Directed by Phil Drinkwater and Tim Woodall Starring Rupert Hill, Siobhan Finneran, & David Bradley Short Film Review by Evie Brudenall Grief is a popular topic to explore in film, especially during the latter part of 2016 and early 2017 with Hollywood hits such as A Monster Calls and Manchester by the Sea. Written and directed by Phil Drinkwater and Tim Woodall, Broadcast Signal Intrusion also deals with the sensitive subject but has neither the fantastical or comedic touches that the aforementioned pictures do – instead Broadcast Signal Intrusion relies on straight-up psychological thrills. Haunted by visions of the death of a loved one, James (Rupert Hill) leads a lonely existence and is emotionally withdrawn. After stumbling across a disturbing video tape, James is invigorated to discover more about it, convinced that it is in some way connected to his tragic loss. The opening of Broadcast Signal Intrusion is a powerful one. A young woman stands on top of a building, overlooking a city landscape and teetering very close to the edge. Clad in white with auburn hair and piercing green eyes, she is the visual epitome of purity and innocence. However, there is a beauty to the brutality of this image and as she takes the fatal step forward, James is startled into consciousness. It’s just a dream, but we soon discover that it was indeed a reality and he continues to live with the aftermath of her death. James goes to work in a miserable basement, routinely and mindlessly spending the hours away in dire conditions until he inserts the mysterious tape into the TV, renewing him with a sense of purpose. Even though it clearly damages his psyche further and can hardly be called the healthiest approach to spicing up his dreary life. Broadcast Signal Intrusion has assembled a truly and almightily impressive cast that consists of some of Britain’s finest actors. Siobhan Finneran, best known for her comedic work in ITV’s Benidorm and Sally Wainwright’s BBC drama Happy Valley, inputs a minor supporting role as a fellow member of James’ support group and her character verbalises all of the feelings that James is unable to express. Meanwhile, David Bradley, noted for his role as Finch in the Harry Potter series, is wonderfully understated as James’ father who is caring but emotionally out-of-tune with his son. However, I must admit, it was strange to see Bradley out of the Hogwarts castle and unaccompanied by his devoted feline, Mrs Norris. The real standout is undeniably Rupert Hill as the bereaved protagonist; Although he seldom speaks until the film’s climactic third act, Hill does a fantastic job at portraying sorrow through physicality and he conveys the most pained emotions through his defeated presence and drained eyes. Grief is not only captured by the performance of the lead actor, but the perpetual state of sadness is reflected in the visual style. As James talks to his father on the phone, his father is centred in a bright space whilst James is placed against the backdrop of his dark, un-homely abode. It’s aesthetically evident that one of these characters has overcome grief whilst the other one is completely consumed by it. Additionally, the non-diegetic music is extremely fitting with the sombre tone and peppering of thrills and scares, as the throbbing bass notes begin to bubble as James inches closer to what he thinks is the truth. To really capitalise on this psychological excitement, the film could have benefited from a longer running time to ramp up those final moments and ensure audiences are wholly gripped as opposed to the casual interest that Broadcast Signal Intrusion occasionally settles for. A master class for aspiring filmmakers of short stories about the importance of casting and visual storytelling, Broadcast Signal Intrusion just falls short of greatness and is not afforded the room to develop and breathe that it so sorely needs. #ShortFilmReviews #EvieBrudenall #ShortFilms #Filmmakers #PhilDrinkwater #TimWoodall #RupertHill #DavidBradley #SiobhanFinneran

Directed by Samir Dash Starring Abhinav Dash, Dukhi Shyam Sahoo Short Film Review by Lorenzo Lombardi Sustainment of our environment is a universally acknowledged duty, and sometimes the public may need a visual reminder of that. Cleanliness Begins at Home is an amusing and digestible example of one such reminder and it will definitely leave audiences with a higher level of awareness, particularly among children. The short film follows a young boy as he imitates his grandfather’s actions around the house. These are mostly everyday activities, ranging from exercising on a treadmill to shaving. The boy soon witnesses his grandfather littering, an unwanted habit that he subsequently imitates too. He empties a bin onto the floor and points out the mess that had been previously made. That adolescent’s intent was to point out how children will be inspired by their parent’s actions. This idea is underlined in the short speech, topped off by an optimistic peroration stating that India can be “sweet and clean”. Oversimplified in presentation, this short will clearly resonate more with younger audiences that are not overly familiar with the process of littering and recycling. Its home setting adds a relatable element to the cause of cleaning up and maybe it can teach youngsters to carry their clean habits to the outside world. As for craft, Cleanliness Starts at Home will not win any plaudits. It can even feel amateurish at times for some jolty camera movements but this can be forgiven due to its smooth editing structure and natural locale. There is, however, a surprisingly fitting use of an indie rock song called Lonely Child by We is Shore Dedicated that rhythmically punctuated the boy’s curiosity (played charmingly by Abhinav Dash). Director Samir Dash conveyed an environmental awareness message through an all-in-all effectively simple and pure short film. This idea could have also been invoked equally well in an advert with the same set-up but the unusual song choice and amusement of the child’s wonder is an added watchable bonus. If you want to teach your visual learner child a short and sweet lesson on recycling, put Cleanliness Begins at Home on. #ShortFilmReviews #LorenzoLombardi #ShortFilms #SamirDash

★★★★ Directed by M. Night Shyamalan Starring James McAvoy, Jessica Sula, Anya Taylor-Joy, Haley Lu Richardson, Betty Buckley Film Review by Ashley Olson M. Night Shyamalan has experienced both sides of Hollywood, he created one of the greatest twists in cinema history in The Sixth Sense, he then went on to craft wonderfully emotional character driven stories in Unbreakable and Signs, but then started to come chinks in the amour while The Village was very hit and miss among audiences. This was followed by further hits to his reputation in After Earth and The Last Airbender, it looked like Hollywood was done with M. Night Shyamalan but with Split the director returns back to what he does best, telling grounded stories with interesting characters, and is not just his return to form but it also ranks up there as one of his best. Spilt stars James McAvoy as Keven a man with DID (split personality disorder) who kidnaps three girls (Jessica Sula, Anya Taylor-Joy and Haley Lu Richardson) the film flicks between the girls trying to escape and Kevin visiting his therapist (Betty Buckley). Anyone expecting a simple escape/torture movie or a very accurate look into the workings of DID is going to be disappointed, but it’s the performance of the cast and the clever writing that stops this being an insult or something that has been done before. James McAvoy gives the performance of a lifetime, in a role that he could have easily have gone over the top with, he brings so many emotions to the table and yet he handles it with such ease he brings a wonderful sense of unease, one moment he can seem terrifying the next warm and approachable, these changes often in very short spaces of time that you’re never quite sure if he is the villain or the victim. He has come such a long way since Shameless. Anya Taylor-Joy is another standout performer, she is clearly different from the other girls and it’s her backstory which is slowly told throughout the film which explains her difference and it’s this that makes her so compelling to watch. Again with what could have been an over the top performance, for someone so young and having to deal with difficult issues, she never seems over burdened with all that’s thrown at her. Watch the official Movie Trailer for Split above. The pacing of the film is also a credit to Shyamalan because with not many characters to choose from there could have been moments where the film dragged but in turn due to the wonderful writing and standout performances you're constantly intrigued as what’s happening and why. As I mentioned earlier this isn’t your standard kidnap film (which it so easily could have been) due to the superb script, you're never quite sure how Kevin will react when one of the girls does something wrong or which one of his personalities is waiting. Also for a film which has many dark themes running through it there are surprisingly small amounts of humour (largely down to McAvoy’s performance these moments never seem out of place). I would call this more a tense thriller rather than a horror film as the camera work seems to reflect that, often you will see tight camera shots of long dark hallways giving a sense of isolation and the sense that there is no escape from the girls' nightmare, while when Kevin is in the room with his therapist it's often light and the camera is at a distance to represent a sense of a safer environment and a calmer Kevin. Split is a tense physiological thriller that elevates itself above others, and into something very special, by its superb writing and fantastic performances. If you’re an M. Night Shyamalan fan craving a return to the old days then you need to see this film but for anyone looking for a good thriller you definitely will not be disappointed with Split. #FilmReviews #TheatricalReleases #AshleyOlson #JamesMcAvoy #MNightShyamalan #Thriller #MovieTrailers #PsychologicalThriller

Directed by Raouf Zaki Starring Essam Ferris, Mitch Fortier, Nour Bitar and Rina Hasani Short Film Review by Chris Olson In what couldn’t be more perfectly timed, short film Fireflies, directed by Raouf Zaki and written by Charles Hall, captures the intense and bleak societal tension existing in the U.S. (and other Western countries) between communities and Islam. This is done with subtlety and grace, but is no less effective in revealing the inherent legacy of years of scaremongering and how tragic the result has been for many Muslims who are often treated with undeserved suspicion. Sat inside a quaint American cafe, a man called Marwan (Essam Ferris) seems fixated on a flower inside a small vase on his table. Even taking a glass of water from a nearby patron’s table to feed it, his delicate obsession is at once lovely and worrying. The man whose glass has just been emptied sits reading a newspaper, with bold headlines declaring a “Terror” event, he eyes the strange Middle Eastern man but does not say anything. The headwaiter (Mitch Fortier) marks an X on the calendar, which the audience learns signifies each day Marwan has come in. Through the use of cross-edits and flashbacks, we are given pieces of the man’s life, where he came from, his current life in a motel, and the significance of the title Fireflies. The filmmaking in Zaki’s short movie is tentative and lovingly crafted. There is a focus on the visual elements, most strikingly exemplified by the near complete lack of dialogue. Moments such as the focus on the flower on the table, whilst the background remains out of focus, are a simple but beautiful way of highlighting one man’s life amongst all the noise and chaos. Close ups of Ferris’s face are also wonderfully intense and intimate, giving the film the emotive power it needs. The Director of Photography, Kenn Gonnerville, does a splendid job of delivering intelligently framed scenes throughout the several locations, which keep the audience emotionally grounded even in the more troubling sequences. In a bold, almost silent film like Fireflies you need a fundamentally excellent performance to keep everything together, and Ferris delivers this with ease. His control of scenes is almost completely reliant on his facial expressions, but his thoughtful ponderings and air of elusiveness is totally compelling, sucking viewers in as the intensity of the atmosphere builds. Other performances are also noteworthy, in particular Nour Bitar as a refugee during one set piece involving an escape from Marwan’s homeland, and also Rina Hasani, who plays a young refugee girl who attempts to “catch” the burning embers of her home town, one of the references to Fireflies. There are some bold themes in this short film, ones which are intended to be provocative and troubling. It is unclear as to Marwan’s intentions, and his activity in the cafe is unusual but not particularly threatening, and it is this notion about suspicion which is well delivered by the filmmakers. A Middle Eastern man sitting alone in a cafe seems to merit more attention from the headwaiter, who deems it necessary to mark his daily appearances on a wall calendar! There are times when the audience are given stronger evidence of suspicion, such as seeing Marwan routinely look out his motel window at the glowing neon sign displaying “No Vacancies”, or being given difficult scenes of Marwan’s background, but even these remain unclear as to the actual events which took place (and who were responsible for them), and whether this has any relevance whatsoever on Marwan’s frame of mind. My only criticism would be that the film is a touch too long. The build up is fantastic and intense, and the aesthetics of the short are beautifully done, but the poignancy gets lost slightly by lingering too long in the final third. That being said, Fireflies is a powerful and painfully relevant piece of short filmmaking, one that will make audiences feel decidedly unnerved for all the right reasons. Watch the official Movie Trailer for Fireflies: #ShortFilmReviews #ShortFilms #ChrisOlson #Filmmakers #RaoufZaki #EssamFerris #MovieTrailers

★★★★★ Directed by Mel Gibson Starring: Andrew Garfield, Sam Worthington, Luke Bracey, Hugo Weaving, Vince Vaughn, Teresa Palmer Film Review by Kieran Freemantle From Braveheart to Apocalypto Mel Gibson has been known for making some of the most violent mainstream films ever. He has now tackled World War II with his latest Hacksaw Ridge, one of the goriest war films in recent memory. Desmond Doss (Andrew Garfield) is a devout Seventh-day Adventist living in the Blue Ridge Mountains region of Virginia. Despite his anti-violence beliefs Desmond signs up to join the US Army with the aim to train as a medic believing he can still serve his country without killing anyone. During training Doss' superiors try to drive him out of the army due to his unwillingness to touch a gun, yet he still serves in the Battle of Okinawa. Desmond Doss is a unique figure, he was the first conscientious objector to win the Medal of Honor, American's highest award for military bravery and was very humble regarding his achievements. He was offered a second Medal of Honor but refused it because he felt one was enough. His story was considered for adaptation back in the 1950s but Doss refused to turn it into a typical Hollywood film. Hacksaw Ridge took 14 years to be made from an idea to being a film with We Were Soldiers' director/Braveheart writer Randall Wallace being considered to direct before Mad Mel took the gig and it was a hell of a comeback for the controversial figure. Gibson is famous for having staunch Catholic beliefs: Braveheart ended with the William Wallace martyrdom scene and The Passion of the Christ was one of the most successful Christian films ever made. It is easy to see why Gibson would be drawn to Doss' story, a man with unflinching Christian faith who refuses to bow down to people who question his beliefs. He is simply was following the Sixth Commandment: Thou shalt not kill. Yet Doss' ideals are not just influenced by his religion, there are personal and psychological reasons that justify why he won't even touch a gun let alone fire one due to his upbringing. Watch the official Movie Trailer above. Hacksaw Ridge was split into three distinct sections. The first had some similarities to first act of Braveheart, focusing on Doss' childhood and early adult years, his attempts to woo a young nurse, Dorothy (Teresa Palmer) but is drawn to fight for a greater cause. The second was Gibson's attempt to replicate Full Metal Jacket, having Vince Vaughn playing a quick-witted drill sergeant and the ways recruits try to drive Doss out of the army was similar to how the Full Metal Jacket recruits did to Private Pile. The final third of the film was the Battle of Okinawa with Doss' company assigned to take the highly defended Hacksaw Ridge which gave the Gibson film a similar feel to the forgotten '80s Vietnam film Hamburger Hill where the Americans have to attack a heavily defeated enemy position, with horrific consequences. There was also shades of We Were Soldiers due to the brutality of battles particularly because of the foggy haze of the battlefield. Gibson is known for his love for the red stuff and Hacksaw Ridge has some of the most brutal war scenes put to film. Bullets rip through soldiers, Americans and Japanese have to fight hand-to-hands, organs are left lying on the ground and the dead are eaten by rats and maggots: all made more intense because of Rupert Gregson-Williams booming musical score. The area on top of the ridge is bare, the trees have been stripped bare and the dead corpses makes it look like something from the Book of Revelation - whether this is a deliberate biblical reference or simply over reading into the iconography because of Gibson's religious beliefs is up for debate. Hacksaw Ridge was so gory that it made Saving Private Ryan look like a kids films. Hacksaw Ridge is the second religiously themed film to star Andrew Garfield (the other being Silence) and Hacksaw Ridge is a better of those films. As Doss, Garfield was excellent as the humble, folksy man who spouts corny lines with his Virginian accent, yet has deep psychological scars and had unimaginable bravery. He has certainly been able to bounce back from being unceremoniously dumped from the Spider-Man role. Weaving as Doss' father was also fantastic as a man who is clearly suffering from PTSD and deals with his pain with alcohol, resulting with him becoming a volatile man. Vaughn did his best Lee R. Emery impression as a drill sergeant, adding a bit of humour along with Doss' fellow recruits and it was refreshing to see Vaughn back in a good film again. Gibson is known for playing fast and loose with historical facts, Braveheart is the bane of many historians. However, with Hacksaw Ridge there is more of an effort to be loyal to the real history, like the film opening with a title card saying 'Based on a true story' and ends with real footage of Doss and his war colleagues, like more traditional biopics. There are of course some changes to the history for dramatic effect, the time of Doss' service was shortened for the film and there is a debate on how many people Doss actually saved during the battle but Hacksaw Ridge is still the most historically accurate film in Gibson's filmography. Hacksaw Ridge is a treat for fans of war films and Gibson's previous films, being a violent, uncompromising look at war. It does stumble into war movie clichés at times but there is no denying that Hacksaw Ridge is a celebration of one man's bravery and faith in the most horrific of circumstances. Hacksaw Ridge can stand alongside other great recent war films like Saving Private Ryan and Letter From Iwo Jima and it is more than just a faith film. #FilmReviews #MovieTrailers #KieranFreemantle #WarFilms #Biopic #MelGibson #AndrewGarfield #SamWorthington #LukeBracey #HugoWeaving #VinceVaughn #TeresaPalmer

Directed by Mark Schwab Starring Mark Balunis, Robert Sean Campbell Short Film Review by Rachel Pullen Finding another dimension is sometimes not as easy as those kids in the Lion, The Witch and the Wardrobe make it look, and pushing past a bunch of musty fur coats at the back of a wardrobe is just not going to cut it for our adventurous lead roles in Mark Schwab’s short film Thin Places. We meet two friends who are interested in finding the ‘’god particle’’ as well as the ‘’god doorway’’, another dimension which they want to open up for the whole world to enjoy, and not only that but it will provided a whole new fuel resource which is going to make them a whole lot of cash! The pair become more curious about the opening to the dimension and decide to take a look for themselves, clearly they have never heard the phrase curiosity killed the cat, and so their trip results in the disappearance of man number one played by Robert Sean Campbell. The film is compromised of flashbacks from the two men meeting and discussing their plans, to the hunt itself, all are narrated by an interview with the second man (Mark Balunis) by what can only be assumed to be a government official. The meeting with the government official acts as a guide to the audience, allowing us a better understanding of the timeline of events as well as the men’s emotional turmoil whilst undertaking the hunt. Thin Places makes up for its low budget in rich and interesting dialogue, and all though some may find it a little heavy it is necessary to understand the storyline. Schwab is becoming known for his complex and unique storylines and Thin Places certainly delivers more of this, but not only that the film is far from lacking some great cinematography and interesting angles, it is apparent that a low budget is no handicap for Schwab’s directing style. Thin Places holds its own as an interesting and thought provoking short film, but it could certainly work well as a full length feature. This film leaves a lot of unanswered questions and I’m not sure if that was Schwab’s intention or just that certain questions could not be wrapped up on such a tight budget as I can only assume creating another dimension for screen is not something that is going to come cheap to any production. Despite this Thin Places is an enjoyable watch, especially for anyone interested in the sci fi genre. #ShortFilmReviews #RachelPullen #ShortFilms #MarkSchwab #ScieneFiction #Scifi

Directed by Michael Coulombe Starring Todd James Jackson and Marita Gomsrud Short Film Review by Andrew Young The opening titles for Michael Coulombe’s short horror/thriller suggest something rather different to what we are actually presented with. A cartoonish blood splatter and schlocky sound effects give an early impression of a low-budget gore-fest, but instead, Ax turns out to be a similarly low-budget but much less action-heavy look at a murder. It acts as a confessional piece, picking up with the murderer after he has committed his crime, diving into his unstable headspace as he ponders what he has done. It is an interesting idea and a pleasant surprise given what the film may have been, but despite the strong concept, it is lacking in execution, leaving the film similarly lacking in its ability to leave a lasting impression. The murderous individual here is played by Todd James Jackson, both in the images and the sounds of the film, although not simultaneously. It is one of the film’s nicest moments when we realise after a couple of minutes of Jackson’s unsettling voice-over that the bloodied, axe-wielding man we are watching, is also the seemingly calm narrator guiding us through the story. The disjunction between what we see and what we hear is a fascinating puzzle and one of several engaging ideas Coulombe drops into his script. The idea of the killer’s madness is probed from the beginning, asking us to question “what drives a man to madness?”. His psychotic tendencies coming out in his belief that he is being spoken to by his axe suggest the sheer power his weapon has over him. The idea that the weapon, not the man, committed the crime also adds to the feeling that maybe Coulombe is making a comment about the danger and strange feelings of power generated by guns, particularly in the United States where they are more commonly held. Or maybe I’m clutching at straws. Some good basic ideas are clearly there, but what Coulombe lacks is the technical flair to make things soar. Dmitry Karpovich’s swelling and eerie score does the job when it comes to creating an atmosphere but it is also rather derivative. The wish for some more imagination and invention is present in the visuals too. Coulombe tries to inject some panache here and there but none of it impresses greatly, like the bursts of light between shots that are perhaps more irritating than they are striking. It must be said that cinematographers Brandon Musselman and Candace Higgins come up trumps with a great shot of the killer, eyeing up his prey at the end of a foreboding corridor. Despite some ropey filmmaking, there is talent involved here, with Jackson’s performance being generally successful in adding a chilling edge to the story with his panicked expressions and monotonous delivery; the horrific elements of his character are embellished by good make-up work from Allison Bryan too. Like his technique, the form Coulombe uses for his tale has its benefits and its drawbacks. The mode of a short film allows him to leave interesting questions unanswered, lingering in the air for the audience to ponder. It is also a nice idea to just show an extended confession as the basis for the film, as if we have to work out what has happened from just the denouement of a larger horror film. Except this possibility is diminished by the fact we actually see the murder, shown in flashback. It is the film’s biggest disappointment that the killing scene itself is really rather inert. The technique of cutting to black during the killing doesn’t really land because the sound effects are not striking enough to give the impression of looking away from something too horrible to watch – the very thing that can make this technique a successful one. More than the aesthetics of the scene, it is the fact we cannot care enough about the characters that makes things fall flat. The short form hinders Coulombe here because we spend so little time with the characters. The murderer’s motives are hinted at in the exploration of “madness” but such a variety of possible triggers and such a lack of insight into the killer’s life mean his motive for killing feels a bit reduced to just “he’s a madman”. There is the suggestion he has been sent mad but it isn’t probed deeply enough to make us feel a great deal of sympathy. We don’t even have deep sympathy for his wife, the victim. The only characterisation the narration gives her is that she is apparently angelic but has been turned on anyway, so she is almost reduced to screaming axe-fodder. The film ends with the killer’s realisation: “what have I done?”. A line like this only has effect after a tragedy that the audience is truly involved in. Despite some good filmmaking in places, we can ultimately see the pain and we can hear the pain, but we cannot feel it. #ShortFilmReviews #AndrewYoung #ShortFilms #Horror #MichaelCoulombe #Filmmaking #ToddJamesJackson

Filmmaker Interview by Chris Olson UK Film Review recently met up with the director behind the stunning indie film Northern Lights, Nicholas Connor. In our filmmaker interview, we discuss how North England has impacted his filmmaking, the difficulty to wow audiences in 2017, and...of course...what he would say if he were a dolphin. How would you describe your indie film Northern Lights? Northern Lights is a coming-of-age drama that at it’s heart tackles teenage issues, such as anxiety, persona and the major changes from youth to adulthood. It follows Emma (Katie Quinn), a teenager suffering from anxiety disorder - she is at a pivotal stage in her life and we see how she copes with these changes and how this impacts on those around her. The changes in Emma’s life are mirrored by a sequence of images showing the changing street-lights in the North-West of England. What was the reason for wanting to tell this story? I had met with a number of young people that were experiencing mental health issues. It struck me that their story had never been told from their own grounded, unexaggerated perspective. This imagery linked very well with my perception of the changes that are taking place in the North of England, a view that was first brought to my attention by the work of artist Chris Cyprus. Chris Cyprus’ work focuses on the North under the sodium street lights before the change to LED. As someone who has grown up with the orange glow of streetlights throughout my life the change is quite saddening as the whole landscape will look far more sterile and less colourful. This idea of letting go of the past and looking at the future is really at the heart of the film. As someone who fears the future of cinema in the age of digital cameras and online streaming, change appears frightful. The film is really an allegory for that, but also an acceptance of the future. The North is incredibly close to my heart and capturing the way it is now as a capsule of time I think is really important to keep hold of for future generations. Did you have a particular audience in mind for this film? Or was there something universal you were trying to convey? I think there is a universal theme within the film that is incredibly relatable for a wide audience in that everyone will take something from the film that connects to them. Having received feedback on the premiere of the film I realised that the audience, despite being from a variety of generations, had universally been moved by the project, a great result for me as a filmmaker. Watch the official Movie Trailer for Northern Lights above. Were you drawing on any particular influences when making this movie? Either other films or filmmakers? I think the film in part was really influenced by the work of Xavier Dolan, especially his film ‘Mommy’, he captures time and emotion of a young person’s life in such a beautiful yet heart-wrenching way. When making Northern Lights I referred to the way that he uses pace and forms impactful moments out of seemingly small matter. I seem to take influence from virtually everything that I watch, there are influences from Won Kar Wai, Bergman and Ken Loach within the film, even though the film isn't entirely in the style of any of these very different directors. I think overall and most importantly, at the moment, I’m trying to form my own style, even if my style is in its formative stages. What would you say is the hardest part of making a film in 2017? I think because of the coming of digital it's much easier to make content with professional looking cinematography, so it's far harder to stand out as much visually as a filmmaker. Now that almost anyone can make a film that looks ‘industry standard’, people seem to forget that it's not always about pixels but the story and characters being shown. As a director I want to give my audience a ‘Lawrence of Arabia’ style ‘wow’ moment where there is scale and beauty, but it’s so hard to achieve this when audiences are so used to seeing great looking films. Therefore, I suppose the hardest part of making a film in 2017 is to find the key to standing out in new and innovative ways. As a filmmaker who is interested in surrealism as well as realism, I think audiences are far less interested in surreal/slow-moving poetic films, which is what I aim towards in my style. What do you have planned next? This February I'm about to shoot my next film ‘Cotton Wool’ (Working Title). The film tackles the story of a 7-year-old boy whose mother suffers a stroke, leaving him to care for her with little-to-no help from his older sister. The film is being made with the help of the Stroke Association along with a fantastic cast and crew, including the young Max Vento who you may know from playing the lead role in BBC’s ‘The A Word’, Kate Rutter (I Daniel Blake, The Arbor, Oranges and Sunshine) and Crissy Rock (Ladybird Ladybird, Benidorm, Under the Skin). In the lead role we have Leanne Best (Star Wars: The Force Awakens, Home Fires, Cold Feet, Line of Duty). The film will be shot by BAFTA winning cinematographer Alan McLaughlin, and Katie Quinn, who starred in Northern Lights, will also be in the film as one of the leads. Cherwell Productions Ltd will also be funding the film as it’s second movie, following Northern Lights. Where can people see Northern Lights? Hopefully, people will be able to catch the film on the festival circuit, if it does well, then, fingers crossed, a release at the end of this year - we’ll be releasing it on DVD and digital streaming (VOD). What would you say if you were a dolphin? I like turtles. Read our Film Review for Northern Lights here. Or visit the official Northern Lights Facebook page. #Interview #Interviews #ChrisOlson #FilmmakerFeature #Filmmaking #BritishFilmmaking #NicholasConnor #KatieQuinn

Written & Directed by Mark J. Blackman Starring Johnny Sachon and Katie Goldfinch Short Film Review by Chris Olson Engulfing and sweetly subtle, short film Animus, from filmmaker Mark J. Blackman, is a masterclass in dramatic poise. Focusing on the rift between an estranged couple, the story revels in the fullest bounty of emotions, capturing a perfect sense of love, hate, and everything in between. Johnny Sachon plays Elliot, an insular type who seems brusquely satisfied with his small time living, whose isolation is disrupted when a former flame, Sienna (Katie Goldfinch), drops by for a visit. Their reminiscing is far from romantic banter though, and instead seems laden with tragedy and pathos. However, as the two experience a rekindling of their feelings, is there something that can be salvaged from this obviously troubled situation? Simple and effective is possibly the best way of describing Blackman’s film. That is not to say that the film is lacking in any particular department, rather it deftly avoids unnecessary bagginess and does what it sets out to do with formidable presence. The drama is intense, the performances are incredible, and the reveals of the storytelling are intriguing throughout. Audiences are left to ponder the ultimate themes of the story, whilst being given some contrasting definitions of the film’s title using card descriptions that bookend the movie. There is gorgeous cinematography from Beatriz Sastre during Animus, which picks out the isolation of these characters, and how their estrangement is a continuous atmosphere surrounding them. A beautiful example of this is the steaming coffee cup in the car being left to lose its heat, inscribed with the name Sienna, or the low-angle shots of the power lines against the picturesque sky that seems to hint at a future impossibly hopeless. Joined by an equally emotive original score from Simon Slater which lends even more depth to this short film, although there was one moment of heavy handedness which went against the subtlety created elsewhere, unfortunately jarring this viewer momentarily out of the movie. As mentioned, the two performances from Sachon and Goldfinch are remarkable. Their chemistry is undoubtable, but not simply because it has the workings of two fantastic actors. Whilst it is exactly that, it is their on screen duality which is palpable and enthralling, taking the audience through a meandering labyrinth of crushing woe, lost hope, and reconnection. This simple but effective method that Blackman strikes for lets the characters unwind before the viewer, never disjointing them with added padding or superfluous stylings. Sachon is tentative and reserved, revealing the unmistakable hint of regret that his character tries to cover up with delusion. Whilst Goldfinch tackles an equally challenging array of complex emotions, hers being a performance riddled with a more direct anger and conflict, that is underlaid by an obvious distress about the way her life is rolling out before her. The craftsmanship of Animus is breathtaking. It is a short film that pays superb attention to the fundamentals of storytelling, letting the characters, plot, and themes do all the heavy lifting, and never failing to complement these pillars with the other aspects it chooses to allow entry. The result is an example of near-perfect filmmaking. #ShortFilmReviews #ChrisOlson #ShortFilms #Drama #MarkJBlackman #JohnnySachon #KatieGoldfinch

★★★ Directed by Stephen Gaghan Starring Matthew McConaughey, Edgar Ramírez, and Bryce Dallas Howard Film Review by Andy Furlong It has been a long time since the McConaissance for film star Matthew McConaughey, who has consistently proved for some time now that just by showing up in a movie he can elevate any picture. From his extended cameos in films like The Wolf of Wall Street and Magic Mike, to carrying redundant material like Free State of Jones and We Are Marshall, McConaughey’s presence in any film is always welcomed. His latest movie Gold falls into the same category as Dallas Buyers Club for me, a flawed, problematic film, that is saved by a flamboyant, extravagant performance from an actor that you can’t help but gravitate too. Gold, directed by Stephen Gaghan, follows a prospector named Kenny Wells (Matthew McConaughey) on a quest to turn around his fortunes and find gold in the uncharted jungles of Indonesia in the 1980s. McConaughey physically transforms impressively into the role of a balding, overweighting, chain smoking man who is obsessed by the lure of gold. But what is even more impressive is not the physical transformation but rather how he plays the character. Even though the movie is set in the 1980s, you could imagine Kenny in the 1880s, going down mines with a shovel in search of the same gold. Kenny is a relic from a bygone era; he is motivated more by chasing his dream than he is of actual financial riches, a dream he is obsessed by. Which creates much of the conflict in the movie when he starts to mix with savvy Wall Street businessmen. There Will Be Blood this isn’t however and instead we get a much more slick, Ocean’s 11 type of approach to this story. The fun of the hustle combined with McConaughey’s exuberant performance is where this film is at its best. There are much better rise and fall stories out there and Gold suffers from glaring pacing issues and an unnecessary framing device. What starts off as a story being narrated by Kenny quickly manifests into something that surely had already been scrapped from earlier versions of the script and added nothing at all. A story told over multiple years could have done with a bit more thought in regards to the points in which it chose to jump from as well. As without explanation in one scene, characters motivations and personalities seemed to have been altered in an instant. This isn’t normally a problem when the transition of time is handled with more finesse than what is seen in Gold but it is a problem here. Watch the official Movie Trailer for Gold above. The supporting cast is another reason Gold remained entertaining throughout; Edgar Ramirez does a great job as Kenny’s business partner. His relationship with Kenny is another highlight of the film and something the audience roots for much more than the film has actually earned, thanks to the chemistry between the two actors. Bryce Dallas Howard also manages to do some good work in a supporting role when she is given the screen time. Ultimately Gold is a film of performances that lacks any real substance, none the less it is always an enjoyable movie that moves along at an energetic pace with a towering performance by McConaughey at the helm. It also has a very interesting third act that contrasts strongly with that of the rest of the story that felt mostly generic. #FilmReviews #AndyFurlong #TheatricalReleases #MovieTrailers #MatthewMcConaughey #StephenGaghan #BryceDallasHoward #EdgarRamírez

★★★★ Written and Directed by David Salcido, Troy Scoughton Jr. and, Aron Hethcox, & Sheridan O’Donnell Starring Tawnya Bass, Donny Prosise, Jack Lutz, Marissa Bond, Jason Baldwin, & Brendan Meyer Indie Film Review by Chris Olson A soul-collecting demon, Adolf Hitler in drag, and a sex-crazed Cupid are just some of the bizarre eccentricities of indie film Lady Belladonna's Night Shades, which contains a total of four separate short films, an anthology all joined by dark themes and the Lady herself. Belladonna (Tawnya Bass) occupies The Abyss, a place of demonic torture for sinners, where she basks in her glory as #1 soul catcher, trading off flirtatious banter with her first mate Adolf "Addy" Hitler (Donny Prosise). Whilst breaking the fourth wall, Belladonna regales the viewer, with poetic vocabulary, tales of sinning and sinners, before introducing a short film. Each film varies in tone and plot, but each has a darker undertone; whether it be murder, violence, or revenge. Like Rocky Horror Picture Show meets Tales From The Crypt, David Salcido's film is a tantalising taster menu of sordid immorality, graphic violence, and stories of tragedy. Viewers are treated to each of these films, which stand up well on their own, but when brought together like a sinners smorgasbord, they become something quite special. There are some phenomenal performances, not least from Bass herself, whose vibrant pantomime and double entendres make for fantastic respite during the shorts. The first short film introduced is Last Night on Mars, directed by Troy Scoughton Jr. and Aron Hethcox. Focusing on a would-be murderer (Jason Baldwin), the movie shows him haunted by disturbing visions, such as being manhandled by his mirror, or hearing creepy voices. The atmosphere becomes even tenser when our antagonist decides to seek relief from his suffering by taking out his terrifying tendences on a slumber part of unsuspecting girls. Tense and thrilling, there is a Scream-like quality to Last Night on Mars that captures the barbaric humanity behind the murderer, which perfectly suits a place in the anthology of Lady Belladonna’s Night Shades. Short film number two remains in suburbia, but this time a touch less dark - well at first. Perfect, another David Salcido film, stars Marissa Bond as a seemingly normal housewife about to be subjected to a daytime house invasion, when she finds the body of her husband on the floor of their home. However, what transpires is anything but normal, as Bond’s character reveals hidden depths. A little on the nose with the comedy script, Perfect is the lightest of the shorts that Belladonna introduces, but is not without its charms. The reveals are well-timed and there is a sense of cheekiness that seems to feed off the awkward situation that will make audiences squirm nicely. Up next was short film The Wake Up Call, a brilliantly atmospheric thriller from filmmaker Sheridan O’Donnell, set inside a hotel room, where its occupant (Anthony Kumpf) is not exactly having the most relaxing stay. During the night he is subjected to strange and disconcerting sounds emanating from the next room. As the mystery of it all gets the better of him, his curiosity could be his undoing. The fourth, and in my opinion best, short film was Wolff’s Law. Also directed by Sheridan O’Donnell, the story is of a boy (Brendan Meyer) suffering from intense bullying at school, who then decides to fight back, attempting to conquer the fear which consumes him. Bleak, moody, and hugely affecting, Wolff’s Law is simply a must-see short film. Meyer’s performance is subtle, understated, and, at times, brutally gripping. The film has a consuming atmosphere and heavy themes, making it the perfect main headline for Lady Belladonna’s Night Shades. For viewers who like their shorts dirty (that sounds weird) and their stories dark, Lady Belladonna does not disappoint. This is a wonderful achievement for indie films, something which viewers are gagging for, because it has style, talent, and a touch of naughtiness keeping the whole experience above the water. Whether you strap on some crotchless pants, grab a spanking paddle, or just settle into a cosy armchair, the short film offerings are enough to please even the most reserved of cinephiles. Watch the official Movie Trailer for Lady Belladonna's Night Shades below: #IndieFilmReviews #ChrisOlson #MovieTrailers #ShortFilms #IndieFilms #DavidSalcido #SheridanO39Donnell #TawnyaBass #BrendanMeyer

★★★★ Directed by Jonathan Blagrove Starring John Hurt Indie Documentary Film Review by Phil Slatter In this day and age we are surrounded by 24-hour entertainment. DVD’s and Blu-Rays, streaming services and hundreds of T.V. channels providing the latest entertainment shows and programmes with smartphones, tablets, laptops, macbooks and smart T.V.’s literally providing a world of entertainment at your fingertips to be enjoyed at home or on planes, trains and automobiles. So why is it that, despite all this, people are still willing to venture to the cinema and pay increasingly high entry fees to watch a two hour film? The answer lies in the opening line of Jonathan Blagrove’s wonderful documentary, when narrator John Hurt states simply but beautifully ‘Human beings are social creatures’. For all that technology provides as far as entertainment, it is in our nature to want to share experiences with audiences, friends, loved ones and even strangers. Cinema as an entity not only provides an opportunity to do that, but also serves as an escape from one world and into another, like no other medium can. The Final Reel examines the entire history of cinemas broadly in the U.K. but more specifically in East Anglia where they first truly arose. From the travelling cinemas of the early twentieth century to town halls and village halls to the elaborate picture houses, culminating in the modern multiplex, Blagrove covers an awful lot during the film’s 90-minute running time. By localising the history to one area of the country, the film manages to keep its focus and subsequently personalises the story as well – we hear from the same projectionists, cinema workers and cinema goers regularly. Much of what we do see may well be nothing overtly new. The invention of ‘talkies’, the introduction of colour, 3D and Cinemascope to combat the invention of television and the more recent projection switch from film to digital are all familiar. Yet the genius here is that it takes the angle of focusing on the buildings and the cinema going habits of individuals themselves as an entry point to the broader story. A remarkable revelation is just how little has changed in some respects. Cinemas in the 1950’s offered a Saturday morning ‘kids club’ – something many chains provide now as a cheap morning out. There was a problem in 1927 with Hollywood films dominating the theatres. During times of hardship (most notably the Second World War) people would go to the cinema to escape, emotionally and mentally at least. Foreign films and Independent films struggled to get on the main circuits, both then and now. It’s all interesting and involving but doesn’t rest with a nostalgic throw-back to the ‘good old days’. Instead, it remembers them fondly while at the same time acknowledging the need to move on. The positive aspects of switching to digital projection are discussed alongside the benefits of multi-screen cinemas and how they can offer more choice and equally less financial risk for the cinemas themselves. Equally though, there is reference to more traditional yet equally progressive screenings that have become a part of modern culture – secret cinema and the live broadcasting of theatre into screens all tie in to our unified love of coming together to share stories, which is down to our sociable nature. It all makes up for an entertaining, educational and important documentary film that evokes memories of why humankind first fell in love with the cinema and how that trend continues to this day. It also offers hope that it will continue for as Hurt says in his closing line – we are yet to reach the final reel. #DocumentaryFilmReviews #PhilSlatter #Documentaries #IndieFilmReviews #Cinmeas #Cinemas #JonathanBlagrove #JohnHurt