★★★ Directed by Tom Griffiths Starring Tom Griffiths, Owen Griffiths Indie Documentary Film Review by Rachel Pullen Autism by definition is a mental condition which starts in childhood, causing the patient to have difficulty developing relationships with people, communicating, as well as understanding basic human emotions. Patients of the condition are measured on the autistic spectrum, and can range from high functioning members of society with good communication skills and interactive skills, to lower on the spectrum where the patient may not be able to speak at all...Tom Griffiths’ brother fell on to this end of the scale. Funded by a Kickstarter campaign, Autism: A Case of the Human Mind is Tom Griffiths first full length documentary where he explores the world of autism and those who care for autistic people. At the young age of 19, Griffiths takes a mature approach to exploring this delicate and often confusing subject, using a combination of interviews from carers and people affected by autism to home movies of him and his brother. The home movies provide the audience with an insight into the sense of frustrations and joys that are felt by Tom toward his brother, they are an important tool within the documentary, and although could be consider to be too private for public consumption by some, I feel they allowed a better understanding of the documentary’s themes. This film was Griffiths’ way of tacking the public perception of autism, he talks in depth with his subjects about the stigma and isolation they have felt from either caring for someone with autism or from someone who is autistic, we as an audience are exposed to some troubling stories about how the subjects deal with these emotions and are forced to feel damage that is caused by the lack of information made available to the general public about the condition. Tom puts up no walls, discussing some of the more difficult times that he and his family have been through, be they directly caused by his brother or just external issues that affect the family dynamic, he is brutally honest, which is essential in understanding the effect autism has on the everyday family, he paints a broad picture of just this, taking from his personal experience to selecting a good range of interview subjects from different backgrounds. All though the documentary can feel a little slow in pace sometimes, it does not lack interesting content, Griffiths is young and just starting in his filmmaking career, and to tackle such a subject so early on is a bold move and as I said the content is there, it’s engaging and most importantly...informative. #DocumentaryFilmReviews #RachelPullen #Documentaries #IndieFilmReviews #TomGriffiths

Directed by Michael Beddoes Starring Melissa Clements, Rosalind Lonsdale & Stephen Schreiber Short Film Review by Lorenzo Lombardi With an inventive opening sequence setting a playful and quirky mood, Cold Reader provides a joyous and cheerful viewing experience that is sure to lift your spirit. The short is set in a library and revolves around a newfound relationship and understanding after bored librarian Gaia (Melissa Clements) decides to approach regular visitor Edward (Stephen Schreiber) after a burning interest in his eccentric presence and to confirm her suspicions about him. Over the course of this encounter, the characters share secrets and have personal revelations. Charming performances by both Clements and Schreiber make the dialogue between them flourishing and entertaining. What makes the whole chemistry so interesting is the difference between the two characters. Gaia is outright and assumptive while Edward is reserved and wise. The development of both characters changes, however, and it is oddly fulfilling. There is a particularly special thing Cold Reader does well - it tackles a serious issue with optimism. Specifying the issue would ruin the short somewhat, but themes such as loneliness are carefully conveyed in a relatable and uplifting way. These dramatic parts build to a feel-good conclusion that will leave the audience grateful for the people they have in their life. Cold Reader has a good message, which is hinted in its title. Gaia is at first cold at reading people, but Edward opens her mind, invoking the saying “don’t judge a book by its cover”. In turn, though, she gives him back some long-lost humanity he had been longing for. At its well-meaning core, Cold Reader is a human story. It is about the desire for human interaction and overall betterment. And that’s what makes it undeniably appealing (or at least on a personal level). One to watch it if you are seeking that much-needed boost. #ShortFilmReviews #LorenzoLombardi #ShortFilms #MichaelBeddoes

Written & Directed by Callum Rhys Starring Luke Goddard, Ross O'Hennessy, Aaron Jeffcoate, Jonas Daniel Alexander, Willem Ward & Mark Anthony Games Short Film Review by Chris Olson Few topics have been covered as extensively as World War II, in terms of art, film and literature. The conflict resonates profoundly in popular culture, where its place is cemented amongst modern ideas on warfare and morality. Short film Our Father, written and directed by Callum Rhys, takes a heartfelt and poignant look at the human cost with an intimately personal approach, that is familiar and yet moving. Beginning in the picturesque fields of Normandy, Private Cole (Luke Goddard) and his Sergeant Browning (Ross O'Hennessy) discuss the baffling nature of life, how one day they can be living simple lives in England, to one day walking around France with guns on their shoulders and death on their conscience. Whilst their enviable surroundings are an unspoilt setting, the reality of warfare soon catches up when their troop are ambushed in a violent and tragic clash with enemy combatants. From a story point of view, there is nothing hugely innovative about Our Father. It is a journey that has been done in films and TV shows countless times, some better and some worse. Something like Band of Brothers came to mind quickly, which is not a bad comparison at all. The themes of PTSD, and the philosophical debates around passivism, which are loosely present are also pretty common in cinema. However, the strength of Rhys's film lies not in what it's saying, but in how it is saying it. For a short film of around a 15-minute running time, the film delivers a massive amount of pathos and character building, in a manner which is instantly immersive for the audience. There is a rich, emotional depth to the characters which can only be created by a filmmaker with a strong talent for storytelling. Given Rhys directs and writes here, is proof of considerable skills. Watch the official Movie Trailer for Our Father above. This depth is then enhanced by an aesthetic which is totally in tune with the nature of the story and themes. There is a focus on brightness and natural light during the bulk of the scenes which is a vast contrast to many war films. Indeed, there are only a couple of moments which could be termed “gritty”. The original music from Zachary Start is one of the highlights of Our Father, delivering an elegant and achingly touching score that sumptuously highlights the humanity of the scenes whilst revealing the emotional core that is devastating to behold. The sound editing in general was really affecting, especially during one scene where Cole is left in a state of confusion by mortar fire with deadening silence. Audiences will thoroughly enjoying the performances of Our Father. The chemistry between Goddard and O’Hennessy is absolutely spot on, capturing the brothers-in-arms camaraderie as well as the strangers in a foreign land nature of their unlikely friendship. Much like the aforementioned show, Band of Brothers, the characters in this short film are built with a craftsmanship that makes them a sturdy foundation for everything else that comes. Overall an impressive war film, with a beautiful emotional core. A film wading straight into a busy genre that plants its own worthy flag which, whilst bearing the insignia of those that came before, has a commendable amount of confidence and skill to stand with the greats. #ShortFilmReviews #ChrisOlson #ShortFilms #MovieTrailers #WarFilms #CallumRhys #LukeGoddard #RossO39Hennessy

★★★ Directed by John Goshorn Starring Jennifer Faith Ward, Tom Kemnitz Jr. Indie Film Review by Phil Slatter The Happiest Place on Earth opens with a series of children’s drawings showing projected glimpses of idyllic families while adult voiceovers speak about the American dream of a family, a dog and 2.4 children. It feels like a documentary but as we meet Jonah and Maggie, the fictional story sets in with some very real world problems lurking just around the corner. Life seems good for the couple who have just moved in to their new home and throw away their birth control in a scene that is brilliantly juxtaposed later on. However, shortly afterwards Jonah is made redundant and struggles to find a new job, which obviously has an effect on both their marriage and their plans. There are a lot of plot developments in the early stages and while it may feel a little rushed, it’s important to remember the independent nature of the film and therefore the need to develop the story in a shorter space of time than may be possible with more money. That said, at least a reference to more time passing may have assisted here. The key development occurs around the mid-point which adds a sense of mystery to the plot and the focus of the film shifts from Jonah to Maggie. She is forced to make some complex decisions and Jennifer Faith Ward holds the screen, and subsequently our attention, well. However, the script’s central idea is not a particularly original one and the key revelation to the central mystery is hardly a surprise. Thematically the script raises some interesting moral complexities for individuals in such situations but it doesn’t really get under the skin of them or invest enough time into the decision making of one character that is so crucial to the film’s central premise. The story itself does have a dramatic open ending that, whichever way you look at it, demonstrates that much of what has gone before was not worth it, but the relatively predictable nature of a not entirely original plot up to that point is the film’s main downfall. The Happiest Place on Earth is now available to watch on Amazon. Watch the official trailer below... #IndieFilmReviews #PhilSlatter #FilmReviews #IndieFilms

Film Feature by Chris Olson It's a new year, and a new dawn on films in 2017. Before the awards season gets too messy, audiences have been treated to some amazing films in January 2017, after a particularly epic ending to 2016 with the likes of Rogue One and Passengers. On this page you will find some of the hottest Movie Trailers for films that came out this month, and Film Reviews for them where we have them. Sadly not all the movies were reviewed by the time this article has been prepared, so come back soon if you want to see our verdict on movies like Trainspotting T2, Sing, Hacksaw Ridge and Jackie. #5 Jackie Starring Natalie Portman as the First Lady to the much beloved President of the United States, John F. Kennedy, Jackie promises to be a promising biopic already hitting UK cinemas! The drama also stars Peter Sarsgaard and Greta Gerwig. #4 T2 Trainspotting In a world with more reboots and sequels than trustworthy politicians, it seems audiences will "Choose" Trainspotting to return to this January. As shown in this delightful movie trailer, the boys are all back, including Ewan McGregor, Robert Carlyle, and Johnny Lee Miller. The film, directed by legendary filmmaker Danny Boyle, will be available to watch on Friday 27th January. #3 Hacksaw Ridge Starring Andrew Garfield, this WWII story tells the unlikely tale of one medic serving during the conflict whose pacifist attitude towards battle places him in a difficult position. Sam Worthington is also part of the talented cast, with Mel Gibson at the directorial helm. Hacksaw Ridge is out in UK cinemas January 27th. #2 A Monster Calls One of the most anticipated fantasy films of the year, A Monster Calls is an epic movie in terms of visuals (just watch the trailer if you don't believe us). You can read my A Monster Calls Film Review here. The movie is already leaving cinemas, so if you didn't catch it, perhaps pick it up on home entertainment release. #1 Sing Simply one of the funniest movie trailers of the month, Sing is an animated film brought to you by those talented guys that made Despicable Me, with a star-studded cast. Check out the hilarious auditions in this trailer, including one of a Lady Gaga song you are unlikely to forget any time soon. Sing hits UK cinemas on January 27th. So that's it for this month's round-up of the best movie trailers for January 2017. We will be back, you may have guessed, with a list of the best films emerging in February. Until then make sure you subscribe to our YouTube channel to get the newest trailers as soon as they are published. #MovieTrailers #ChrisOlson #FilmFeatures #Trailers2017 #Trailers #DannyBoyle #EwanMcGregor #AndrewGarfield #SamWorthington #NataliePortman

Directed by Steve Kahn Starring Rena DuShey, Shannon Elizabeth, & Sarah DuShey Short Film Review by Chris Olson Whimsical and poignant, short film The Opera Singer from filmmaker Steve Kahn tackles the enduring theme of growing old with regrets, in a manner which feels at once full of life and full of death. Movies that tackle the idea of old age are often laced with tenderness, most likely to reflect the calm clarity that characters may feel having lived most of their lives and pushed through the irrelevancies of the day-to-day, able to focus on the things important to them. These movies also contain a recurring theme of regret, or some kind of longing to relive an earlier portion of their life again (either to experience it anew, or do things differently). The Opera Singer's main character is an elderly lady (Rena DuShey) who is moving into her final chapters, whilst reminiscing about two things: going to Italy to be an opera singer, and her beloved pet dog. Having her inner thoughts intimately narrated by Shannon Elizabeth, the audience is treated to bittersweet reflections from a character in tragic circumstances. The short film, though, does not dwell in sadness too much, and the script contains a sweetness to it which transcends any morbid discussions about the hopelessness of existence, and instead highlights the beautiful things which meant a lot to this person during her life. This balance between life and death is wonderfully paralleled with the cinematography. Kahn uses a mixture of vibrant and colourful sequences, against drab and dull scenes to pick out the coalescing thoughts of our protagonist's mood. The splendour of sheet music pages turning and wind chimes in the garden are juxtaposed with bleak nursing home corridors and hospital beds. There exists a fragility to both the character and the filming. When the character talks about the speed with which she grew old, how it passed in a blur, the filmmaking responds with quick edits between the short scenes, that accompany this theme perfectly. Further enhanced by an emotionally charged musical score, the overall effect is a moving, tender, and thought-provoking piece of filmmaking that manages to capture life, death, and everything in between within a 3-minute running time. #ShortFilmReviews #ChrisOlson #ShortFilms #SteveKahn #ShannonElizabeth

★★★ Directed by James Maximilian Jason Starring David Bosch, Davy Jones, John Ruin, & André Foch Indie Film Review by Chris Olson Arriving in a sealed DVD packet, and containing a 32-page booklet/manual on how to operate, indie film project Beneath the Snow: Piovono Ombre, or Beneath the Snow: It Rains Shadows, is an eclectic and dynamic piece of filmmaking from a group of artists known as Gothic, combining various elements of storytelling, abstract art, ethereal soundtracks, and audience engagement, to create an opus of dark tales stringed together by choices made by the viewer. The audience interaction movie is becoming increasingly popular, especially among the indie and short film crowds. We reviewed a movie, Survivor, last year which applied a similar methodology using YouTube clips. Combining film and a game-like experience where the audience becomes complicit with how the story develops, is something viewers can expect a lot more of, especially as streaming allows for a more solitary cinematic experience where choices can be made independently. However, Beneath the Snow, is the first piece this film reviewer has seen which transcends the film/game genre to further include art. The use of visual artistry and poetry can be found in Gothic’s epic indie feature, much of which is explained in the frankly vital booklet which accompanies the film. Adding another level of depth to an already enriched viewing experience, this is something, at the very least, unique and daring. One thing which becomes instantly obvious, is that Beneath the Snow did not have a massive budget. These are low-key stories being threaded together, with a lot of shaky cameras and poor lighting. A minimalist script goes in its favour, meaning that the performers are not needed to pull too much weight, especially as this type of film will be quite alien to most viewers. What is also clear, is that the film is largely focused on the atmosphere it creates than the delivery of conventional filmmaking and narrative-based cinema. There exists a spirituality to be engulfed in, massively enhanced by the bizarre score - which has dramatic tones of techno and pounding electronica to elicit a feeling of discomfort for the audience. To try and relay the plot would be pointless in this movie review, as each person viewing the film will pick different choices at the end of each section, thereby entering a completely different narrative. What can be said is that various themes, mostly of a dark nature, reveal themselves in multiple ways whilst leaving a large degree of subjectivity about the fundamental point being made. Much like abstract art, you will take away from this film whatever you bring to it. As with most experimental cinema, Beneath the Snow will render the majority of audiences inert and unmoved. There is something completely impenetrable about films like this which means audiences that have been raised on mainstream cinema simply will not be able to engage with it, much like an acid trip. However, the element of choice broadens the demographic slightly, appealing to viewers looking for interactive films, and those used to the pioneers of avant garde cinema - David Lynch, Andy Warhol, and Ingmar Bergman, will appreciate the raw nature in terms of filmmaking, structure and mise en scene. Understandably divisive, aesthetically unruly, but powerful and daring filmmaking that transcends as many barriers as it forgets to adhere to. #IndieFilmReview #ChrisOlson #IndieFilms #WorldCinema #InteractiveFilms #JamesMaximilianJason #DavidLynch #ExperimentalCinema

★★★ Directed by Vincent Chan, Robert David Duncan, Jack Eaton, Jeff Fiorentino, Gia Frino, Pavel Guzman, Jonnie Howard, Ryan W. Martin, Jeffrey Palmer, Satyendra Pandey, Stacia Roybal, Lina-Maria Stoyanova Written by Vincent Chan, Robert David Duncan, Gia Frino, Pavel Guzman, Jonnie Howard, Raymond Howard, Paul Mackie, Ryan W. Martin, Dean Ravell, Lina-Maria Stoyanova Starring Chris Bain, Zoe Cunningham, Andrew Regan, Imogen Hartley, Simon Green, Chantelle Readman, Neil May, Grant Murphy, Kerry Ward, Andrew Marsden, Lee Glasby, Paul Mackie Indie Film Review by Chris Olson A humongous undertaking, Breathe Easy is a filmmaking mission to achieve something massive in modern storytelling. The indie film attempts to tell an end-of-the-world story using a vast array of separate 23 directors across the world in 17 countries, each with a different part of the story to contribute (as you may have noticed from the endless credits at the beginning of this film review). The result is an unorthodox tapestry of raw, punkish footage, which achieves an admirable sense of threaded collaboration, with a degree of inconsistent narrative and tone. Against a somewhat ambiguous backdrop of clouds in the sky being the harbinger of doom for mankind, we are treated to various different storylines across the globe where this phenomenon is happening. Differing reactions to the possible End Days can be found among the various locations and characters, such as the London newscaster (Zoe Cunningham) who is becoming increasingly baffled by the government's reaction to the looming outbreak, or the American man sat in a bathtub cracking wise on a phone. Other clusters of characters do take the threat seriously, and experience the emotional and heartbreaking realisation about what it means for humanity. Some of the more touching sequences in the film, such as a man in India leaving a loving tribute to his mother on his mobile phone, or a couple arguing in their urban apartment about whether to stay or flee, are particularly affecting. There exists a sketch show make-up to the format of Breathe Easy, like a YouTube playlist titled “Apocalypse Clips”. There is not a great deal connecting them, other than a loosely outlined cloud menace, which is never fully explored, and the occasional heavy metal soundtrack (provided by Jeff Fiorentino), which works brilliantly in some scenes but wreaks havoc in others. It would be easy to dismiss this indie film as being amateurish and chaotic, and it is both those things, but part of its appeal is this formidable attitude the film has adopted, since its inception, to create something new, relevant, and topical. Watch the official Breathe Easy Teaser Movie Trailer above. An obvious example is the filming quality of each of the varying subplots. Some have a rather impressive degree of filmmaking, whilst others are barely watchable through poor lighting, shaky cameras, and wind rustling through the microphones. For many audiences, this lack of cohesion will be a sticking point, too used to the slick perfection of Hollywood films and unable to get past the technical flaws. However, audiences seeking something a little more down to earth, especially in the indie film market, may appreciate the form a touch more. Perhaps, however, this only works when you have a dystopian storyline spanning multiple countries, with multiple narratives, where it is not only acceptable but believable to have such vastly contrasting films, like a collage of every type of humanity coming together globally. It would not, for example, work in a rom-com where the audience expects the narrative to stay consistent throughout. The strengths of Breathe Easy lie in its ambition, for being as bold as it is. There is also a good degree of crude comedy. Anyone who has seen #DrunksLikeUs (another Paul Mackie outing) will enjoy the appearance of several cast members, who serve up a slice of boozy banter, their waster attitudes and predilection for beer is pretty funny, and could have worked as its own comedy film. Imogen Hartley also gives an enjoyable turn as the leader of a post-apocalyptic witches coven. The majority of the performances are a little stilted when it comes to moving the plot along, which most likely derives from a lack of cohesion between the various films. There could have been something special with Breathe Easy if there was a little more glue holding it together. A more consistent narrative in each of the various films with more connecting them would have been beneficial, as well as stronger production values (or at least the same across the board) to keep from jolting the audience out of the movie when things get a bit raw. The commitment to breaking records and transcending global borders has left the movie feeling baggy. A trimmed version (shedding about 45 minutes) with the best of the offerings could provide a stronger film, to rival big budget outbreak movies like Contagion (2011) and World War Z (2013. What Breathe Easy needs is one overseer to tie all the ends together in a more focused way that keeps its style and attitude, whilst bridging the gap between mainstream audiences and indie films. #IndieFilmReviews #ChrisOlson #IndieFilms #FilmReviews #MovieTrailers #Dystopianfilms #PaulMackie #ImogenHartley #JeffFiorentino

Directed by Katie Smith Starring Victoria Muldoon and Liam Bewley Short Film Review by Monica Jowett Quirky comedy The Joke’s On You has Davina (Victoria Muldoon) and Mark (Liam Bewley) a couple living in London with their cat Mimi in an ongoing, and seemingly never ending prank war. But is it testing their relationship to a breaking point? Written by Muldoon and directed by Katie Smith, The Joke’s On You is a fun film that provides a lot of smiles and shows that there is a child in everyone, and every adult relationship needs some humour and fun. Davina and Mark constantly play pranks and jokes on one another, from squirting water on his trousers, or irreverently joking about what the other would do if they died. The relationship between Davina and Mark is fun to watch and also believable, as there are small moments when you think their behaviour would drive the other one mad. Yet these characters are clearly shown to be a great pairing. The dialogue is entertaining and intelligent, the delivery deadpan and comic timing feels spot on for the film and space it has to work in. The two leads Muldoon and Bewley play their characters with charm and whimsy but still adding a little heart to their characters. This short film is a great example of dry British comedy, in a much lighter sense, with the quirkiness definitely played out to a tee. The editing and cinematography adds to the fast paced, quick witted humour, using jump cuts to accelerate up the action. Though jump cuts can be seen as amateur, using them in this film makes it feel like part of the storytelling and central to the humour of the film. The original music from Neil Myers is also cleverly used, building on the light hearted and individual nature of the movie. Muldoon has mentioned on the film’s Facebook page being influenced by Roald Dahl’s The Twits and some real life experiences, and there is definitely a feeling that Davina and Mark are a real couple somewhere playing tricks on each other for fun. #ShortFilmReviews #MonicaJowett #ShortFilms #Comedy #RomanticComedies #KatieSmith #VictoriaMuldoon #LiamBewley

Directed by Henry Stephens Starring Hayam DK, Marta Royles, Farai Chirimuuta Short Film Review by Rachel Pullen Many film genres have flourished and developed, gained cult followings to admiration from the masses, yet one of these has gently slipped into obscurity over the years, and that is of course silent film. Ask even your most movie obsessed friend the last time he or she indulged in a ‘’silent movie binge’’ and even they are most likely come up short with an answer. We are living in a culture where the general movie going public will roll their eyes and sigh at the thought of having to sit through a film with subtitles let alone an entire silent movie, and it is because of this that this genre in particular has become somewhat obsolete. Yet they do still exist, like a rare gem they can be excavated from the rubble of mass consumption films and held up in anachronistic glory, and filmmaker Henry Stephens has allowed us to do just that. Last In First Out was the winner of the Direct short online film festival, and with good cause, it follows the story of a young woman at the peak of her career, enjoying the spoils of her success and feeling rather chipper about life in general, when suddenly it is all taken away due to the hard hitting recession and the inevitable poverty and stresses that come with unemployment. She struggles to come to terms with her loss until a happy go lucky stranger raises her spirits with the simplicity of human interaction. This movie fill us with hope, dashes it and builds it all back up again in the space of 7 minutes, Stephens achieves this with very little written narration, but by using excellent direction of his actors, ensuring they display the ever so slightly over the top gestures and expression so commonly associated with silent films of the past with effortless timing. As an audience we are able to connect with the lead role, feeling her range of emotions with ease, be they positive or negative, which is admiral considering that silent films are not Stephens bread and butter. For any lover of the silent age of cinema this is a must, Stephens pays homage to the genre, be it through the style, the direction or the music, he has recreated the style but successfully brought it to the modern audience by using a topic that the general public can relate to, let us hope this is not the last we see of Stephens silent film endeavours. #ShortFilmReviews #RachelPullen #FilmReviews #ShortFilms #FilmFestival #HenryStephens #silentfilm

★★★★ Directed by J. A. Bayona Starring Lewis MacDougall, Liam Neeson, Felicity Jones, Toby Kennelly, Sigourney Weaver Film Review by Chris Olson There have been a few films in recent years that have offered bold takes on the coming-of-age story, giving the genre a more gritty and sometimes brutal insight into the tumultuous transition from child to adult. A movie like Neds (2010) is a good example of a British film which captured this tone, with harrowing violence and sharp pathos surrounding its central character like broken glass. A Monster Calls, based on the novel by Patrick Ness (who also writes the screenplay here) and the original idea by Siobhan Dowd, does not go as far as Neds in terms of traumatic violence and repercussions, but does deliver a dark atmosphere in a similar way, offering up a pubescent character dealing with roiling rage and heartbreaking tragedy. Set in a sleepy town, Conor (Lewis MacDougall) has a particularly sour existence. His mother (Felicity Jones) is suffering with a terminal illness that is ravaging her body before Conor's eyes, whilst his dour grandmother (Sigourney Weaver) fails to be very comforting, and his wayward father (Toby Kebbell) always has one foot ready to leave. On top of this, Conor faces daily bullying and beatings from other boys in his class. His isolation is broken when the impressive tree that resides in a field near his house, comes to life (voiced by Liam Neeson) and regales him with life lessons through stories. Few could ignore the emotional pull of A Monster Calls, which also dares to divide its audience by combining darker themes of childhood, with a strong fantasy element. For some audiences, this combination may well be uncomfortable, with the heavy pathos failing to assimilate with the heavy CG spectacle. That being said, the emotional drama between Conor and his mum is undeniably palpable. Jones is frankly perfect in this role, delivering a belieavable and striking turn that steals every scene she is in. Remove the fantasy elements and there is still a gut-wrenching story here that is hugely moving. The Monster provides an interesting element to the film. Rather than any schmaltzy clichés about being true to oneself or finding strength through friendship, the deep-voiced tree offers an unorthodox perspective on Conor's struggles, essentially revealing the nasty truth that the world is full of evils and that you will not know how to cope with them all. This is further developed in a spectacular speech from Jones, where she basically says it's okay to be hella mad and break stuff when you are upset!...I'm paraphrasing there. Watch the A Monster Calls Movie Trailer above. This adult approach to the difficulties of youth is refreshing and delivered by director J. A. Bayona with a good degree of honesty. This, in turn, reveals the only slight misstep of A Monster Calls, which is the animation and fantasy elements, awkwardly injected during the Monster's narratives. These crudely drawn depictions of tales with special parallels for Conor's life are a dramatic tonal change which may jolt the viewer straight out of the affecting drama. Especially given that the film moves starkly away from them in the latter stages of the movie. There was an obvious significance for Conor, given his predilection for drawing, but the sequences felt at odds with the atmosphere that was being deftly created, with a moody score and brilliant performances. For a worthwhile film on the coming-of-age through traumatic circumstances tale, A Monster Calls stands toe to toe with the other giants of the genre, however, the slight concessions to childishness prevent it from looming over as a spectre to be reckoned with. #FilmReviews #ChrisOlson #MovieTrailers #TheatricalReleases #LiamNeeson #SigourneyWeaver #FelicityJones #LewisMacDougal #JABayona #ComingofAge

★★★ Directed by Jim Hemphill Starring Lea Thompson, John Shea Indie Film Review by Phil Slatter Essentially a film split into three separate scenes and featuring only three meaningful speaking roles, The Trouble With The Truth is a simple yet effective drama that manages to invoke an awful lot of thoughts and ideas without much actually happening in it. The opening scene introduces us to Robert (John Shea) and his daughter Jenny (Danielle Harris) who announces that she has just gotten engaged. Robert is not overly pleased with this, initially arguing that Jenny’s would-be husband is not up to scratch. The rest of the film consists of a conversation between Robert and his ex-wife and Jenny’s mother Emily (Lea Thompson). Over drinks, dinner and dessert, they discuss their own failed marriage, their own personalities, fidelity, infidelity and everything else in between as we slowly learn the reason behind Robert’s subdued reaction to Jenny’s news is connected to his own failures as a husband. The set-up of two individuals discussing life and their relationships throughout an entire film is a technique Richard Linklater employed in his Before Sunrise/Sunset/Midnight trilogy so effortlessly and writer/director Jim Hemphill here proves to be an equally adept hand at such a structure. It’s not an easy thing to make two people talking to one another in a room an invigorating cinematic experience and while structurally this may fit better on the stage, Hemphill’s well written script is brought to life by the two leads with Thompson and Shea’s experience vital to ensuring that The Trouble with the Truth works as well as it does. Thematically it manages to expunge its themes by examining the central relationship from an interesting start point. The fact that Robert and Jenny are no longer a couple means they can be totally honest with one another about past indiscretions, how they really feel about life and love with the truth no longer being shrouded by a pretence or a desire to make the other happy. The very title underlines the problem facing them both – by being honest they grow close once again but this presents problems and asks the question of whether they’re suited to being just good friends or husband and wife. This fascinating through-line not only sets up the final act well in terms of what will happen but also has the audience trying to work out what would be best for Robert and Jenny as they clearly don’t always make the right choices. That it ends on something of an ambiguous, open cliff-hanger provides a suitable finishing though. The score is used sparingly and the few supporting characters do little more than drive elements of the plot along, managing not to distract from the central idea, and while some may find the ongoing dialogue and lack of real plot development somewhat tedious, this is a well-meaning and well executed character study of the problem with honesty when it comes to love. #IndieFilmReviews #PhilSlatter #IndieFilms #Romance #JimHemphill #LeaThompson #JohnShea #RichardLinklater