Directed by Freddy Lond Starring Alexander Nima and Nicolas Dillen Short Film Review by Monica Jowett Medicine Men is a short film which follows Said and Franco, two young men who rob pharmacy stores and then sell the stolen medicine from the trunk of their car. But one normal day takes a turn for the worse and a nightmare for the two men begins. Written and directed by Freddy Lond, the film depicts a powerful message about friendship. Said (Alexander Nima) and Franco (Nicolas Dillen) have a close but volatile relationship, mainly due to Franco’s drug use, and each of them have their own personal reasons for robbing drug stores as a way to make money. Nima and Dillen give great performances in the respective roles. They act aggressive and show a lot of attitude, a typical stance of young men who are in over their heads in a gangster and drug filled world. Said is the more sympathetic character of the two, who has a father to support, and even when he acts out violently it feels justified. On the other hand Franco is reckless and childish, yet his flaws seem hard to punish. The cinematography in Medicine Men makes it stand out. The pink-coloured, hazy filters give it a sun soaked feel, as if the bright weather is adding to the heightened tension between the two leads. The frequent close ups of the characters provide an intimacy with them, which is needed as it is hard to feel for the young men who rob pharmacies and take drugs. The smooth editing delivers a professional cut to the film and creates the right amount of pace to keep you interested in the story as it unfolds. The music, from composer Heldur Maripuu, is the highlight of this short film. Dance and techno vibes fit in with the sunny, hazy cinematography style and the fast paced lives Said and Franco lead, and cutting between the music to nothing, just the sound of someone rolling up a bank note to snort drugs through, quickly grabs your attentions. A shrewdly produced short film about these young men keeps you involved in the journey of Said and Franco and leaves you wanting to know more. Lond has crafted an intelligent film and it will be interesting to see where his next projects take him. #ShortFilmReviews #MonicaJowett #ShortFilms #Crime #FreddyLond

Filmmaker Interview by Chris Olson UK Film Review recently caught up with indie filmmaker David Campion about his film Woodfalls. During the interview we talk about his movie, directorial ownership, and voter's rights for dolphins... Your film, Woodfalls, is a dramatic piece about a clash of cultures. Is that how you would describe it for audiences? Yeah, is that a bad description? It doesn’t scream ‘WATCH THIS’, does it? For ages I was describing it as an exploitation film - it definitely has elements of genre, but it’s not quite full on exploitation. I just don’t want to give people the impression that it’s a preachy film, ‘cause this poppa don’t preach. (we offer a respectful silence) Yeah, it’s a dramatic piece about a clash of cultures. What was the genesis for the story? And did you have any personal attachment to the themes? I have travellers in my family. I’ve been to caravan sites, traveller weddings, funerals. I was once tied up to a tree by a group of traveller kids. We were young, so it wasn’t serious, although they beat the shit out of me. I remember they kept asking, “Are you a traveller or Gorja?” (Gorja is a derogatory term for non traveller). I don’t know what my problem was, but I was too dumb to answer. I probably deserved that beating. I guess I was quite embarrassed by this side of my family growing up, as the culture is definitely looked down upon. As you get older, you become more confident with your identity, so I thought I should use these experiences. When you write and direct a film, there must be a large sense of ownership. Do you feel this hinders or enhances the final outcome? Directorial ownership is a never-ending debate. Basically, to write/direct a film you need an ego. We all have egos. My ego is disgusting. I spend months writing precious words, constructing a story that I feel people need to see. However, when it comes to the filmmaking process, it would be stupid to let my ego interfere with other people’s work. I trust my cameraman/DOP, my make-up artist, my actors - these people bring their own skill set to the project. At the end of the day, I probably feel closer to the film than anybody else. I guess as a writer/director, I am considered the author, but I hope everybody who put something in still feels a relationship to the film. I mean, I love Woodfalls, but I wouldn’t want to hog it. Since the film's release, audiences can now watch it on Amazon Prime. Can you tell us a bit about the process? Any successes or struggles? Film is a constant struggle. The journey between writing the script and screening Woodfalls was close to 4 years. We premiered at BUFF (British Urban Film Festival) in Whitechapel, I attended a screening at the College Town Film Festival in Pennsylvania - both high points. Screening the film in general is an absolute pleasure and a reminder that I’m following my dreams. I’ve seen numerous walkouts, endured negative feedback both in written reviews and general opinions, but this is all part of the success. I’ll never get down about that sort of stuff - I’m just pleased to have a a film out there. Self Destruct Films contacted me months ago and released Woodfalls on Amazon, iTunes, Google Play…it’s even on Amazon Japan! Realistically, I’m not sure how a film of this size, with very limited publicity is going to fare on VOD, but I’m going along with it. My first film, Patrol Men (made with Ben Simpson) was released on DVD. Like, I walked into HMV and it had it’s own shelf. For £1,500, that felt great. It even got a review in Empire as part of Kim Newman’s Video Dungeon. The excitement soon wore off however, as I knew the film was fairly shite. What is the most difficult aspect of making a film in 2017? Standing out. There are thousands of filmmakers in this country alone, all with the same dreams, the same passion, drive and access to similar equipment. The process has become somewhat democratised, so how do I make my films stand out? Seriously, how do I?! I ask that question constantly throughout writing and production. Money is also a real pain the ass - why don’t I ever have any? Watch the official Movie Trailer for Woodfalls above. Which actor or director, living or dead, would you most like to work with and why? Ideally, I’d be able to sit on Scorsese’s shoulders from pre production right through to picture lock. Watch him storyboard, devise sequences, work with his actors, with Thelma. I’d like to hang out at home with him as well - I really just want him to educate me. I’d have also liked to work with Wes Craven. He was the first director I fell in love and I’ve heard only lovely things from those who met him. You know he was really into birdwatching towards the end of his life? He’d post pictures on Instagram. It makes me chuckle to think of the director of Last House on the Left finding joy from birdwatching. What's next for you? I’m in post production on She Lived On Franklin Avenue (co directed with Ben Simpson). It’s a horror film about a female serial killer. It’s dark as hell and pretty gnarly. We should have that ready for the end of year. What would you say if you were a dolphin? I’d ask for the right to vote. Read our review of Woodfalls here. To watch Woodfalls visit their Amazon Prime listing here. Or head over to Facebook and LIKE their page - https://www.facebook.com/woodfallsfilm/. #Interviews #ChrisOlson #MovieTrailers #IndieFilms #FilmmakerFeatures #Filmmaking #DavidCampion

★★★ Directed by Chris Purnell Starring: Patrick O'Brien, Kitty Colquhoun, Mariel McAllan and Simon Messer Indie Film Review by Bailey Claringbold Mark (O'Brien) is a returning soldier, finding life outside the army extremely challenging and confusing. Struggling with potential PTSD, he needs someone to talk to and somebody to confide in. Fighting a losing battle with his love life and family, Mark decides to try and break through his depression by turning to counselling, however, this causes him to question his morals even more when he is introduced to his psychiatrist (Colquhoun). Right from the get-go, Back Home is set up to deal with extremely mature and somewhat dark themes, whilst shrewdly commenting on our society. The strongest aspect of this film was definitely its screenplay. I enjoyed how Purnell's writing went from being gritty and dramatic in one scene, to being highly insightful and true-to-life in the next. The dialogue between Mark and his psychiatrist was fluid, managing to effectively maintain the pace from beginning to end. I also became engrossed by the monologues given by Mark about his experiences throughout. O'Brien gave an overall strong lead performance, expertly selling his emotional turmoil and dispiritedness to the audience through his expressions and non-verbal communication. He particularly excelled in the second act of Back Home, when he makes a discovery about his neighbour that made me really start to understand the psyche of the character. In regards to Colquhoun and the supporting cast, their performances weren't quite on the same par as the leading man. Some of the line delivery seemed robotic at times, which was rather blatant next to the passionate conveyance of O'Brien. This may have been intentional, however, did not sit well in some instances. The most interesting aspect of Grant McPhee's cinematography in Back Home, was the way some of the scenes cut to extreme close ups of Mark or his psychiatrist to represent their contemplation or personal realisations as the story unfolds. This was heightened by the bleached out colour palette letting us know when these moments occurred. This made for a stimulating juxtaposition next to the generally dull and washed out tones of the rest of the film. The shots are edited together pretty seamlessly, leaving the movie with a sense of continuity. Despite this, many of the shaky cam shots appeared out of place. They took me out of the film at times, for example when a handheld shot of a building lingered on for too long, which is a shame as the majority of the cinematography is brilliant here. Sound was utilised exceptionally well throughout, Kevin Murray's score managed to almost mimic the feelings of Mark, moving from mellow to being cutting and tense as he did, which I appreciated. My favourite part of the score came in the third act, which stands out from the first portion. However, the best use of sound by far was when the music fizzled out sharply after Mark butts into his psychiatrist's sentences. Back Home is a story that hooks you into sympathising with Mark and the dilemmas that he faces. The characters were pleasingly developed due to the meticulously written screenplay. Although the performances are rocky in some places and the camera shots can take you away from the jeopardy, this is a largely impressive film for its exploration into human morality. #IndieFilmReviews #FilmReviews #BaileyClaringbold #ChrisPurnell #PatrickO39Brien #PTSD

Directed by Avery Cohen Starring Josh Cohen, Jack O'Brien, Eva Poleschuk, & Mary Purcell Short Film Review by Chris Olson Introspective and intense, short film Burnt Ashes, written and directed by Avery Cohen, is a familiar fable about the search for identity which is often enhanced by, ironically, stumbling on the right person to show you a different path. The movie is set around the mundane life of Ash (Josh Cohen), a young man with little to celebrate, who meets Kai (Jack O'Brien) whilst attending a meeting for anxiety and depression sufferers. After ridiculing many of the attendees, Kai reveals himself to have an alternative attitude towards life which at first seems attractive to Ash. However, as the drama unfolds, more of the picture becomes clear revealing more uncertainty about life in Kai than he would like to admit to. Whilst the story here is made up of common themes, there is a freshness to the delivery of Cohen's film - most notably in the framing of the scenes. The camera provides an intrusive and claustrophobic atmosphere by delivering a collage of intense close ups, out of focus mid range shots, and jolting, sharp cuts which elicit a feeling of discomfort for the viewer. By capturing the core of the idea and building on it with the framing, the visuals never feel lacking in meaning. This is powerful filmmaking and something to be applauded. There do exist, however, some glaring flaws in Cohen's film, in particular the dialogue. Shallow and full of bro's, buddy's, and boy banter, the lines delivered by Josh Cohen and Jack O'Brien never quite live up to the aesthetics of the movie. The scenes get largely filled up with inconsequential nattering, whilst the heavier motifs are squeezed into the final few minutes of Burnt Ashes. In one scene during the anxiety meeting, the actors were rushing through their lines so quickly there was no mood being created and the performers seemed like they were in their first rehearsal of the sequence. The performances are not particularly impressive, although Josh Cohen showed a decent degree of chops during some of his solo moments. That being said, Burnt Ashes is a worthy film, if, for nothing else, tackling multiple issues attached to youth and identity within the short space it does. There is an emotional depth to the film, which is brought more by the visual filmmaking than the plot or characters. Viewers who watch the film and embrace the nature of the camerawork, sound, and mise-en-scène, will enjoy the spoils of Cohen's handiwork. #ShortFilmReviews #ShortFilms #ChrisOlson #Filmmaking #AveryCohen

Written & Directed by Kevin Kopacka Starring Anna Heidegger, Cris Kotzen, Iman Rezai Short Film Review by Chris Olson Surrealist thriller, Hades, is a darkly intriguing short film depicting the hellish experiences of a woman (Anna Heidegger) who is trapped in a Groundhog Day of intense memories, reliving them with painful angst and emotional turmoil. Written and directed by Kevin Kopacka, Hades is based on a short story by H. K. Dewitt, and the name derives from the so-called 5 rivers of Hades: Woe, Lamentation, Fire, Oblivion, and Hate. Hades is a section of hell with religious significance for some, but here is applied to the lifespan, and ultimate failure, of a relationship. The short film is divided by title cards announcing the stages (in a font which looks reminiscent of the opening credits of Stranger Things), where Heidegger becomes increasingly affected by her turbulent spiral through them. There is a degree of experimental cinema here, something which Kopacka pulls off marvellously. The most obvious example would be the score, which he also provides, that is cunningly disturbing and the perfect companion to the troubling visuals. There are moments during Hades which are genuinely gripping, not least because of the unorthodox relationship between sound and screen. Very often, audiences will experience troubling visual stimuli with a score that is unsettling for all the wrong reasons, in Hades, the is an enjoyable union whereby they complement each other. Thematically, there is a lot for audiences to chew on in Kopacka’s short film. There is an intelligence to the coupling of the story with the religious allegories, delivering a depth that elevates this above arthouse fodder that is simply trying to be “visually arty”, instead becoming something creatively different, but with meaning. This is delivered with a notably graceful performance from Heidegegger, who capitalises on the dark mood and tone of the movie, whilst offering glimmers of light. It was her movement through certain sequences which was most impressive, fluid and dreamlike, which was essential to parallel the story and maintain the atmosphere which had been created.. The abstract nature of the visuals started to run away in some sequences, which caused the pace to jolt slightly. There was a momentum being built, but it levels out slightly, leaving the ending a little wanting. However, the style and substance of Kopacka's filmmaking overcomes this in a big way, delivering a short film that has the tonal quality of a David Fincher thriller, with the subtle, experimental class of David Lynch. #ShortFilmReviews #ShortFilms #ChrisOlson #Arthouse #ExperimentalCinema #KevinKopacka #AnnaHeidegger

★★★★ Directed By: Chris McKay Starring: Will Arnett, Michael Cera, Rosario Dawson, Zach Galifianakis, Ralph Fiennes Animated Film Review by Jack Bottomley When The Lego Movie arrived in 2014 it was met with heaps of cynicism and why wouldn’t it be? In an era where emojis are getting their own movie, why would people expect a branded movie from a toy company to be anything else but a big screen advert? Well, if all adverts were this much fun, we’d never leave our homes, The Lego Movie emerged as a unforeseen hit, with an emotive final twist and lots of anarchic enjoyment in its amalgamation of franchises, toylines and brands. However, Will Arnett’s Batman really was a stand out, so surprise surprise, he now has his own movie, which ironically comes with huge expectations. The film sees Bruce Wayne/Batman (Will Arnett) living the high life as Gotham’s beloved hero…but it is a lonely life being Batman and it is about to get worse as new commissioner Barbara Gordon (Rosario Dawson) is calling for Batman to work with the police and relax his crime fighting ways. While Alfred (Ralph Fiennes) is trying desperately to get master Bruce to abandon his lonely way of life and open his heart to the young orphan (Michael Cera) he recently – unbeknownst to him – adopted. But worse yet, The Joker (Zach Galifianakis) is up to something. It’s not easy being black and yellow! Now upon watching this frenzied and mad little movie, one thing is very clear, this was made with huge love for DC Comics. The film affectionately roasts certain aspects of the problematic DC Cinematic Universe (Batman v. Superman’s grim tone, the silliness of Suicide Squad’s premise), as well as parodying many aspects of Batman’s decades of cinema (Bane’s voice in The Dark Knight Rises, Joker’s grand schemes in Burton’s Batman and Nolan’s The Dark Knight, the campy 60s show, etc.). The references come thick and fast and the film is undeniably a hoot, chock full of character cameos (some of whom are really niche) and features some splendidly chosen vocal cast members (Billy Dee Williams as Two-Face, a role he never got despite playing Dent in the 1989 film). Watch the official Movie Trailer for The LEGO Batman Movie above. Sadly, the film does loose its way a bit in the final third, with a well-meaning final act about friendship for the kids (and a cringey closing song which just feels out of place for Batman), which jars a bit with the movie’s better and more effective moments. Also, the character-filled final act, featuring many characters from other films and brands, while still fun, does feel like a bit too much craziness for a film that (unlike its predecessor) was centered on one universe and didn’t really need to recruit other ones. Plus there are a few broadly kid-aimed gags that miss the mark and are repeated too much (the beep-bop Batman stuff wears). This being said, those flaws do not sink a movie this lively and enjoyable, the opening 10-20 minutes are quite literally perfect and are that good they would feel in-keeping in an actual Batman caper (that villain fighting song (“Who’s The (Bat)Man”) by Patrick Stump is pure genius). The animation is fantastic and the movie will benefit from being re-visited, as there are lots of jokes that could have got lost in all the chaos. Will Arnett owns the role, from his send-up of Bale’s lozenges needing Bat voice to the surprisingly human essence he brings to the character. Dawson and Cera are also great and very appealing characters as Barbara and Robin respectively, while Zach Galifianakis actually makes for a great Joker (spouting some lines you can well imagine a Ledger, Nicholson, Hamill or Leto taunting Batman with), just as Ralph Fiennes makes for a spot-on Alfred. You get the impression that some things could have been tightened up here and there to get the film to that next level but for its few faults, this is just loads of fun and a treat for Batman fans of all ages, with some excellent action sequences, voice-work and an opening stretch that knocks it out of the park. Everything is still awesome for Lego’s hopeful movie universe. #FilmReviews #JackBottomley #AnimatedFilmReviews #MovieTrailers #Animation #ChrisMcKay #WillArnett #MichaelCera #RosarioDawson #ZachGalifianakis #RalphFiennes #DC #Superheroes

★★★★ Directed by Raphael Biss Starring James Beaumont Documentary Film Review by Phil Slatter Raphael Biss’s Savages in Foreign Lands is not the sort of documentary that would initially appear to an outsider. It examines the mythical tribe of the Guanches, primitives of the Canary Islands, and tries to uncover who they were, where they came from, what they did and what happened to them. To those with an interest in ancient tribes and archaeology, the interest is obvious, but to others it may seem like a documentary film to pass over. However, the brilliance behind the movie, which packs an awful lot into its sub-one hour running time, is that it uses the Guanches to examine elements of humanity and mankind and highlights just why delving into ancient history and literally digging up the past is so important. What we discover, through the talking heads of experts and footage of what is left of the Guanches, is that they were not natives of the islands but were most likely taken there by the Romans from Africa. Quite why the Romans did this is open to debate, although it is thought that the Guanches were prisoners of the islands and that their tongues were removed to stop them talking to one another. Subsequently, they communicated through a whistled language. Equally fascinating is that each island had its own tribe and the three islands never spoke to, traded with or perhaps even knew about one another. This leads to the film’s centralised notion of humanity’s life long search for its own place in the universe. The Guanches may not have realised that there were worlds beyond their own and were quite possibly a people with no idea of where they had come from or where they were going. As we as a race continue to seek similar answers to this day through science, religion, philosophy and so forth, we can start to see how this is an inherent trait of human characteristic that appears to be the very structural fabric of what makes us human. The Guanches, it is believed, looked to the overbearing mountain of ‘Taeda’ that they believed was an omnipotent presence that oversaw them. Again, this ties into the ancient idea of a deity and refers to the complex notion of whether mankind continues to believe in Gods of various guises either because it is built within us, or because we still, like the Guanches, have no real explanation of why we are here or where we are going. The way the documentary ties all these philosophical questions into what is essentially an interesting history lesson is its key masterstroke. And as Savages in Foreign Lands ends with an all too familiar extermination, the Christian colonialists wiping the Guanches from the earth by diluting their beliefs into their own religion and gradually absorbing their bloodline amongst their own (like what would have happened after the credits rolled on Mel Gibson’s Apocalypto), we understand the importance of making your mark on this world and how vital it is to not be forgotten by history. While Savages in Foreign Lands will primarily appeal to those interested in ancient history, its examination into a forgotten tribe and its relevance to our own humanity, is no less fascinating to all who are interested in the history and future of the human race. #DocumentaryFilmReviews #Documentaries #PhilSlatter #RaphaelBiss #JamesBeaumont

★★★★ Directed By: Danny Boyle Starring: Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Robert Carlyle Film Review by Jack Bottomley 20 years is a long time. In 20 years those friends that had their life ahead of them can lose everything, or those who seemed in a rut can find themselves living their dream. However with the passing years, be they good or bad, we are all forced to acknowledge many things in life, from the glory days gone by to the future ahead. Enter T2 (no, not that one), which very much focuses on such ideas, as director Danny Boyle re-visits his most landmark accomplishment, in his Irvine Welsh novel adaptation Trainspotting. Back in 1996 Boyle was already showing early promise as a director but with Trainspotting he created a visionary work that not only unflinchingly told a story of drug addiction but of economic turmoil in Scotland and of a disillusioned generation of youth. It is little wonder that so many people connected with this film back on release but in many ways the film’s formation as a generational milestone in cinema over the years has resulted in immense hype for this long time coming follow-up. Luckily for us, Boyle and screenwriter John Hodge have created a film that encourages audiences to re-visit these characters and this world. Adapted from Welsh’s novel “Porno”, this second film sees Mark "Rent Boy" Renton (Ewan McGregor) return to Scotland and soon after, he finds himself re-uniting with old friends Daniel "Spud" Murphy (Ewen Bremner) and Simon "Sick Boy" Williamson (Jonny Lee Miller), after taking the money and running 20 years ago. But, as they all find, the years may have flown by but the connection is still there, as the three soon start a shady business venture, all while the vengeful and borderline psychotic Francis "Franco" Begbie (Robert Carlyle) has escaped from prison. Watch the official Movie Trailer for T2 Trainspotting above. While the argument can be made that Trainspotting did not need a sequel (and frankly, it didn’t), this writer is thoroughly happy the gang made one and it does not disappoint. Imbued with heaps of ‘90s nostalgia and a lot of call backs to the now iconic original, this is indeed a film that lives in the past but considering the theme of the movie, this is wholly appropriate. Looking at how age brings with it the necessity to dwell on what you consider “the glory days” of youth, T2 Trainspotting shows how things change while, for some, they inevitably remain the same. This is less a film about drugs (although they obviously feature) and more about life. From the speaker-punching soundtrack to the hyper-visual style, Boyle retains ingredients that made the original a subversive standout, and actually mages to make scenes gritty in spite of the digital advancements to movies that make creating a grubby scene rather difficult nowadays. However, what T2 does lack is the same punch as its predecessor. Yes, it carries some affecting moments of its own but does not quite have the same no holds barred gut-punching truth and tragedy that made the first film linger so long in the mind. Not to mention the fact that the movie is potentially divisive due to its differences to the first movie in many ways (its finale alone shows how Boyle has given the film more action in many ways). That being said, at no point do you ever get the impression that they are trying to outdo the original, instead the team seems to be adding to it and speaking of the team, the performances are great. McGregor brings a real façade of success as Renton, which soon crumbles to reveal a rather less glowing reality to the character, and Bremner is given a great little arc of ambition in this film as Murphy, that builds on the more sympathetic traits of the character established last time. However Jonny Lee Miller and Robert Carlyle steal the show. Miller is perfectly unbalanced emotionally as Williamson, who is both still angered by his mate’s betrayal and yet still connected to his long time friend. While Carlyle once again excels as the crazed Begbie and he goes at the script like a Hyena on scraps! Overall, this is just a really enjoyable piece of work that connects emotionally at times in its own right and offers more funny sequences than a more gravitas-laden original. True, you get the feeling the film won’t go on to have the same imprint culturally as the first but those were big shoes to fill to be honest. T2 Trainspotting is frantic, enjoyable and unexpected. #FilmReviews #JackBottomley #MovieTrailers #TheatricalReleases #DannyBoyle #EwanMcGregor #EwenBremner #JonnyLeeMiller #RobertCarlyle

Directed by Forrest McCuller Starring Robert Kivlens, Nick Martin, Ellen Turrietta, Short Film Review by Andy McZomb Coffee opens with a noir setting, housing a bored barista contemplating intense inner thoughts concerning atheism and religion. His attempts to develop his ideas are repeatedly thwarted by unaware, uninterested customers until he eventually has his inspiration drained altogether. The decision to craft the backdrop for this moment of wisdom out of a paper bag shows the determination he has to express his ideas and the importance they have to him. These thoughts are much too important to simply be jotted down on a piece of paper; they need the high esteem that comes from manufacturing your own writing canvas. Robert Kivlens takes on his role as the human coffee cup effortlessly. Coffee has one function, to be consumed. Here lies the metaphor that Robert encapsulates. He pours the coffee and is seen to be incapable and certainly not required to do anything else, all the while desperately craving the sweet nourishment of fulfilling his purpose. McCuller utilises a self-indulgent customer relentlessly performing her hypothesis, as a way of showcasing everything the discontented barista wants to be. He wants to openly converse with this woman but she offers no opportunity for reply. The final customer even wears earmuffs to ensure she blocks out any potential moment of discussion with this “idiot”. The poignant internal monologue is a constant harmonising noise throughout every disrupting latte poured. In the closing scene a symbolic blank page accompanied by lack of voiceover that is as noticeable as a rave that has lost a power supply, shows how we can all so easily let life’s distractions completely silence our inspirations.  Even the background music adds magnificently to the idea of distraction. Peter Brötzmann’s fearless ‘Machine Gun’ uses free jazz to compliment everything Coffee is endeavouring to convey. Just as the barista’s thoughts are penetrated by the clangs and smashes from the metallic coffee apparatus, your opinion on this short is also interrupted by Brötzmann’s jarring, irregular brass. The real beauty in Coffee comes from the seamless, unapologetic affinity it serves the audience. From top shelf occupations down to the grain stained floors, we all wish we could be more focused and driven to carry out those ideas we only ever tell ourselves. Whether you pity or empathise with this unappreciated coffee cup crusader, it leaves many areas open to discussion. Is he undiscovered or just lazy? Are the customers ignorant or simply too absorbed in their own goals? Love it or hate it, Coffee may just keep you up all night. #ShortFilmReviews #ShortFilms #AndyMcZomb #ForrestMcCuller #RobertKivlens

★★★★ Directed By Garth Jennings Starring Matthew McConaughey, Reese Witherspoon, Seth McFarlane, Scarlett Johansson, Tori Kelly, Taron Egerton Film Review by Jack Bottomley Isn’t it lovely to be surprised? Now when we say that, we don’t mean the Mandarin twist in Iron Man 3 or a big jump scare, we are talking about being genuinely caught off guard by a movie and for the better. Over the years most can recall a long list of films they have been disappointed by but many do not quite as easily recall a list of movies that were far better than they ever expected. Well Sing, the newest animated family film from Illumination Entertainment (the Despicable Me movies and The Secret Life of Pets), certainly is one such film. Promoted by the trailers as “X-Factor with animals”, hopes were not especially high for what looked like a ho-hum cash-in on people’s unfathomable love of TV talent shows. Thankfully, this could not be further from the case, as Sing is a brilliant and rather sweet film that has far more too it than singing animals. The film focuses on Koala Bear theatre owner Buster (Matthew McConaughey) who aspires to put on the big money shows that his little old school theatre deserves. However his ambition is constantly challenged by lacking business, until one day he decides to put on a singing contest show with a cash prize. However when a typo puts a few extra 0’s on the prize and many events spiral out of control, this show could end up being one gamble too far for the owner. Sing lives up to its title with a chock-a-block array of musical numbers but the songs are appropriate to the story and the narrative itself offers more than punk rock porcupines and singing elephants (though it has those too). At heart, this is a film about not allowing tradition to perish and to ensure its survival by marrying the old school with the new, as opposed to letting it die out completely. This is a nice little film about motivation and the shock and awe old-fashioned institutions still have to offer new audiences. The film actually has a lot in common with James Bobin’s equally lovely 2011 reboot The Muppets and like that film says a lot about dreaming big and saving tradition in the process. As well as this, there is a comment about loving your art not just for the monetary gain but because you enjoy it – something these so called “talent shows” could learn a lot from. Yes there are some broad moments of comedy that don’t quite nail it, and yes you know where the story is heading, this is indeed not as layered as Disney’s Zootropolis but it doesn’t matter as Garth Jennings (The Hitchhiker’s Guide to the Galaxy) offers such a tale of constant goodwill that you are always on side and having loads of fun. Watch the official Movie Trailer for Sing above. The visuals are colourful and effective and the voice cast feels passionately invested, with McConaughey excelling as the lead, in the rootable and well-intentioned Buster. However there is a great supporting cast too, including Reese Witherspoon as the likable and devoted wife/mother Pig Rosita, Seth MacFarlane as the cocky/street-smart Sinatra-like mouse Mike, Tori Kelly as the shy but hugely talented elephant Meena and Taron Egerton as the kind hearted Gorilla Johnny (and Egerton’s rendition of Elton John’s “I’m still standing” is awesome and could show X-Factor a thing or two about actual singing). Although this writer’s personal favourite character was Buster’s aged but loyal glass-eyed lizard secretary Ms. Crawley (voiced by director Garth Jennings himself). Sing is just an unexpectedly warm and enjoyable treat for the entire family, which not only offers harmless fun but also offers a soul equally as joyful as the jukebox. #FilmReviews #JackBottomley #AnimatedFilmReviews #Animation #GarthJennings #IlluminationStudios #MatthewMcConaughey #ReeseWitherspoon #SethMcFarlane #ScarlettJohnasson #ToriKelly #TaronEgerton

Directed by Fabien Montagner Starring Cindy Colpaert, Pierrer Hatet, Vernon Dobtcheff, Fanny Capretta, Philippe Ohrel and Rainer Sievert Short Film Review by Bailey Claringbold Le Passage follows Faustine (Colpaert), a young girl who is clearly discontent with her daily life, seemingly trying to escape in any way possible. When on a walk with her dog, Max, he makes a bolt for it, leading Faustine into a situation that makes her re-evaluate what is important. I was taken by complete surprise with this short film. I became progressively invested in the character of Faustine and completely bought into the emotional performance by Colpaert. She appears to understand exactly what her character is about, coming across as doubtful and unsure of herself. The on-screen chemistry between Faustine and her Grandfather (Hatet) is natural and grounded in realism, and, although short, offer some of the most powerful scenes throughout. The supporting cast also give some compelling delivery that add to the intrigue of the plot. Script-wise there were a few scenes in which the dialogue hit the mark, in particular when Faustine meets a mysterious elderly gentleman (Dobtcheff), who advances the plot along nicely. On the other hand, I did feel as though it could have helped to include slightly more dialogue between Faustine and her Grandfather as these were the two most fleshed out characters in Le Passage. Their non-verbal communication did pay-off in terms of the lack of conversation. The cinematography by Arnaud Carney works in favour of Le Passage, incorporating some perfectly timed tracking shots to build the intensity in the second act of the film. I particularly appreciated the use of intimate camera shots as they helped the viewer to buy into the fear of Faustine. Each angle is evidently designed to carry the different emotions through the plot. Carney cleverly uses shots in which there are branches and trees in the foreground to give a sense of claustrophobia, as well as highlight the danger that Faustine is in. Non-diegetic sound was inserted in just the right places to toy with suspense, mystery and empathy. Cyrille Aufort's score complimented the film beautifully in creating an aura eeriness. The end composition elicits feelings of hope and relief, in that Faustine is now safe at home, and has to be my favourite piece of music here. The crunching of leaves and grass under the characters footsteps provide a fantastic connection for the audience to relate to, interjected as the music cuts away, aiding the realistic elements. One of the strongest visual aspects of Le Passage are the locations used throughout the film. Faustine's house provides a stark contrast between the gloomy forest that she encounters. The colour palette is rather washed out, including a lot of greys, browns and earthy colours. By playing with the lighting, the more unnerving the scene, the darker it becomes. The only thing that stands out in this field is that the film is set in 1989, yet I felt as though the indication to the time period is lacking a little, as lovely looking as it was, I didn't get the sense of the 1980s that I had hoped to. Le Passage is incredibly crafted through Montagner's inspiring direction and the cast's nostalgic performances. There are many heartfelt scenes shrouded in sombreness that make you root for Faustine in her realisations and grim situations. The character development and script makes this film one of the most gripping and touching independent movies you will see. #ShortFilmReviews #ShortFilms #BaileyClaringbold #WorldCinema #FrenchCinema #FabienMontagner #CindyColpaert

Directed by Christopher Hughes Written by Shelley Davenport Starring Shelley Davenport and Toby Spearpoint Short Film Review by Chris Olson The inescapable sadness of love lost delivered with sophisticated pathos in this tragic short film directed by Christopher Hughes and written by Shelley Davenport. Set inside the apartment of a couple in the process of breaking up, the pair divide their belongings with more attention than they are willing to assign to their parting, focusing on years of trivialities which ironically make up their relationship. Davenport plays one of the lead roles, opposite Toby Spearpoint as her belligerent ex. The two are a lovely swirling force within the confines of this bleak flat, allowing audiences to be swept up in their emotional demise whilst delivering a great deal of poignancy and human foibles. During one scene where Spearpoint berates his former partner for not reading a book he lent her, there is a charming sense of connection between the two of them as latter didn't want to hurt the former's feelings because she didn't like it. Consciously made in black and white, Hughes is brilliantly aware of the tone he wants to create with his filmmaking. Further enhanced by choosing to have the instability his characters are feeling mirrored by an uncomfortable mix of soft panning and sharp edits in the sequences. This polarising effect reveals the range of emotions in the scenes, letting the viewer feel like they are being submerged into the lives of these two characters then quickly snapping to another frame as if to elude any real sense of understanding them, because...how could we? This relationship belongs only to them and that is why it is so fragile and special. Watch the official Movie Trailer for Torpedo above. There is a soft jazz style score which sparingly accompanies Torpedo, from Robert Emms, something which lends a sense of awkwardness against the heavy emotions of the scenes, almost like these people are avoiding their real feelings by focusing on tiny irrelevancies rather than a bigger picture. It is a shallow score set against the depth of the themes, and something which works well. At times the plot of the short film feels a bit messy, which could be reflective of the nature of the situation the couple finds themselves in, enjoying the chaos by flitting around so much. Sadly this had the effect of being a touch unsatisfying. I wanted more from the movie and these characters, more coherence, which proves the quality of the filmmaking but reveals a flaw in the storytelling. Revelling in the infinite nuances of a failing relationship, Torpedo is as insightful as it is aesthetically pleasing. Aside from a slight under-delivery in the final third, Hughes offers an engulfing short film that will resonate with audiences wholeheartedly. #ShortFilmReviews #ChrisOlson #ShortFilms #MovieTrailers #ShelleyDavenport #TobySpearpoint #ChristopherHughes #BlackandWhite