★★★★ Directed by Mark Brown Starring Colin Wood, Phil Bousfield, Paul Robinson Documentary Film Review by Phil Slatter There is something very slightly misleading about the full title of Wheeled Warriors: The Rise of Wheelchair Boxing; it isn’t really about the rise at all but the very birth of a sport you probably won’t have heard of. Taking a fly-on-the-wall approach, writer/director Mark Brown follows promoter Colin Wood in his attempts to stage the first ever wheelchair boxing match in the UK in 2016. While the 2012 Paralympics broke records and boundaries in the UK in terms of demonstrating that the competitors were actually elite sportsmen and women competing at the top level rather than just individuals struggling with disabilities, there are no para-martial arts in the Paralympics. The ultimate goal seems to be to change that, and here we see why and how wheelchair boxing began, despite it being very much in its early days. Every aspect is examined – from the logistical implementation of the fight and the necessary adaptions of the wheelchairs themselves to the selection of the two individual fighters. It’s a journey in which Brown and Wood leave few stones unturned and subsequently the story arc is dramatic, the subject matter interesting and the emotional themes are poignant. Sport is often an outlet for the struggles and frustrations of life for people who are disabled or not, and it is quite clear that Colin Wood’s aim is to provide that, in spite of controversies, logistical issues and opposition that may stand in his way. As the first part of this journey reaches its conclusion we come to see that this is a film about determination – the determination of the competitors Paul Robinson and Phil Bousfield to compete in sport despite their disabilities, the determination of individuals like Wood and others to make it possible and the determination to open people’s eyes to the sport. Wheeled Warriors certainly does that, and in years to come wheelchair boxing may well become a Paralympic sport. This indie film may not only demonstrate the very genesis of the sport but may, as an entity itself, vastly help the sport on its journey. #DocumentaryFilmReviews #PhilSlatter #FilmReviews #IndieFilmReviews #Documentary #Sportsmovies #MarkBrown #Documentaries

 ★★★★★ Directed by Damien Chazelle Written by Damien Chazelle Starring Ryan Gosling, Emma Stone, Rosemarie DeWitt & J. K. Simmons Film Review by Dean Pettipher Not uncommonly do critics and the more casual masses of film fans especially find themselves clashing over their starkly contrasted feelings about how great or how ghastly a particular movie is. Moreover, one may rightly feel overwhelmed with scepticism rooted within the fear of a ridiculously overhyped film being inevitably tripped up by reality and consequently falling tragically flat into the vast ash-grey pits of bitter disappointment. La La Land (2016) is most certainly not one of those films. Instead, in short, Damien Chazelle’s flawless musical masterpiece is, without question, one of the best films of 2016. Indeed, with its theatrical release in the New Year, the movie may even become one of the finest pictures of 2017 for many audiences, even after one of the most spectacular Oscar season line-ups of all time, featuring a selection that includes gloriously glistening diamonds like Manchester by the Sea (2016), Lion (2016) and Hacksaw Ridge (2016). Many seemingly gold-tinted tales have been told by various movie critics attending multiple international film festivals. These stories have quickly spread around the world via social media into spaces within reach by audiences who spend their lives predominantly occupied by other professions but maintain within their hearts a genuine love for films as an adored hobby. Whether one cherishes the cinema within the deepest depths of one’s soul or just appreciates the occasional visit to the movie theatre for the sake of variety, as far as La La Land is concerned, the accounts will swiftly become both believable and justified for all who see it. To give but a teasingly little but luscious taste of such tales, one film critic attending the 2016 Toronto International Film Festival (TIFF 2016) queued for five days to see the picture. Each day, except for the fifth and final one, he was turned away, since all of the seats in the cinema had already been filled. Similar lucky escapes and unexpected frustrations occurred at the 2016 BFI London Film Festival (LFF 2016), when an enormous bunch of critics, industry professionals, BFI members and people with the right contacts together formed the biggest line of the entire three-week press screening programme. Needless to say, many keen hearts were unpredictably angered and broken that day. Weep not, dear reader, for La La Land is a confident, colourful, vibrant, intelligent and mellifluous joy that is, for everyone, truly worth the anguish of waiting, just like the often sudden and uncontrollable but always unquestionably magical sensation that follows the discovery of a truly reciprocated romantic connection with another person.  Without meaning to cast a shadow upon the other sparkles of splendour making up the magnificent firework that the picture ultimately amounts to, at the forefront of the beautiful, unflinchingly authentic love story is the astonishing chemistry between the leading stars, Ryan Gosling and Emma Stone, which, in truth, has yet to be rivalled by another onscreen coupling. First discovered and expertly capitalized upon in Crazy, Stupid, Love (2011) and then employed again as an essential ingredient for the ensemble period drama entitled Gangster Squad (2013), the infectious energy conjured by the enviably graceful coloration between these two artists lures enthusiastic audiences into a blissful suspension of disbelief. Within this space, audiences are propelled back and forth between various heightened states of emotion that are associated with romantic love especially, mainly intense delight and excruciating despair. Gosling and Stone arouse an abundance of addictive pleasure within observers beyond the forth wall as illustrations of the perfect romantic partners, since they are both at once admirably angelic and then wonderfully human in their fully fleshed out respective combinations of qualities and flaws. Thus, both Stone and Gosling succeed in leading fully-engrossed audiences throughout the picture because they prove to be as artistically gifted as they are aesthetically gorgeous.  The acting from the cast in its entirety is phenomenal; the supporting cast in particular played no small part in inspiring the audience attending the LFF 2016 press screening to clap with glee in the wake of just the opening scene. One mention, however, must be made for the fairly brief but no less memorable appearance from J. K. Simmons, whose comic wit and timing, best known from his previous work in Sam Raimi’s Spider-Man Trilogy (2002-2007), shines acutely bright in his third collaboration with Chazelle. His role as an antagonistic force in La La Land does not carry the same level of significance within the plot that his Academy Award-winning part enjoyed in Whiplash (2014). Nonetheless, Simmons serves as yet another crucial reason to smile and bask in, within the sheer majesty of the musical.  La La Land succeeds because everything works. Everything fits together perfectly while also standing out wonderfully as individual assets, to the extent where audiences could not possibly pinpoint the one specific aspect that single-handedly allows the film to establish a remarkable position of definitive prowess within the overcrowded and fast-paced market of twenty-first century cinema. Such an impressive state of affairs occurs ever so rarely and principle examples of such films include Psycho (1960), The English Patient (1996), Gladiator (2000) and The Lord of the Rings Trilogy (2001-2003). Accordingly, La La Land joins the dance floor alongside films that serve as prime examples of their respective genres done right. Such movies manage to reach out to and connect with audiences who do not usually enjoy those particular genres at all. Chazelle’s directing evidently takes note of every last detail in every single shot. Chazelle’s writing is so sharp and sophisticated that it manages to achieve a breathtakingly captivating degree of universal emotional depth. The original soundtrack headed by Justin Hurwitz elegantly hits all of the right notes and consequently achieves the essential status of being compelling, catchy and memorable. The costumes helmed by Mary Zophres are flamboyant and stylish. Above all, the clothing employed in the movie illustrates how Emma Stone would look mesmerizingly stunning in anything. Whether she dances in bumblebee-yellow, jade-green, punch-pink, admiral-blue or daisy-white, Stone makes every dress appear as if she alone was born to wear it, even if they were in truth most likely weaved and fitted specifically for her use. In the end, explaining why La La Land penetrates the heart as well as it does feels akin to clarifying exactly why one has fallen in love with a particular person. There are at first many reasons that spring to mind. However, in the end, one ultimately does not really know why or how that person has managed to inspire such a uniquely extreme state of emotional intensity. Fortunately, whether the sensation is comprehensible or not, one is more often than not eternally grateful for its presence, however everlasting or fleeting it may prove to be in the future. Few love stories, and even fewer musicals, have so perfectly balanced an indulgence in the fantastical and the hopelessly optimistic with the ostensibly cynical but ultimately essential injection of realism, like La La Land. As a romance, the film enchants audiences as well as any Shakespearean variation of the beloved genre ever could. As a musical, the production is more than worthy of standing upon both the cinematic and the theatrical stages with classics like West Side Story (1961), The Sound of Music (1965), Singing in the Rain (1952) and Mama Mia! (2008).The story has the potential to be a theatrical hit on Broadway, in the West End and beyond. In the meantime, If only one film featured at major film festivals like the TIFF 2016 and the LFF 2016 was seen, it must be La La Land. Indeed, if one only watched a single film during this present season, be it winter or summer, it must be La La Land. In fact, few would hold a grudge or feel the immobilizing strain of regret if La La Land was the only movie seen in a given year. Truly, even if one does not revel in musicals, he or she might still find it hard to deny that La La Land might just go on to become one of the next true classics in cinematic storytelling. #TheatricalReleases #FilmReviews #DeanPettipher #BFILFF #LondonFilmFestival2016 #FilmFestival #Musicals #DamienChazelle #RyanGosling #EmmaStone #RosemarieDeWitt #JKSimmons

★★★★ Directed by Morten Tyldum Starring Chris Pratt, Jennifer Lawrence & Michael Sheen Film Review by Chris Olson Ever woken up during the night only to realise that you have hours of sleep left before you need to be up? For most people this is a blissful realisation that causes unparalleled joy amongst the sleep-deprived. For main character Jim (Chris Pratt) in science fiction film Passengers, his reaction is far less enthused, having woken up 90 years too soon! Aboard a vessel headed to a new world, Jim is one of 5000 passengers in a cryogenic sleep that is meant to last the 120 years it will take to arrive at their destination: Homestead II. However, a meteor storm causes a bit of a ruckus and jerks Jim out of his slumber too early. After realising there is no way to get back to sleep, and spending a year goofing around on the high tech spaceship, he decides to manually wake another passenger, Aurora (Jennifer Lawrence), whom he has slightly fallen for after watching her pre-launch video logs. After a time of romantic bants, following Aurora's inevitably difficult adjustment to her predicament, the time nears when Jim must fess up to being the reason that Aurora will spend the rest of her days as a passenger. From the movie trailer, audiences may go into Passengers with slightly mixed apprehension. Is it a romantic comedy? A high action space thriller? A survival film? The answer is all of the above. Director Morten Tyldum delivers a movie segmented into these filmic genres whilst keeping the whole thing light and slow paced. Pratt basically plays the Tom Hanks character from Castaway (2000) for the opening section of the film, with Michael Sheen serving as a suave android bartender for company instead of a volleyball with a bloody handprint for a face. Then the middle section is Chris and Jen go on a date, with plenty of creative manipulation to the ship's built in activities. And the third section is I'm stranded in space get me out of here. This may all seem formulaic and tedious, and some of Passengers is just that, but the film is also littered with fantastic set pieces and a pacing which allows the genres to roll into each other without feeling too crowbarred in. There are standout moments in the film which are breathtaking, such as Pratt's first space walk or Lawrence's zero gravity swim session, which are both cinematically gripping. The tone of the film never delves into the heavy peril of something like Moon (2009) or 2001: A Space Odyssey (1968), which is much to its credit. It was refreshing to see a film with this set up that stayed with the characters and their connection, rather than steamrolling into wider philosophical ideas or some alien menace/disturbed AI terrorising the ship. In fact, it has more in common with a sci fi film like Gravity (2013). The composition from Thomas Newman is outstanding! A really beautiful journey that accompanies the varying emotional moments experienced by our protagonists, whilst capturing the epic scale of space. During the aforementioned space walk, the scene is joined by a phenomenal piece of music which perfectly captured the monumental feeling of free falling into the abyss he must have felt. Whilst Passengers had a lot to like about it, there was nothing to really love. Yes the comedy and chemistry between Pratt and Lawrence was really enjoyable, and the set design was fantastically created, but audiences may struggle to fully envelop themselves into the drama. This could be because of pre-existing expectations of what a film with this type of A list cast would bring, or simply because it's a film with a confused identity. Either way there exists a fractured foundation whereby the film wants to explore something new but within the very safe confines of what has come before. Entertaining and momentarily arresting, Passengers is an enjoyable journey but not one you would buy a return ticket for. Watch the Passengers Movie Trailer below #FilmReviews #TheatricalReleases #ChrisOlson #Scifi #ScienceFiction #ChrisPratt #JenniferLawrence #MichaelSheen #MortenTyldum #MovieTrailers

Directed by Alejandro Espinoza & Michael Benton Starring Trey Brandon & Michael Jenkins Short Film Review by Chris Olson Violent short comedy film, Paying Bills Be Like..., is a frenetic blast of zingers and horror special effects, that sees two roommates (Trey Brandon and Michael Jenkins) fight over paying the latest bill that has arrived at their home. Rather than solve their dilemma with organised accounting or thriftiness, the two engage in a no-holds-barred bout of fisticuffs involving all manner of weaponry. Reminiscent of violent physical comedies like Bottom or The Young Ones, this American short film from filmmakers Alejandro Espinoza and Michael Benton captures the chaos of those shows, with the maniacal characterisation that somehow makes these aggressive people seem likeable, whilst placing the tongue-in-cheek humour inside a more horrific setting. The key to making these characters appealing is in the dialogue, which is full of sharp banter and winter rejoinders. Such as when Jenkins ends up with a piece of vinyl lodged in his cranium, and blurting out "Thanks bro! Now I'm going to have that [EXPLETIVE] song stuck in my head all day." Or when an adult pleasure device becomes a prop in the proceedings, the line "That was a real dick move!" is delivered with straight-faced irony. The third character in Paying Bills Be Like... is the delightful horror makeup and special effects. Much like the brash comedy, the flawed, almost laughable appearance is what becomes most endearing about it. If there was perfection to the injuries the effect would be lost. At times brutally crude, and at others marvellously effective, the blood and bruises flow with ceaseless gratuity. There is an energy between the two performers which gets explored through this combat, allowing their personalities to be revealed in an unorthodox and entertaining way. The score is brilliantly effective too, in collaborating with this chaotic aesthetic. There is horror and suspense, coupled with pathos and inspiration (especially during Brandon's attempt to triumph during a knife fight), and at no point is this juggling of genres jarring because it completely suits the tone that Espinoza and Benton create. There existed a slight over reliance on the word "bro" in the script, which seemed to be one of the few areas that needed more attention. Whilst the comedy was well written, and well executed by Brandon and Jenkins, the emotional pull of their relationship gets substituted for theatrics when it comes to the dialogue. That being said, Paying Bills Be Like... is a short film to be swept up in the kinetic frenzy of, rather than any intelligent dissection of lines or discussion of larger thematic ideas. When comedy and physical horror collide as well as this, audiences will be hard pressed to stifle the guffaws. Paying Bills Be Like... is a gratuitously funny film about the frustrations of adulthood with the senseless violence we would wish to unleash if the world allowed us. Viewers will enjoy living vicariously through these entertaining and visceral characters. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #Horror #Gore #AlejandroEspinoza #MichaelBenton #TreyBrandon #MichaelJenkins #Filmmaking

Directed by Justin Boon and Ryan Ng Starring Chloe Kay Short Film Review by Owen Herman The idea of true artificial intelligence has been used throughout cinema, to greater or lesser success. Sci-fi films have incorporated AI in several unique ways, but none as unique as Justin Boon and Ryan Ng’s short film Sonova. A beautiful opening prologue, recounting the collapse of humanity until it is saved by T.A.I. (True Artificial Intelligence), gives the viewer the semblance of a normal narrative. However, the short moves away from conventional narrative structure to provide more of an explorative experience. The film enters the mind of Sonova, a mysterious figure that appears to be the next stage of human evolution, as she begins to discover her humanity. Recognition of normal household objects seemingly sparks feelings and memories within Sonova, as she realises her senses in a child-like manner. She attempts to separate herself from T.A.I. in a move towards independence and, possibly, freedom. The result is an intriguing series of ideas that provoke questions, not just of the story, but of the ideas of humanity and A.I. themselves. Much of the film is presented through the eyes of Sonova, presenting a minimal yet richly detailed heads-up display. As Chloe Kay’s voiceover continues, conversations between Sonova and T.A.I. appear on screen to provide even more depth to this puzzling narrative. What you make of both characters and everything you see on screen is left to you. Sonova allows and even encourages you to form your own thoughts about what you are seeing, just as Sonova herself is doing. The animation is both beautiful and intelligent, and is a joy to behold. Its style really engages the viewer and makes the world and its technology feel real. All the sci-fi elements appear to be inspired by previous science fiction greats, but still feel new and fresh. The sound is also stunning. Chloe Kay’s voiceover is haunting and the music evokes feelings of a bright future. Boon and Ng have created a unique and memorable sci-fi experience. It is a perfect short film; intriguing, intelligent and short enough to leave you with questions in your mind. Sonova probably wouldn’t work as a feature film, its length is part of its brilliance, a small and short insight into a vision of a dangerous but exciting future. #ShortFilmReviews #ShortFilms #OwenHerman #Scifi #ScienceFiction #JustinBoon #RyanNg #Animation #AnimatedFilmReviews #AnimatedFilms

★★ Directed by Mark Zampella Starring Katharina Daue, Steve McAllister, Ed Ericsson Indie Film Review by Phil Slatter One Minute / 60 Seconds is a science fiction film wrapped up in a drama about a missing person. It’s an odd blend and not an entirely successful one, even if the script does possess some original ideas and thought-provoking discussions. It opens with a lingering shot of the stars before panning down to the earth and then cutting to Danielle (Katharina Daue), seemingly randomly, standing on a beach. We soon learn she is looking for her brother Peter and meets Theo (Steve McAllister), a ‘Truth Seeker’ who is eager to point out that everything you think you know is wrong. Danielle soon gets to meet some of Theo’s fellow conspiracy theorists, many of whom knew Peter but are seemingly unknowing or deliberately un-forthcoming about his apparent disappearance. The film loses its initial focus from thereon as Danielle becomes slightly sidelined in favour of discussions relating to irritating theories (the earth isn’t flat! JFK’s assassination was a conspiracy!) and some more thought-provoking ideas on the nature of belief, how we as humans think, and mass hysteria. When we do come back to Danielle’s hunt for Peter, the story struggles to develop with some stilted acting not being helped by certain conversations being repeated almost verbatim. It feels unfocused, as if the filmmakers were unsure whether they wanted to make a film about life, the universe and everything, or a more conventional drama with science-fiction overtones. A key problem to our investment is that we never really wonder what has happened to Peter – we don’t know, but we’re not really made to care. What is required is more investment in the initial plot to keep us interested and then allowing the ideas to flow from within. Danielle seems to service, initially at least, as a plot device to introduce us to Theo and his cohorts in order for the film to then go off on its necessary tangents. Come the final act of One Minute / 60 seconds, the script gains its focus to a degree and leads to a somewhat ambiguous ending that ties in to some of the science we’ve seen being discussed, even if the conspiracy theories appear somewhat irrelevant. The music and understated nature of proceedings does at least tie it into the offbeat nature of the resolving plot although some shots linger a tad too long than is necessary. It does evoke memories of Donnie Darko and Under the Skin which is evidence of ambitious and thought-provoking filmmaking at heart, but the end result is an indie film that has many ideas but that fails to have a significant enough central story to initially engage the viewer and thus earn our attention. Check out some of our Movie Trailers for your viewing pleasure. Or read some more of our Film Reviews here. #IndieFilmReviews #IndieFilms #FilmReviews #MovieTrailers #PhilSlatter #MarkZampella

Directed by Alexis P.N. Starring James Ruskin, Alice Sainsbury Short Film Review by Lorenzo Lombardi Absurdity and dry humour are cohesively combined to entertaining results in this comedy-crime short, director and film student Alexis P.N’s graduation piece. Cocaine and Cormorants follows a birdwatcher in the UK as he finds himself in the middle of a Colombian drug cartel’s smuggling plot. Things are further complicated when a massive crowd of bird enthusiasts rush out in droves to witness the rare titular bird. Cocaine and Cormorants is a charming and amusing short movie. Its quirky tendencies make it particularly charming, fitting well into the situational awkwardness. To top it all off, it borrows elements of its humour from some of the best directors in British deadpan comedy. Echoes of a Guy Ritchie flick are clearly seen in some of the witty lines, as well as hints of Edgar Wright. Characters in this film, although brief even for a short, deliver some memorable appearances - from a threatening female henchwoman to the main everyman Gilbert. He is played with awkward charm by James Ruskin. The formerly mentioned henchwoman is also performed memorably by Alice Sainsbury. Surprisingly, though, the characters are not the most fleshed out part of the film. What struck me most was the sheer stylish cinematography. Shot in awesome angles, it exudes a sense of both professionalism and braveness that is not seen in many shoestring budget British shorts. Director of Photography Allan Ng takes dares to use tracking shots while also maintaining an energy that belongs in the film, with excellent results. With its scenic Norfolk setting, it would have been easy to use static shots to mainly highlight the location’s beauty. Yet, the direction of cinematography has a fine balance between focusing on subjects and location. This factor alone gives a worthwhile reason to check out the short. Cocaine and Cormorants is an enjoyable and amusing piece filled with effective dry humour and exhilarating cinematography. If you have a passion for birds, admire good cinematography or appreciate a fine crime-comedy formula, flock out to find it. More Film Reviews can be found here, or watch some of our entertaining Movie Trailers from 2016's biggest movies. #ShortFilmReviews #LorenzoLombardi #ShortFilms #MovieTrailers #FilmReviews #AlexisPN #JamesRuskin #AliceSainsbury

Directed by Meosha Bean Starring Meosha Bean Short Film Review by Monica Jowett Short thriller film Miss Pepper written and directed by Meosha Bean, who also stars, tells the story of a woman who has to face her inner demons. Miss Pepper (Meosha Bean) is a famous writer, under pressure to finish her follow-up novel, yet is tormented by demons from her past. The story is simple and easy to follow, yet this short does not keep you on the edge of the seat. Bean explores some thought-provoking ideas in the movie, as the character frequently touches upon the idea of immortality that young people sometimes possess, and the sadness of growing up as well as other philosophical notions. However these themes don’t feel connected and seem out of place for the short thriller film. As the only character who appears on screen, Miss Pepper, Bean has a formidable job to carry the short movie herself. Her character is interesting, yet with a lack of on screen dialogue as the majority of the short is narrated by Bean as Miss Pepper, she does not grab your attention and it can be hard to feel sympathy for her. The constant narration also takes you out of the film, and makes you more aware of the little characterisation Miss Pepper has. Though the film does contain some good cinematography and editing techniques such as black and white colouring, high key lighting and montages, it is easy to see this is a one-woman production, as lighting and other elements do not have a continuous flow. The close-ups of Pepper however do help you to build a connection with the character. Meosha Bean has done a brave attempt to create a provocative short thriller film, and it will be interesting to see how she progresses with her writing and directing of short and feature length films. Read more of our Film Reviews here, or watch some Movie Trailers. #ShortFilmReviews #MonicaJowett #FilmReviews #MovieTrailers #MeoshaBean #Thriller

Directed by Jarno Lee Vinsencius Starring Joanna Häggblom and Demis Tzivis Short Film Review by Catherine Pearson If it’s a masterclass in short filmmaking that you’re after, look no further than Darkness Falls, aka Mörkret Faller, a suspenseful sci-fi with breathtaking visuals and a killer twist. Melissa (Joanna Häggblom) awakes in the deep snow of a wintry forest with no recollection as to how she got there. She tries to access her memory with the help of a therapist but to no avail; she cannot understand what would have brought her to the forest and why her sleep has been so disturbed since. Melissa then receives a letter from David (Demis Tzivis), a stranger who seems to know her story and understand her confusion. They meet and he attempts to explain the reality she has awoken to…but they’re running out of time. Darkness Falls may be billed as a sci-fi film but its aesthetic and tone are perfectly in-keeping with Nordic noir. Filmed in Sweden, the setting is snowy and the sky heavy with the eerie sense that something dangerous lurks among the shadows. The cinematography is absolutely beautiful and the ominous rolling mist almost a character in itself as it is captured swirling around the bewildered Melissa in her new and foreign environment. Every frame is a piece of dark and brooding art, with its stark black and white colours and the hundreds of greys in between, and the image so professionally rendered. Joanna Häggblom’s performance is the ideal blend of fearful and solemn, as though her terror is muted by the heavy sky and the incomprehension of finding herself somewhere she has never seen before. Demis Tzivis acts well alongside this quiet fear with a greater sense of urgency that accelerates the narrative and pushes the audience into the second act. After all, once Melissa knows what has happened to her, the repercussions are inevitable. This film is genuinely chilling, not only from the impregnable cold of the snowy setting but from the lurking shadow that haunts Melissa as she tries to sleep. The creepy unknown figure, Melissa’s complete incomprehension and the ever-present, slow and gradually building soundtrack come together to create a suspenseful piece that you’ll stick with and want to revisit after a first viewing. The camera work is very professional, not only in its sharpness of image and its steadiness but its capturing and blurring of light for dramatic effect, the use of time-lapse on a beautiful night sky and the stunning tracking and crane shots of the deep and snowy forest on which the film opens. Even the graphic used for the credits is a piece of art; as black and white as the images that follow, the shapes that appear to burst on the screen are other-worldly and look like DNA under a microscope, an idea that has greater meaning by the film’s end. Darkness Falls is a must-see for sci-fi, noir and thriller fans and is testament to the hard work and vision of a small team of people. The film was written, edited and produced by its director Jarno Lee Vinsencius and shot with only two crew members, an incredible feat and almost unbelievable when you see it in all of its high-definition cinematic glory. Take a look at some Short Film Trailers, or read more of our hand-crafted Film Reviews. #ShortFilmReviews #CatherinePearson #FilmReviews #MovieTrailers #Noir #JarnoLeeVinsencius #JoannaHäggblom #DemisTzivis

Directed by Mark Battle Starring Dean Temple, Travis Mitchell, Suzanne Bryan Short Film Review by Evie Brudenall We’re in the midst of an undeniably brisk winter, and it only seems right to consume films that feel seasonally appropriate. Enter Mark Battle’s The Convict, a short film that boasts a distinct chill but has enough heart to stop you feeling like you’ve been shut out in the cold. Set in America, a recently escaped convict (Dean Temple) desperately tries to avoid re-arrest. However, his need for evasion runs much deeper than anticipated as he harbours a personal motive and desire to fulfil during his time as a fugitive – but what exactly is his intent? The opening shot of a window depicting peaceful scenery could not remain serene for long as the tranquillity is literally shattered and we’re plunged into the action. Sweven Films sure do know how to arrest out attention (if you’ll pardon the criminal pun). As the thus far unnamed convict despairingly rummages around the house he broke into, the absence of non-diegetic music (which would usually bereave a sequence of a sense of urgency and drama) contributes to the tension and pulsating atmosphere, and allows us to focus on the convict and question how he managed to pull off the great escape. He’s badly injured. His wrists are still cuffed – we can only imagine that the altercation that led to his arrest must have been a bloody one. The Convict operates in a complex area of morality in terms of character and this notion is excellently echoed in the grey colour palette. Witnessing a wounded man in need of attention, as an audience, we naturally root for and gravitate toward such a helpless character. But the orange jumpsuit indicates and unsavoury type and the bloodied clothing and armed defence indicate a man capable of violence. We don’t know where our loyalties and empathies lie and our position as an audience is compromised. For example, as he performs medical treatment on himself, The Martian style, we grimace with him and pray he make a swift recovery but as the film progresses, he makes some unethical decisions and we’re sent askew with out sympathies. Visual cues infer that underneath the criminal veneer, the titular character has an emotionally rich and layered history. His tattooed wrist that reads “Grace” invites more questions and the sparse plot and infrequent pieces of dialogue does little to answer them; although, there’s a part of us that relishes the unknown. The choices in cinematography with carefully constructed framing and camera angels are fantastic and continue to generate an elusive and mysterious quality that leaves us gripped right up until the moving denouement. Fantastically and technically crafted with a brutally simple premise, The Convict strikes the perfect note of moral ambiguity and uncertainty whilst emphatically keeping our interests engaged from the explosive introduction through till the revealing and emotional ending. Watch more Movie Trailers, or read some more Film Reviews here. #ShortFIlmReviews #EvieBrudenall #ShortFilms #FilmReviews #MovieTrailers #MarkBattle #DeanTemple

★★★★ Directed by Oliver Stone Written by Kieran Fitzgerald & Oliver Stone Starring Joseph Gordon-Levitt, Shailene Woodley, Rhys Ifans, Tom Wilkinson, Nicholas Cage, Zachary Quinto, Melissa Leo & Joely Richardson Film Review by Dean Pettipher Few of the high-profile decision-makers in Hollywood have so clearly built up a repertoire of films that has amounted to a career swinging in a notoriously unpredictable fashion, from terrific to terrible and back again with a handful of perfectly decent albeit ultimately forgettable mentions in-between, like the filmography of Oliver Stone. Genre-defining masterworks like Platoon (1986) entrenched within the collective cinema psyche that Stone possesses artistic flair beyond measure; excruciatingly frustrating silver screen backfires like Alexander (2004) prompted audiences to wonder in despair what on earth might have possessed Stone at the expense of his incredible talent and often striking artistic boldness. The projects that fall into the latter category are the best illustrations of the notion that a film will not enjoy inevitable critical or commercial success simply because it features an overwhelmingly star-studded assemblage of actors, actresses and crew members. Of course, there are plenty of overall solid storytelling delights as well, such as Savages (2012), which in the moment inspire feelings of intense pleasure but ultimately struggle to say anything of distinguishing significance that might stay with many audiences in the long-term. To Stone’s credit, his movies, whether they turn out to be timeless achievements or damning exercises of creative madness, feature consistently intriguing subjects. Stone’s latest venture as a director and co-writer, Snowden (2016) thrives on that very quality and in short hacks into audience sensibilities to the extent where it comfortably lands within the region between the fabulous and the forgettable, leaning more towards the former standard as a result of not totally forsaking the essential ingredient of a good story well-told. While fervent film fans might ultimately find knowing the roots of the movie unnecessary for truly appreciating its story-driven and financially-motivated ambitions of exploring the central political imbroglio, they may find their viewing and subsequent interpretations of the picture enhanced by at least a sprinkling of background information. Indeed, one might be surprised about just how many people have forgotten about or even never heard of the true story behind the drama. In June 2013, a computer professional, named Edward Snowden, leaked a plethora of classified National Security Agency (NSA) documents to journalists. Snowden’s disclosures exposed the systematic surveillance of civilians in America and across the globe, which triggered a state of anger and humiliation amongst many of those who made up the American intelligence community. Snowden has been living in Russia as an asylum-seeker in exile since August 2013. Having been charged under the Espionage Act, he would at present have to face up to thirty years in prison if he returned to the United States. While not the highest priority of the agenda of international affairs, debate about whether or not Snowden is a hero or a traitor continues to re-surface again and again within mainstream discussion. Stone’s dramatization of the key events in Snowden’s life, leading up to the immediate aftermath of his fateful decision to defy his government for the sake of his deeply-felt principles, stylistically adopts the traits of the espionage thriller and undeniably presents Snowden as a hero, or at least as a man whose intentions were selfless and good. While far from thrilling from beginning to end, the handful of bugs lurking within the film are often compensated for by a remarkable number of engrossing pop-ups that encourage audiences to delve further into the real-life version of Snowden’s story, which may at present be best articulated by the Oscar-winning documentary, Citizenfour (2014). Nonetheless, the fundamentally cautious Stone-helmed tale remains a well-executed movie that has a surprisingly decent amount to suggest about various liberties, sources of pleasure and cradles of satisfaction, all of which everyone has taken for granted at some stage in their lives, without or without realizing it. The performances in Snowden from the star-studded ensemble are, overall, perfectly engaging. However, few of the actors demonstrate another facet of their respective dramatic talents that audiences have witnessed heretofore. In fact, only Joseph Gordon-Levitt pulls out some truly impressive artistic surprises. His best-known performances in Inception (2010), The Dark Knight Rises (2012), Looper (2012) and 500 Days of Summer (2009) have all served as illustrations of how he can raise credible characters from script to screen in a uniquely charismatic and graceful fashion. Nonetheless, all of the protagonists or the supporting characters from the aforementioned credits thrive off of the pretty boy or indeed the bad boy oversimplifications within their particular stories. To his credit, Gordon-Levitt is able to consistently inject a significant degree of emotional and comic depth into his work, suggesting that he deserves the opportunity to branch out into an array of more diverse roles. Such a potential development is reminiscent of how Leonardo DiCaprio determinedly fought against being pigeon-holed into the teenage-heartthrob oversimplification after his immeasurable success with Titanic (1997). DiCaprio reportedly turning down roles in films like Spider-Man (2002) and the Star Wars Prequel Trilogy (1999-2005) in order to play more mature roles, which, fortunately for DiCaprio, led to triumphs on an even grander critical scale, such as The Aviator (2004), which in turn played a part in paving the often uncertain but potentially very fruitful road of opportunity towards his tremendous leading parts in unforgettable features like Blood Diamond (2006) and The Revenant (2015). Gordon-Levitt’s performance in Snowden warrants similar merits and opportunities. Having previously shown that he can comfortably bring historical figures to life in Lincoln (2012) and The Walk (2015), as well as how he is truly a filmmaker who performs, writes and also directs with distinctly pure heart and unflinching honesty with Don Jon (2013), while he in truth does not look or sound exactly like the real Edward Snowden in a manner that Forest Whitaker pulled off with The Last King of Scotland (2006) or in a way that only Philip Seymour Hoffman could have achieved in Capote (2005), Gordon-Levitt comes as close to the real person he plays as he possibly could. The result is one of his best, most inspiring performances to date. More than once will audiences be captivated into a state where they happily forget who the actor behind the character is, despite the clear aesthetic giveaways. Such a surprisingly good performance has come about because of nothing less than hard, meticulous work from Gordon-Levitt that would make even the likes of Stanislavsky proud. During his appearance on the Graham Norton Show (2007-Present), Gordon-Levitt was given the opportunity to discuss his preparation for the role of Edward Snowden and how it led to one of his most rewarding career highlights. He stated, “Before we shot, I went over to Moscow and I sat with him [Edward Snowden] in an office for about four hours.” He went on to declare, “This is the thing about when you play a real-life person. You get certain feedback when you’re an actor and that’s meaningful. It’s meaningful when an audience likes the movie or [when] it gets good reviews or maybe it gets good box office, or whatever. And that’s all great.” Now at the core of his point, he asserted, “His [Edward Snowden’s] mom took me aside and was like, ‘You reminded me of my son.’ And his [Edward Snowden’s] dad took me aside and he made sure to look me in the eye and he said, ‘I want to thank you for what you did because I know this was risky for you and some people aren’t going to like you for it but I really appreciate you doing this for my son.’” In concluding his passionate explanation, Gordon-Levitt professed, “I’ve never received feedback like that for an acting job that I did. It meant so much to me. It really made my year to have those moments with his parents.” In Snowden, Gordon-Levitt’s thorough research and professional artistic sensitivity have paid off, highlighted by his effortless employment of intricate mannerisms, his careful execution of Snowden’s more furtive actions, his deep voice with a typically reserved quality in its tone and his intriguing facial expressions. There may certainly have been an actor out there who might have sounded or looked exactly like Snowden but the abundant air of charm and cautiousness that Gordon-Levitt brings to the character allows for his interpretation to be the compelling leading force of the picture.  The most notable supporting roles in Snowden are those occupied by Shailene Woodley, Rhys Ifans and Zachary Quinto. Woodley plays the love interest of the story with elegance and a relentlessly firm grip on all of the emotional extremes not seen since her remarkable performance in The Descendants (2011) or, more recently, her definitive leading role in The Fault in Our Stars (2014). Rhys Ifans portrays one of the principle antagonistic forces of the tale in the form of a cold, unpredictably tempered decision-maker within the American intelligence community, highlighting the already well-understood versatility of his skills, especially when one sits Ifan’s Snowden contribution alongside his parts in Notting Hill (1999) and Anonymous (2011). Quinto similarly shows off his versatility as an animated journalist often losing his sanity due to his fear of the potentially devastating consequences that his secret interactions with Snowden might demand. Quinto nicely displays a personality that contrasts in many obvious and subtle ways with his crucial role in the latest Star Trek film series (2009-present). Snowden is without question held together by its performances, for they are just about the only aspects of the movie that help it to feel at least faintly fresh within the vast library of biographical political thriller movies, which include cinematic strokes of genius like All the President’s Men (1976). The narrative style of Snowden feels like a good but not great variation of the one that is best employed for the first season of True Detective (2014-present). To be taken back and forth between past and present and then propelled forward at a breath-taking pace into the immediate future proves to be essential for maintaining substantial emotional investment in Snowden’s story. Unfortunately, roughly around the middle of the movie, the pace becomes so slow in comparison to its comfortable opening speed or its exhilarating closing swiftness that one suddenly feels an overwhelming tiredness fuelled by the unpleasant, detached spectre of boredom. The detective drama led by Matthew McConaughey and Woody Harrelson maintains consistently incredible tension and suspense because of how acutely selective the writing and directing decisions are with their arrangement of events. Backstory is teasingly offered throughout and the events are tied stylishly together by means that no other narrative arrangement of the same accounts could really compare with. With Snowden, sometimes so much focus is given to a seemingly unimportant moment of his past that the high stakes of his present situation repeatedly start to dry up. Fortunately, just about enough of a sense that impending danger is near remains to allow for a fairly climactic and thought-provoking final act. Snowden features an interesting amount of globe-trotting, which is, on the whole, nicely presented. On the other hand, one wishes that the cinematography could have capitalized upon its variety of locations in order to create some truly beautiful and opulent scenery shots and somehow cleverly link them to Snowden’s character development. From Washington D.C., to Hawaii, to Japan and beyond, the craftsmen behind Snowden would have been more than capable of employing their various story backdrops more creatively in a way that did not feel contrived or as if a spy thriller was the ultimate goal. Still, between the generally plain, gloomy exterior and interior shots, as well as the unoriginal albeit more colourful and vibrant shots of the virtual reality world, the three spaces together create a fascinating sense of protagonist isolation that encourages audiences to appreciate the sheer scale and cost of his supposedly benign, people-focused endeavours.  In the end, Snowden is a very, very good production that has a surprising amount to say about what it feels like to be the little person being walked all over at leisure by a large and powerful organization that somehow manages to ceaselessly and shamelessly convey to much of the rest of the world that it is a role-model for good, to the point where the little person can feel trapped in isolation and easily pounced upon by loneliness and the subsequent insanity. The screenplay reveals and plays around with enough to spark audience interest in the Snowden debate while also highlighting the much broader point of not taking the significant elements of one’s life for granted, such as family, romantic relationships and life principles. Whether audiences agree with the interpretation or not, Stone’s depiction of Snowden as a man of benevolent intentions is very well-executed, even if it feels quite careful, as if just one untoward scene or line of dialogue might destroy the careers of everyone involved in the movie. Since getting a career in Hollywood is, as DiCaprio puts it, like “winning the lottery,” one cannot judge such cautious behaviour too harshly, especially since the focus has clearly remained, as it should do, on telling a good story. The movie more than warrants the price of a movie ticket but not a pressing need for a second viewing. Fortunately, the film’s interpretation of Snowden seems very close to what the real Edward Snowden might have most appreciated. During an interview with ABC News in December 2016, for which the news anchor named Katie Couric travelled to Russia, Edward Snowden made a number of emotionally and cognitively stimulating points. He stated that “we should always make a distinction that right and wrong is a very different standard than legal and illegal.” When asked about his fateful decision to share classified information with the media, he went on to say, “I would not have done it if I didn’t believe it was right.” Finally, he concluded by asserting, “I would do it again. No regrets at all.” Stone’s interpretation of Snowden appears firmly in line with what little the world now sees of the real-life exiled intelligence professional. One wonders whether or not Stone and the team hoped that the movie would encourage a continued growth in the support for the Pardon Snowden Campaign, or at least inspire a more open-minded perception of the man and his motives for defying his government. Ultimately, however, both as a clear source of entertainment and as a possible political tool, the film will leave a few faint lasting impressions before falling under the shadow of better movies and more urgent political concerns. Watch some of our Movie Trailers here. #FilmReviews #DeanPettipher #TheatricalReleases #OliverStone #JosephGordonLevitt #ShaileneWoodley #RhysIfans #TomWilkinson #NicholasCage #ZacharyQuinto #MelissaLeo #JoelyRichardson

Directed by Ian Smyth Starring Andrea Valls, Ray Bullock Jnr, and Ceri Mears Short Film Review by Chris Olson Desperation often makes for some compelling stories, and is a strong motivation that can take many shapes in different characters. Tying this in with so-called sins like greed and lust, and a thrilling film doth you have. No Hidden Extras, a short film directed by Ian Smyth, has all of this and more, giving audiences a genuinely moving and tragic look at the human nature of desperation. Whilst making pointed commentary on the illusion that choice equals freedom. Abigail (Andrea Valls) paces her apartment, seductively talking on one of her several mobile phones attempting to rope in a customer. Seemingly happy to offer any kind of sexual experience as long as the money is right, Abigail's attitude comes across slightly more business than pleasure, with the operation she is running. After numerous time wasters are deftly pushed away, she receives at text from an apparent "first timer" (Ceri Mears) who she quickly makes arrangements to meet in a local motel. The events take a turn for the mysterious though, when a shadowy figure (Ray Bullock Jnr) is seen lurking by the side of the motel, the flame of his lighter flickering upon his dark features. There is a frenetic pace to the movement of Valls, especially during the opening few scenes, which created this sense of desperation and unease. Whilst she seems completely comfortable discussing lewd arrangements with prospective clients, the urgent feel to the way she moves or speaks is a clever device to put the audience on alert for something more troubling than a simple sex worker in the city caper. This is complemented by a foreboding score and quick editing. Smyth takes great pains in No Hidden Extras to offer a rich experience for the viewer, and this is evident in the tiny moments that are scattered across the short film like little gems. Things like the "first timer" quietly removing his wedding ring in the motel car park, or Abigail fidgeting with her seductive attire whilst she waits. These sequences create a rich and deep aesthetic that is quite sinister at times, as well as making the story feel completely authentic. There is nothing surface about the filmmaking, and audiences will most definitely enjoy the attention to detail. The plot felt a little flat in the final act, which seemed a shame given the excellent build up which had preceded it. The characters had been given a lot of intrigue which then gets wasted without some stronger punch to culminate their journey. That being said, No Hidden Extras is a film of atmosphere and feeling, which never stops being emanated from Smyth's film or the excellent performances. The adult themes are handled with solid care as to not alienate viewers whilst never shying away from their harrowing features, creating an overall tone which is hugely immersive and entertaining. Check out some more of our Film Reviews here, or watch some rather brilliant Movie Trailers. #ShortFilmReviews #ChrisOlson #ShortFilms #Thriller #Drama #AndreaValls #RayBullockJnr #IanSmyth