decked head to toe in black, the hand-to-hand combat scenes were actually convincing and he had headshots down to an art. As action films went, John Wick was a very well done piece of filmmaking and entertainment. And everyone could relate to him. If someone killed the dog my dead partner had given me, I’d probably think of doing something similar. John Wick: Chapter 2, as a result of a very good first film, had the heavy task of achieving the almost impossible – be a sequel that can compete and stand up with the first. As good an actor has Keanu Reeves is, his track record for film sequels left audiences a bit nervous. I’m happy to report that these fears were not necessary. This is a riot from start to finish and is the type of film you can’t help but have fun watching. That was not just because Keanu Reeves graced my screening with his seemingly-ageless presence, although I’ve never heard a screen full of media and press people scream so loudly. Chapter 2 starts where the first exciting instalment ended – with him rescuing his beloved car and leaving a trail of bodies in his wake. Hoping to enjoy some well-deserved peace and quiet with his new doggy named Dog (he picked him up at the end of the last film), John gets an unexpected visit from Santiago D’Antonio (Riccardo Scamarcio), the keeper of his gold marker. It was time to repay a debt but John was just enjoying his rest. Of course, there would be a series of events that would make John don his trademark scowl and want to go spread some red and justice of his own. Watch the official Movie Trailer for John Wick: Chapter 2 above. With additions of Ruby Rose playing the head of his henchman hoard who also happened to be deaf, Common who plays a fellow assassin with a grudge and Ian McShane who's in charge of the secret society that lets assassins rest, play, repair and get fancy suits in his chain of hotels and services, the supporting cast really adds to the thrill and enjoyment of this film. And let’s not forget all the poor henchmen that get their blood splattered everywhere. One of the highlights would be the exchange between John Wick and Laurence Fishburne’s mysterious character. See if you play along in a game of spot the reference. John Wick: Chapter 2 may not have the emotional drama that the first instalment had but it definitely brings all kinds of fun and blood to the screen. It’s funny, it’s bloody and it’s just a great example of what an action film should be. #FilmReviews #TheatricalReleases #AmaliahSMarmonHalm #ActionFilm #MovieTrailers #Filmmaking #KeanuReeves #RubyRose #LaurenceFishburne #IanMcShane #RiccardoScamarcio #Common #ChadStahelski

Filmmaker Feature Film Interview by Chris Olson Having recently interviewed filmmaker James Maximilian Jason, one of the minds behind Gothic Multimedia Project, I was also lucky enough to catch up with producer, actor, musician (among other talents) David Bosch. In this filmmaker interview we talk about combining art forms, experiemental cinema, and what he would say if he were a dolphin... Can you tell us a bit about your role in Gothic as a group, and your role(s) in Beneath the Snow: Piovono Ombre? As a key-member of the Gothic Multimedia Project I took care of the graphic part, from the illustrations for the audio tracks to the scenic design and, in some cases, I realised stage costumes by myself. Furthermore, beside my work as an illustrator, in BTS-PO I acted for the very first time in my life, playing the main character in the most of the film. What is the creative process like on a film of this magnitude? How do ideas get shared and implemented? We started from our basic trademark: multimedia art. We aim at proposing a total art opus, including the principal artistic means: music, painting, poetry, acting... The choice between two options has been the fundamental concept beneath this work and we developed the film around this idea. I always joined my artistic views with James' [Maximilian Jason] emotions translated into art, dealing with worlds once so far from me such as music and poetry. Beneath the Snow contains many artistic mediums. How do you engage with these as an actor? I was always fascinated by artistic eclecticism and I guess that this should be the primary quality of an artist. Therefore I felt stimulated by acting because, although I'm not a professional actor, I found something emotionally stirring my new duty as the protagonist and this role inspired a lot of my graphic work here. What is the process like for you being in a piece of interactive cinema, knowing that the story will differ from audience to audience? As the main character, I took part throughout the whole plot of the film, trying to give Alessandro Zamboni (the leading role of the main story of BTS-PO) and the other roles I played different characterisations depending on the story's development. Of course the starting plot splits into two parts where the protagonist experiences two different journeys: in the former he is chased by someone/something whereas in the latter he's searching for someone/something. In the sub-stories enclosed in these two parts I embody pretty grotesque characters, between absurdity and dream. The DVD for this film was pretty epic, and I know you had a hand in making this. What was that process like? And how important is it for viewers? The booklet is a living body of the whole work and so it's essential for understanding that. The theme colour is the Grey (the colour of Indifference) and, when drawing the DVD front-cover, I tried to elicit surrealistic emotions in the viewers. In this frame, the booklet is so important since it develops the plot and determines the pace of the storytelling, supporting the basic information with some illustrations along with all the poetry: such a complex opus could be quite unintelligible without this enlightening guide. As a producer, what sort of audience are you looking for with this film? And what methods are you implementing to reach them? We look at BTS-PO as a real avant-garde work of art and not only as a highly experimental and challenging film: this is the way we'd like to propose it to our audience. Our “target”, if we can use this word so unusual to us, is people that could be into contemporary art and not only into music or theatre. We aim at a daring audience receptive to new media arts and to new cultural suggestions. What's next for you? The GMP has still so much to tell and we have already some work in progress... but, you know, I can't tell you anymore... Can you at least tell us what you would say if you were a dolphin? “Don't confuse me with a tuna and don't catch me... I have still so many dreams to achieve and so many insights to develop”. Read our film review for Beneath the Snow: Piovono Ombre, or watch the official Movie Trailer below... #Interviews #FilmmakerFeatures #ChrisOlson #InteractiveFilms #IndieFilms #FilmReviews #MovieTrailers #DavidBosch

★★★ Directed by Nicole Pott Starring Katy Dalton, Samantha White, Alex-McDonald Smith, Sarah Gain, Mark Anthony Games, Harry Eden, Alys Wood, Maura Judges, Nigel Buckley and David Fulton Indie Film Review by Bailey Claringbold In a Year follows the lives of a number of different people, all living in the same town, all feeling like they have nobody to turn to. When the local radio station offers callers a wish for New Year's Eve, it is revealed that there are more connections between them than they thought. The narrative of this indie film was highly thought-provoking and managed incredibly well to tie multiple different plot points together with ease. I admired how all of the different characters played a part in the bigger picture, owing favour to Eleanor Catherine Smart's tremendous screenplay. It was evident that a lot of work had been put in to the plot elements right from the beginning, with each scene and each character being revisited throughout the story arc. One of my favourite aspects of this narrative were the real-world facts that had been inserted into the film along the way, and how the script appeared to be built around true-to-life occurrences. This benefited the emotional investment the movie created, as these scenarios and characters were so genuine and believable. Every character seemed to be well fleshed out, with a complex backstory and relationship with other characters in the story. On the whole, the performances came through as sincere. The cast knew when to treat a sensitive topic with respect. Pippa (Alys Wood) and Cam's (Harry Eden) situation was a prime example of this, as the couple had to deal with Pippa's depression it was a sticky topic that paid off. Their on-screen chemistry was convincing and their performances shone through as some of the best in the film. However, I did find that some of the line delivery was a little stiff at times, and with a script that was so realistic, the acting needed to be natural to pull it off. Saying that, the cast were a great fit for their roles. Visually I welcomed In a Year's colour palette and tones with open arms. It was uplifting to see a film with bright tones again, it complimented the message beautifully, using pops of colour to bring out when a character was happy or dialing it back when they weren't. Some of the graphics came across as a little jarring, such as the countdown to New Year's Eve that kept appearing every now and then, as well as the cuts to a black frame with a question on. These didn't seem necessary but they certainly weren't a deal breaker. This film perfectly captured the day to day life of the average person. With a magnificent screenplay and narrative, In a Year delves into the preciousness of life, and what it means to be happy. Even though some of the performances were rigid at some points, it was the concept and themes behind the film that kept me immersed. #IndieFilmReviews #IndieFilms #BaileyClaringbold #NicolePott #AlysWood #HarryEden

Filmmaker Feature Film Interview by Chris Olson We recently reviewed a piece of interactive cinema, titled "Beneath the Snow". Have explored the depths, twists, and turns of that indie film, UK Film Review were lucky enough to interview one of the brains behind it, filmmaker James Maximilian Jason. Can you tell us who Gothic are? A bit about the history and the people involved? Also a bit about yourself. The Gothic Multimedia Project is an ever-changing ensemble of musicians, artists, actors, graphics and technicians devoted to multimedia art. Specifically a dark and avant-garde multimedia art project where interactivity is the key to turn the viewer/listener/reader, traditionally conceived as a “passive audience”, into a status of “creative master” of the opus itself. Gothic Multimedia Project was born as a band in 1989 and, after a series of musical works, evolved into a multimedia ensemble in the early 2000's. Although I am the founding member and “the mind behind the curtain”, the Gothic Multimedia Project has no leaders but only two core members, me and David [Bosch], who is “the spirit above” our ensemble. Around us is a constantly changing “crew” of eclectic people who help us to translate our visionary concepts into reality. As far as I'm concerned what can I say? I was born as a composer, then I began multimedia artistry, particularly involved in video-art and eventually I graduated as a sound-engineer and started my work as professional SE in my AfterDusk Studio producing other projects/bands, as well as Gothic of course. What was the genesis for your huge indie film/multimedia project Beneath the Snow: Piovono Ombre? And can you tell us a bit about the role of music, poetry, and art in the film? Believe it or not but the idea of such a mammoth work raised from a recurring nightmare I had when I was a kid. More than ten years ago I reprised and developed that nightmare and began working around it. Little by little hesitant branches grew from that raw log, engraving the film and all the stories within, as it is nowadays. Usually music serves as a soundtrack in a film, poetry can be a lyrical outline of the plot and art is usually excluded from a powerful medium like film. “Beneath the Snow – Piovono Ombre” is quite the opposite because here the film and its stories, developed according to the “Mobius strip” technique, are the dark lines leading to the heart of the opus, which is our “unholy trilogy” of sound, image and word: music, art and poetry. Just like in our previous multimedia works [“Clam, Dolenter”, 2010 and “Grim”, 2004] but under the lens of a different means of artistic expression: the film. What would you say are the strengths and weaknesses of a film like this? In terms of having so many collaborators, and from different artistic mediums? I guess the strongest point and the weakest point are quite the same one: BTS-PO is a pioneering opus because here, for the very first time, we have an interactive film focusing on multimedia arts through a maze of parallel stories within the main story. The work represents a challenge for those open-minded people who are so brave to put their mind through the wringer, facing their inner demons. This is the strong point of the work whereas the downside is that most people are not willing to engage so much of themselves in such a complex oeuvre. Maybe for these very reasons we can say that a market for multimedia art simply doesn't exist... and so you will grasp how hard the promotion of an innovative work like this is: there are no film festivals, no movie theatres ready to show your film and, believe me, only very few avant-garde and multimedia magazines accepted to review our “creature”. The fact that so many people (exactly twenty-eight) collaborated from different perspectives but toward a common artistic direction was undoubtedly a unique experience which enriched my soul. What was the funding situation for Beneath the Snow? Did you self-finance, Kickstarters? David and I self-financed everything, from the shooting to the film editing, from the audio recording to the realisation of the booklet, from the DVD printing and duplication to the promotion of the finished opus. It was a hell of a financial commitment but we never cared about the money we could get from the Gothic Multimedia Project since we strongly think the real and the most true form of art is “art for art's sake”: the rest is what we call “art exploitation” and we have been never interested in this kind of business. Beneath the Snow is interactive cinema, something on the rise. Do you feel a bit like a pioneer of the genre? And what do you feel is the future of it? How does Beneath the Snow differ from others like it? BTS-PO is interactive cinema, sure, but definitely much more than this: it's experimental cinema mixed with video-art but it's avant-garde music too (except for the two main soundtracks, “Arcano Arcaico” and “Sons of a Sun without Light”), it's cryptic poetry, it's theatre of the absurd, dark figurative art and daring non-representational art. We can call it a “new media art-film”: the word “interactive film” reminds me something closer to the world of gaming rather than to our conception of extreme multimedia, where the viewer leaves his role of passive dummy in the hands of the artist and becomes the master of the opus and eventually an artist himself. We can be considered the pioneers of a certain kind of multimedia art taken to its extremes: after all “Beneath the Snow – Piovono Ombre” is neither a film in the traditional meaning of the word nor a digital art gallery and it's neither a musical album nor a collection of poetry: it's all of them and more than their arithmetic sum. I can't and I don't want to tag “Beneath the Snow” as something clear since I'd like people to appreciate this “thing” for what it could give them in terms of emotions rather than for what it appears to be (but is not). Who are your inspirations for filmmaking? Including any legends outside and inside film. Well, David Lynch is a longtime source of inspiration for me... but I could name other visionary filmmakers like Aronofsky, Cronenberg, Ken Russell, Sokurov, E. Elias Merhige, Lars von Trier and Kieslowski. Nonetheless one director impressed me for his ability to draft amoral characters even in some leading roles: he is Mario Bava and I think films as Rabid Dogs and Black Sunday should be an object of study in any high schools and especially in art schools. What is next for Gothic, and you in particular? Following Gothic's tradition we will work for something radically different from “Beneath the Snow -Piovono Ombre”. Tradition means also to not create a steady tradition or whatever expectation by the audience and we intend to pursue our aim to release unprecedented, pioneering and challenging works, constantly changing our “fields” of arts and our means of artistic expression. The only thing Gothic fans can be sure of is that we will try to offer a new way to express our concepts of multimedia art, conceived as syncretic and indivisible union of music, art and poetry, going all the way through “user interaction” with the work of art. What would you say if you were a dolphin? “Follow me and”, (quoting a famous painting by David Lynch), “I will take you in a world for which you have no understanding..." Click here to visit the Facebook page for Gothic Multimedia Project, or visit their website here. You can also enjoy the official Movie Trailer for Beneath the Snow: Piovono Ombre below... #ChrisOlson #Interview #FilmmakerFeature #MovieTrailers #FilmFestivals #InteractiveFilms #IndieFilms #DavidBosch #JamesMaximilianJason

Looking at this year’s upcoming Academy Awards Ceremony Film Feature Written By Jack Bottomley The 2017 Academy Awards, which will be presented by US TV host Jimmy Kimmel, will be taking place on the 26th February 2017 at the Dolby Theatre in Los Angeles and looking at the films nominated it is sure to be an awards season finale showered with the usual odds on favourites but potentially a few surprises too. The year’s biggest critical awards hit seems to be Damien Chazelle’s (Whiplash) ode to the golden age of Hollywood musicals in La La Land, which has matched All About Eve and Titanic’s record 14 nomination tally - it may have even beaten it actually, had the film a wider list of characters (instead of being centred on Ryan Gosling and Emma Stone’s leads). However, La La Land is going to have to be note perfect on the night? After all, no film has ever attained 14 wins, the record being 11 wins, held by three rather epic pictures (Ben-Hur, Titanic and The Lord of the Rings: Return Of The King). To make history, it is going to need quite the sweep but this year is far from a one horse race, as the list of nominees conjure up some interesting, strange and glorious pieces of work. So without any further ado let’s take a look at the movies that made the cut, assess the field and, as we are all about the mastery of the written word here at Shore Scripts, take a particularly focused look at the talented crop of writers up for awards this year and ask, just what do the academy go for when it comes to screenwriting? The 89th Academy Awards This year’s Best Picture race has always seemed to be dominated by one film from the get go, the aforementioned La La Land, which surely is the best bet to go home the night’s biggest victor. Indeed it seems written in the stars that the sweeping, toe-tapping and nostalgic Musical/Drama will receive the Best Picture accolade, and yet we should not be too hasty as their is a lot of talk about the chances for a little film called Moonlight. Poignant, powerful and enchanting, this Drama, directed by Barry Jenkins, is about the progression from childhood to adulthood of a black man in Miami and is being called a possible winner for Best Picture. Also nominated is Theodore Melfi’s Hidden Figures about the true story of the African American female mathematicians at NASA responsible for Project Mercury among other missions and Denzel Washington’s adaptation of August Wilson (who wrote this screenplay before his death) pulitzer prize winning play Fences, alongside Mel Gibson’s true life pacifist war tale Hacksaw Ridge, Denis Villeneuve’s intelligent Sci-Fi Arrival, Garth Davis’ true story Drama Lion, Kenneth Lonergan’s emotionally shattering Drama Manchester by the Sea and David Mackenzie’s dark horse Neo-Western Hell or High Water. It is a category bursting with possibilities and showcasing much in way of racial and genre diversity, after last year’s much publicised “Oscars so White” backlash. However we see La La Land as the firm favourite here but the movie’s grasp on other categories are less certain. For the achievement in Directing it seems to be a far tighter shoot-out between Barry Jenkins and Damien Chazelle but with Kenneth Lonergan also being in with a chance. Meanwhile other nominees Mel Gibson and Denis Villeneuve are deserving but less likely names for victory. While, over in the Lead Actor category, La La Land’s Ryan Gosling seems unlikely as leaving with the prize, as the odds have drifted towards Casey Affleck for his fine work at the core of Manchester by the Sea. The other Best Actor nominees are: Denzel Washington (Fences), Viggo Mortensen for quirky Drama/Comedy Captain Fantastic and Andrew Garfield (Hacksaw Ridge). While in the Best Lead Actress category, it is a lot less sure, with a lot of hype surrounding a wonderful Natalie Portman for her turn as former first lady Jackie Kennedy in biopic Jackie, as well as the vibrant Emma Stone for La La Land and Ruth Negga who stars in Jeff Nichols’ Loving, a heart filled drama about the “unlawful” relationship back in the ‘60s of an interracial couple. Also nominated here - for a record 20th time - is Meryl Streep for Florence Foster Jenkins and surprise Golden Globe winner Isabelle Huppert for her leading turn in Paul Verhoeven’s Elle. It was a surprise not to see the amazing Amy Adams here for her work in Arrival, an omission that has gone down as one of the year’s big snubs. On the opposite side of the spectrum, the Supporting Actor and Actress categories, seem fairly more assured with Mahershala Ali (Moonlight) being the top choice for Supporting Actor ahead of Dev Patel (who is more of a lead surely in Lion), Michael Shannon (who gets the surprise nomination instead of a near unrecognisable Aron Taylor-Johnson in Tom Ford’s Nocturnal Animals), Lucas Hedges (Manchester by the Sea) and Jeff Bridges (Hell or High Water). As, over in the Supporting Actress line-up, Viola Davis seems the near certain winner for her emotive performance in Fences, ahead of some tough competition in the fabulous Octavia Spencer (Hidden Figures), the emotive Nicole Kidman (Lion), the brilliant Naomie Harris (Moonlight) and of course, Michelle Williams (Manchester by the Sea). Across the 16 other categories of the night, excluding the screenplay awards (which we shall delve into momentarily), we see La La Land really dominating certain avenues of the night - heck it even is nominated twice in the Best Original Song group. Meanwhile other big nominees, not including many of the above that we have already discussed, of the night seem to be Arrival, which has 8 noms overall and Hacksaw Ridge with 6 (especially in some technical categories). Speaking of which, the technical awards have offered up some nice recognition for the likes of Gareth Edwards’ crowd pleasing Rogue One: A Star Wars Story and Jon Favreau’s delightfully unexpected The Jungle Book, as well as Kubo and The Two Strings (which is not just up for Best Animated film - an award likely to go to Disney’s Zootopia (or Zootropolis to UK audiences) - but also gets a deserved mention for Best Special Effects). Even David Ayer’s critically derided Suicide Squad gets a nod for Hair and Make-Up which has proved controversial online but surely the tireless practical work that went into creating Killer Croc is justification alone for the film’s sole mention. From Fantastic Beasts and Where To Find Them to A Man Called Ove, this is a crowded and flavourful array of expected mentions, surprising omissions and even more surprising inclusions but only on the night will we see how the Academy votes. However, we now move away from the glitz and glamour of the actors, directors and effects and to the hard work and often overlooked graft of the scripts, adapted writing and moulding of narrative that went on in the screenplay categories. Before we look at this year’s nominations though, we wondered, just what makes for a Screenplay worthy of gold. To answer this question, we took a look back across the near 90 year history of the Academy Awards and sought to uncover some keys to victory, by looking at the big winners of the past. What is a Golden Screenplay? The Academy Award for Best Adapted Screenplay is one of the most revered awards at the Oscars, debuting back in 1929 at the very first Academy Awards Ceremony, where it was won by Benjamin Glazer for the 1927 silent romantic drama Seventh Heaven, adapted from the 1922-24 play of the same name by Austin Strong. Whereas the long standing and nearly equally as prestigious Best Original Screenplay award, debuted a decade later at the 13th Academy Awards ceremony in 1941, where it was won by Preston Sturges for his 1940 satirical comedy The Great McGinty in 1940, and has run every year since then - excluding 1949 where there was just a Best Screenplay award instead of separate screenplay categories. Since these humble beginnings, each award has gone on to become an accolade indicative of developments later on in the night in Director/Best Picture and lead acting categories, as the screenplay award is considered one of great achievement. So often when watching a movie we are drawn in by the audio-visual showcase offered or by our favourite actors doing what they do best but the screenplay is what underpins the magic of the big screen. Many great names including Mel Brooks, Woody Allen, The Coen Brothers, John Huston, Oliver Stone and Aaron Sorkin have won either the original or adapted (or both for the Coens) screenplay awards, while many other legends have been nominated numerous times or not even at all in their illustrious careers. So, with that in mind, what does it really take to win an Academy Award for Best Original or Best Adapted Screenplay? You can argue the difficulty for attaining victory in either category, as being original is truly a difficult task in an age where cinema is over 100 years old and lots has already been accomplished (but nowhere near all!), contrariwise in adapting the work of another writer (be it a playwright, author or scriptwriter) it is a difficult task, as you not only have to be respectful of the existing work but bring passion and your own stamp to the project. Each is a hard earned win, so how can it be done? Well, going by the nine decade history of the Academy Awards, there is certainly a suggestion that the answer can be found in the work of Woody Allen, who holds the record for both nominations and wins in the Original Screenplay category, having won it 3 times and been nominated a grand 16 times in total! Meanwhile in the Adapted Screenplay category, Francis Ford Coppola is the king having won 2 of his 3 screenwriting career awards (5 nominations overall) in the Adapted category, while the most nominated man for an Adapted Screenplay is Billy Wilder, with 7 of his 12 career nominations coming from this category. Some of the victors and their work tells us what was and still is popular with the academy, when they are deciding on who takes the stage and makes the acceptance speech. Drama is the most successful genre by far, and is the dominant force yearly at the Academy Awards, but tinging said drama with witty comedy can be a good bet (ala Allen) or even better, imbuing your narrative with a nostalgic outlook can result in great success too, especially nowadays (heck, see La La Land). Hollywood loves movies about its own system, its own history and it loves drama about the human trials and tribulations or featuring social occasions ripe for comedic zing. Another winning hand has increasingly become to write a story adapted from truth, with the more turbulent stories (be they war set or of tragic origin, especially those featuring acts of courage, defiance or justice). While traditional, some might say clichéd, values of the academy and their tastes persist with every passing year, you might say that change is slowly working its way in. The age and social range of those who make up the academy is inevitably changing, while genres that were considered lesser (at least to those in high positions) in the past are coming to have a stronger presence (Sci-Fi and Fantasy continue to have punch over the last few years), while a more diverse outlook is also starting to (finally) become a part of the yearly awards and this is likely to increase with time. This writer personally looks forward to the day that the Academy embraces Horror as a respected genre once again! This Year’s Screenwriting Line-Up So, with that in mind, let’s look at this year’s nominees, one by one, and ask just who could be going home with their very own golden statuette. Best Adapted Screenplay This year’s nominees are indicative of the change in which we have just discussed with some crucial, diverse and compelling stories making the cut. The nominees are: Arrival - Eric Heisserer adapted Ted Chiang’s short story “Story of Your Life” to sublime effect that is for sure but his first career nomination is likely to stay as a nomination and not a win, though the nom alone at least makes up for Heisserer penning the dreadful 2010 A Nightmare on Elm Street remake...just. Fences - The chances that August Wilson wins this award for this film adaptation of his own play seems uncertain/unlikely but if he does, he will be only the 17th person to win an Academy Award posthumously and just the 2nd for a screenplay award (the only screenwriter to ever get a posthumous win thus far was Sidney Howard in 1940 for his screenplay to the classic Gone with The Wind). Lion - Luke Davies’ writing for Lion, adapted from Saroo Brierley and Larry Buttrose’s biographical “A Long Way Home”, has certainly got an acclaimed buzz behind it but seems to be more of a dark horse than an odds on favourite. Hidden Figures - This writer actually sees a good chance for Allison Schroeder and Theodore Melfi and their adaptation of Margot Lee Shetterly’s non-fiction book “Hidden Figures”, as the story is one that feels especially crucial to our currently chaotic and prejudicial times. Moonlight - Barry Jenkins and Tarell Alvin McCraney’s screenplay, based on “In Moonlight Black Boys Look Blue” by McCraney himself is the likeliest winner of all those nominated and Moonlight itself is fast becoming the movie that more and more think could upset La La Land in some categories. However in this category, the film’s biggest competition is Hidden Figures. Best Original Screenplay Another category that offers a good mixture is the Original Screenplay category, as it features frontrunners, an indie hit and films that have won many fans upon release. Here are the nominees: Hell or High Water - Taylor Sheridan’s screenplay for this throwback, very ‘70s, caper is a pleasure to see nominated but is unlikely to win this category over some of the other critical darling nominees. 20th Century Women - Mike Mills’ screenplay for his Comedy/Drama about women exploring their freedom in the 1970s is another worthwhile nominee but again seems like a long shot for winner. The Lobster - To see Yorgos Lanthimos and Efthimis Filippou nominated for their work on this splendidly bizarre Black Comedy is joyous, as this is really the kind of film this category should be all about but once again The Lobster is an unlikely winner but its inclusion suggests that more films like it (in terms of absurdist content anyway) may have a chance in the future of such earned recognition. La La Land - Damien Chazelle’s screenplay to his tribute to the Hollywood musical has to be considered the favourite but it is not a clear cut victory by any means... Manchester by the Sea - Kenneth Lonergan could well throw off La La Land’s groove here, as Lonergan’s superb, affecting and incredible Drama has a lot of weight and power and it could be enough to sway the academy over La La Land’s glamour and colour...could. City of Stars So, after our whirlwind tour of this year’s awards and contemplation of just what might tick those academy member’s boxes, we come to the conclusion of our look at the 2017 Academy Awards. In 89 years there have been outrages, justifiable winners, stars born, veterans rewarded, legends ignored, weepy speeches made, statements asserted and even a Paranormal Activity homage featuring Alec Baldwin and Steve Martin. Come the 26th of February, we shall see just how right or wrong we were and will no doubt see controversy, celebration and craziness marry together for a night of genuine emotion and/or back slapping self adoration. Either way, we await to see who gets the gold because, if we are honest, these awards, while prestigious, are merely an accompaniment to the talent displayed by this glorious industry. Let’s all continue watching movies and (in the case of many of our wonderful readers) writing them, because the most exciting thing about cinema is how open to change and new, fresh, powerful voices it is. Although, y’know, a gold statue is a nice centrepiece for the home of any writer. Just saying (#Incentive)! #Oscars #JackBottomley #FilmFeature #FilmmakerFeatures #AcademyAwards #Awards

★★★★ Written and Directed by Lex Lybrand Starring Rob Gagnon, Lisa Friedrich, Katie Pengra, Pat Dean, Chadwick Smith, David Laurence, Carlos O’Leary Indie Film Review by Rachel Pullen The Trolls is not a movie about annoying gremlins with insane hair but that of a start up tech company who lose out on making big bucks with a brand new battery charging gadget when a group of patent trolls sue them using outdated laws and loopholes in the system. Not to be defeated, this Scooby Doo style of techies decided to play the trolls at their own game, by in the simplest of terms ‘’trolling the trolls’’, getting their money back and more in the process. The Trolls is the third full length indie film by director and writer Lex Lybrand, all of which have been crowd funded and met to positive film reviews and The trolls is certainly heading down the same path. Using local comedians and talent as the main cast, this quirky comedy brings quick quips, smart one liners as well as that campy vibe which as I said earlier is reminiscent of Scooby Doo and Co. Each character in this film brings a different perspective on the pressures and relationship that comes with making big money fast as well as loosing it fast. Gum [my personal favourite] played by Pat Dean, is the main developer within this movie, and even though he clocks up very little screen time in comparison to the other leads, his role is pivotal, as he is the quiet genius, seeing all the evil from the outside, that of the patent trolls, the corrupt legal system and the effect that making money has on his friends.Having Gum as a moral compass within the film highlights the corruption that is apparent but not always obvious to the public. We are forced to learn the legal problems that come with fighting patent trolls in this day and age and Lybrand does not dumb down the courtroom action for the audience. Lybrand says the idea for the film was to create something that not only highlighted the issues with patent trolling, but could be used in later years as documentation of the absurd way in which the situation was managed and the corruption that small business faced from the trolls and the court rooms. While some may find the abundance of legal terms within the script a touch confusing at times it is confidently mixed with well timed comedy to keep those of us who don’t study business law from drifting away. Despite what is quite a serious and unknown topic to the general public, The Trolls is an enjoyable watch, I myself knew little of patent trolling before watching this indie film, but found it easy to follow the story line, engage with the subject and most importantly learn more about this problem that is being allowed to continue within the legal system. The Trolls has certainly worked on highlighting this issue with myself, so Lybrand I say to you...message received. #IndieFilmReviews #RachelPullen #IndieFilms #Comedy #LexLybrand #PatDean

★★★ Directed by Theodore Melfi Starring Taraji Henson, Octavia Spencer, Janelle Monae and Kevin Costner Film Review by Andy Furlong Hidden Figures directed by Theodore Melfi starring Taraji Henson, Octavia Spencer, Janelle Monae and Kevin Costner is based on a true story, that tells the tale of a team of African American women who worked within NASA around the time of its first successful space missions in the 1960s. Henson plays Katherine Goble Johnson, the real life mathematician who contributed greatly to the space program throughout her career. Having seen this film and Moonlight at a double screening, if you were to have asked me beforehand which I expected to be the better film, I would have gambled my house on Moonlight however by the time Hidden Figures had finished, had I made that bet I would have been homeless. Not to say that Hidden Figures is a perfect film or a particularly good one, for that matter, but as a feel good crowd pleaser, it falls on the right side of things and gets right what it needs to get right. Hidden Figures’ central conceit is an interesting one; how can a nation on the forefront of doing something that humanity could only dream of (launching a spaceship into outer space) be so far behind when it comes to how it treats its own people, in particular the African American community who were segregated and pretty much second class citizens in the USA at the time. Now I don’t mind movies depicting historical oppression as long as it isn’t the same story repeating itself, which seems to be often the case. I don’t ask for much, all I need is a different location or setting or slight tweak to the formula to interest me. Setting a story with undertones of African American historical oppression in NASA was just the tweak that was needed to revitalize the formula to an extent. I find movies about oppression set in the past much more interesting in general because there is a real sense of conflict that is a pressing concern of the time, so it translates well into film. Unlike for instance if the same type of movie was set in present day. A society that is built around oppressing a race, works much better as a film when it feels relevant, which is most commonly found in a film set in the past. There is a sense of urgency and genuine struggle that perfectly lends itself to cinematic narrative when it is done right. The film is very light hearted and presented with a fun, comic edge, scenes where Katherine Goble runs half a mile down the road, to find a coloured bathroom (because there is none in the part of NASA where she works) is accompanied by an enjoyable, bouncy, Pharrell soundtrack. And is played in a similar kind of tone as somebody who is rushing because they are late for work. Not to say there isn’t plenty of moments of grandstanding later on, and plenty of boo-hiss-able opposition from people within NASA, who just don’t seem to understand the injustice that occurs. Another thing I appreciated about Hidden Figures was seeing these women progress through hard work in a world naturally set up to marginalize them. And I would be lying if I said, as cornball and by the numbers as the film’s emotional fishing for sentiment was, that it didn’t at least work on me some of the time. Hidden Figures, is the type of feel good movie that works, it isn’t anything special I would also add, but for its target demographic and if you are in the mood for a buoyant, sprightly feel good movie, then Hidden Figures is certainly that. #FilmReviews #AndyFurlong #TheatricalReleases #Racism #TheodoreMelfi #Biopic #KevinCostner #TarajiHenson #OctaviaSpencer #JanelleMonae

Interview by Chris Olson Having recently interviewed the director of Woodfalls, I was also lucky enough to interview one the indie film's actors - Michelle Crane. In her exclusive interview for UK Film Review, we discuss representing travelers culture, Greta Gerwig, and the getting out of her comfort zone. Can you tell us a bit about your acting career thus far, and specifically in Woodfalls? Woodfalls has definitely been a highlight for me. Working on Woodfalls instantly felt very collaborative and I've carried on working with David Campion, Anthony Abuah the producer and Ian Fielding the editor on their other projects since. Prior to Woodfalls I’d worked on short films and Vacation Hunter an indie feature by Daz Spencer-Lovesey, which was an amazing experience and a huge insight into filmmaking for me. A lot of the films I’ve worked on the directors have self funded, there’s a great sense of amalgamation, commitment and passion towards the work as a result of that, when people have quite literally given it their everything. David Campion's film is a meaty dissection of cultural differences. Did you feel any pressure representing such a heavy topic in your performance? Absolutely. I'm playing a role from a culture that I personally have no connection to, there's something very scary about attempting to portray that and not wanting to get it wrong. With the sensitivity of my character Rebecca's final scenes I spoke a lot to charities offering help to those affected, in order to try and understand as much as I could about what she was going through. It was important to me to be respectful with those scenes. Despite making Woodfalls a few years ago, its themes are increasingly relevant with the current political climate. The way travellers are portrayed in popular programmes such as 'My Big Fat Gypsy Wedding' is misleading, so I consciously wanted to stay away from this image as much as possible. I loved reading Mikey Walsh's books about his upbringing and found them hugely helpful. Although I didn't want to necessarily label her as a traveller, because this is a story about prejudice in any form and also about her challenging the expectations of womanhood she has grown up with. Is drama your preferred genre? Are there others you have done or would like to try? I have worked predominately in drama but that's just the way it has worked out for me so far. Wherever there's a great story I'll follow! I just made a horror film with David, which was a great challenge and it took me out of my comfort zone. I'd love to do more comedy. Who doesn't love comedy? Although I think it's probably the hardest genre to do well. What was the atmosphere like working on Woodfalls? Were there any highlights? Anything that was particularly difficult? There are the obvious difficulties when working on low budget films. I think we all felt the pressure of limited time. It was a small cast and crew but we all became like a big family, which was lovely to work with and created a supportive atmosphere. If you had any advice for a new actor, what would it be? It's important to be yourself as that's what's interesting and essentially what only you can bring to a role. Don't compare yourself or your career to anyone else, you've got your own path to make and there's no set way to success. Work hard, be nice and stay passionate about your work, but don't forget to live life outside the acting world. Good advice! What are some of your favourite performances of all time? Anne Baxter and Bette Davis in All About Eve is timeless. Anne-Marie Duff is one of my favourite actresses. I saw her in a production of St Joan at The National Theatre about ten years ago and she absolutely blew my mind. I've never seen a stage performance compare. She's a master on screen too, The Magdalene Sisters is one of my all time favourite films, her performance breaks my heart in that film. All of the performances do. Greta Gerwig in Frances Ha is hilarious, it's such a lovely story- I have a lot of respect for actors who write and create their own work. Jake Gyllenhaal in Nightcrawler is extraordinary. I'll stop as I could probably go on and on! Do you have anything lined up next? I've just finished making another feature with David -She Lived On Franklin Avenue. I play a serial killer who has to return home to the place she hates most and confront her past. Also I've worked with Ian Fieldin making his film Dead Unicorns. I play an art student who becomes a private detective in order to discover what has happened to her missing teacher, but ends up unravelling a lot of her own past which is unexpectedly connected. It has been quite a journey and taken a few years to complete, so I'm excited to see what happens with these this year. I've nothing else lined up at the moment, but I guess that's the joy of acting, you don't know what's next. What would you say if you were a dolphin? Hmm. Could you please stop throwing all of your rubbish into the ocean. Thanks. Was that a really crap answer? Maybe that's why I don't do much comedy! Read more Filmmaker Interviews here, or read our Film Review for Woodfalls. #Interviews #ChrisOlson #UKFilmReview #FilmReviews #DavidCampion #Acting #GretaGerwig #Filmmaking #FilmmakerFeature

Directed by Marianna Dean Starring Dan Lam, Zoe Cunningham, Amy Newton, Katharine Davenport, Steve Peck, Denys Gaskill, Serhat Metin, Jeryl Burgess, Maria Ingold, Fernando Augusto Oliveira, Flynn Jarvis, Reynah Rita Oppal and Melissa Luke Short Film Review by Michael Fiott Symptoms reminds us of a situation that we have all been in, preparing for the dreaded terror of a test that can determine our future, our own symptoms include sweaty hands, a pacing heart and a palpable tension when entering an exam hall...or in this case a hospital. Dan Lam gives us a humble and smart performance as Sam, a young trainee doctor entering into an examination where all of his patients are trained actors. When going over each ‘patient’ and their individual symptoms, he is then marked on how well he communicates with them, treats them, his knowledge of the job and of course his hand hygiene. Straight from the start we are able to see Marianna Dean’s directing talent, with a very impressive opening single shot that introduces us to Sam and sets the light hearted and slightly comedic tone of the first half of the film. The quality of the shooting is not diminished as it progresses either and keeps it’s tone by never sitting still for long on any shot, with its slow pans and handheld motion which give the movie a natural setting and allows us to feel as though we are stood next to the characters. When it comes to characters, the best ones are that of the hired actors, through simple actions and a few lines of dialogue we are able to see their personalities shine through, especially in the character of Ben (Steve Peck) who is by far the most humorous character in the short and provides us with the most entertaining examination of the bunch. The tone is doubled by the use of music from Neil Myers, although the tunes used sometimes reminded me of a sitcom of days gone by, it does meld well with what we are seeing and helps to keep the pace moving along. This brings me to the most important use of sound in Symptoms, which, ironically, is silence. It is when Sam enters the last examination room that the film decides to take its humour and kindness and politely sets it aside to remind us of our vulnerability in this world. It does this by cutting out the music when Sam speaks to Amy (Zoe Cunningham), this simple yet effective method of grabbing our attention lets us know immediately that Amy is going to tell a different story than the rest of her acting peers and that in fact, she is not going to be acting at all. Cunningham manages to deliver the best performance of the running time, allowing real and raw emotion to show unfiltered as Sam gives the most honest support he can give in his suddenly real situation. Symptoms is a film of real promise from director Marianna Dean, within a short space she manages to convey tension, laughter and ultimately sadness, in a story that would resonate with the majority of audiences and most importantly it reminds us of what we all find to be most comforting, somebody to talk to. #ShortFilmReviews #MichaelFiott #ShortFilms #MariannaDean #DanLam #FilmReviews

★ Directed by Michael Arell Starring Michael Arell, Greg Sorokin, Alyssa Dubois, Craig Popper, & Michael Armstrong Indie Film Review by Chris Olson There has been an explosion in recent years of new filmmakers, brought on, most likely, by the abundance of platforms to appear on, access to increasingly professional equipment at cheaper prices, and a general ethos that permeates social media channels that anyone can do anything as long as they try. Whilst all of these are facts, there is something fundamental about filmmaking that has remained as true today as it always has: true quality will prevail. Indie film Slim, from writer and director Michael Arell, sadly lacks many fundamentals of filmmaking whilst taking a joke so far that it loses all appeal within the opening frames. Arell plays the titular character of Slim, ironically an overweight archaeologist-cum-adventurer who finds himself on a hazardous quest, facing off with belligerent nuns and mild peril. Travelling to Nunzonia, he is searching for a valuable golden item, but finds a lot more than he bargained for. Think Indiana Jones (with no budget or style) meets high school movie project and you are in the right ballpark. To go much more into the plot would be a. very difficult given its limitations, and b. give too much credit to the "storytelling" going on. Slim is pitched as a comedy, but unlike the farcical masterpieces of filmmakers like Mel Brooks or Woody Allen, or even the Wayans brothers, there is an immense lacking in the passion from Arell as a director. Every aspect of the film has been overlooked, with no creative skill or flair emerging. From the horrendous dubbing of the voices to the PowerPoint presentation in the editing, the term amateur doesn't seem to do justice to how bad this film is. The performances are just a bunch of kids mucking around with a camera, falling over haphazardly or guffawing at each other, and the jokes are painfully sparse, landing only several times over the whole running time. A couple of the characters had what looked like sheets stuffed down their tops to suggest a bigger build, an example of the infantile attempt at cheap laughs. One scene comparing an epic fail with a splashing whale at SeaWorld was pretty decent though, and Arell himself manages to take a few scenes seriously, especially in the final third. The sound editing is terrible, with voices being too low to even hear at times and disjointed during sequences when they were obviously recorded separately from the visuals, whilst the score is okay but seemed thoughtless and fickle. It is this kind of dispassionate approach to filmmaking that will really irk viewers, in that Slim as a movie doesn't really try attempt to impress. It just jokes around. Whilst most filmmakers would stick to their strengths to tell their story, and avoid pointless frivolity and tactics which cheapen their movie, this film seems happy to revel in its awfulness. There were so many elements which could have been removed or avoided. For example, don't have a huge cast of non-actors littering the film when their characters are superfluous. Now it may seem like I'm being a bit harsh, but there is a nastiness to Slim that seems to enjoy being feckless and disappointing. There were moments where they could have simplified everything and got to the crux of the plot, but instead engaged in mindless, slapstick antics. I would however applaud the numerous locations used, and there is a pretty thrilling car chase at one point, but if you are dealing with a shoe-string budget perhaps this would have been better spent elsewhere? Proof that anyone can make a film, Arell's attempt is also proof of why not everyone should. It is not enough to simply launch a load of pointless scenes and clips together and call it a movie. There is an artistry completely missing, as is the basic need to want to make something worthwhile. #IndieFilmReviews #ChrisOlson #Comedy #IndieFilms #Filmmakers #Filmmaking #MichaelArell