Directed by Raphael Biss Starring Tom Barker and Luke Neves Short Film Review by Andrew Young Tone is a very tricky thing in cinema. It is difficult for the filmmaker to keep it consistent, but without making their film monotonous either. Make your film too light and comedic, with no dramatic weight, and you risk being accused of lacking substance; make your film too serious and devoid of levity and the film is ready to be attacked as “leaden with the weight of its own self-importance”, for instance. Some of the most dazzling films ever made have great shifts in tone; if you don’t believe me go and watch Pulp Fiction and Trainspotting. Yet sometimes these shifts in tone and settling on the right tone for your material lead to a jarring experience for the viewer and a not entirely successful film. Raphael Biss’ Between Viewings struggles to avoid such a trap, its juggling of tones made all the more difficult by its short running time. However Biss and writer Daniel Cripps must be commended for taking an interesting, worthwhile approach to an otherwise straightforward story. The short opens with estate agent Ben (Tom Barker) offering us his amusingly cheesy tips for selling houses. It is a fast, comedic segment to open with and would suggest a quickly established direction for the film, but instead we are given a much more reflective drama, with gentle comedy peppered throughout. When Ben is handed the documents for the latest house he is to sell he would be ready to work his magic and move on to the next one, except the house he has been given is his old family home. From here, Ben encounters a younger version of himself (Luke Neves), the manifestation of his insecurities about the way his life has ended up. As a child, Ben was desperate to be an archaeologist but alas, money and opportunities probably got in his way so here he is now – an estate agent. It is an interesting premise and Cripps cleverly adds a deeper emotional layer to the film’s core theme in making Ben’s parents diametrically opposed in their views on his future. His father wants him to follow his dreams, whereas his mother takes a much more practical view of the situation. The tension between them adds something of a guilt complex to Ben’s character, making him a more sympathetic character. It is a shame, however, that the key scenes with his parents are a bit on-the-nose in their dialogue, adding to the impression of a lack of complexity given by the film as a whole. It is perhaps because of the simple nature of the story that Biss takes more stylistic risks early on. When looking around the house, each door opens up into a new memory, or even an area of Ben’s mind. It is an effectively disorientating sequence, with credit going to DoP Vaia Ikonomou and editor Craig Lewis as well as Biss himself. This adds a slightly threatening edge to the tone, as Ben is confronted with truths he perhaps doesn’t want to hear. It is in this opening half of the film, however, that the tonal difficulties show. Going from the straightforward comedy of the opening to the quiet, reflective soul-searching to the mind-entering segment, all mixed with some odd-couple bantering between the older and younger Bens means that none of it really hits as hard as it could. The psychedelic elements are not as unsettling as they were perhaps intended to be, the drama does not hit that deep and the comedy is faintly amusing without ever being uproariously funny. The difficulties in this part of the film are reflected in the performances too. Like the short as a whole, they are fine, but not stand-out and perhaps not as malleable to the tonal shifts as hoped. Barker and Neves sell the bickering but lack the spark for the comedy to fly, whilst Barker has the requisite charm for the elder Ben, but is perhaps lacking in the more deeply emotional scenes. It is when Between Viewings moves past this and settles on its tone that it is at its best. The latter section, with Ben literally and metaphorically unburying bits of his past, is winningly played and has just the balance of light and reflective drama that works so well with the acoustic guitars of Field Commander Short Shorts lilting away in the background. It is in this terrain that Barker is best too, his charming smile suiting the material to a tee. Even here, Biss’ short is not earth-shattering, it is a nicely made film with an important, if familiar message and a lovely charm to it. Biss and the other filmmakers show their talents in approaching the material in interesting ways, a fine attempt to elevate it above the simplicity of the story, if not always entirely successful. More Film Reviews here. Or watch Movie Trailers for some of the biggest films of 2016. #ShortFilmReviews #AndrewYoung #ShortFilms #FilmReviews #MovieTrailers #RaphaelBiss #TomBarker #LukeNeves

★★★★ Directed by Kenneth Lonergan Starring Casey Affleck, Lucas Hedges, Michelle Williams, Kyle Chandler, Gretchen Mol Film Review by Kieran Freemantle Since premiering at the Sundance Film Festival, Manchester by the Sea has been one of 2016's biggest critical hits and a major awards contender for good reason. Lee Chandler (Casey Affleck) is a Boston-based janitor with poor social skills and anger issues. After his brother Joe (Kyle Chandler) dies from a heart attack, Lee heads to his hometown Manchester-by-the-Sea, Massachusetts to take care of his teenage nephew, Patrick (Lucas Hedges), arrange the funeral, and face the demons from his own past. Manchester by the Sea is primarily an actor's film; the performers are given hefty material to work with and writer/director Kenneth Lonergan simply lets the actors do their thing: he does not distract with fancy camera or editing tricks. Affleck has been winning a lot of plaudits for his performance and he is deserving of it - having a meaty role as a man who is unable to process his emotions and being distant from everyone - when women try to flirt with him he just stands there stony-faced. As Lee, Affleck has to face his responsibilities when he is named as Patrick's guardian - having an almost laissez-faire approach to having to become a more friendly and assertive figure. Before the tragic event that drove Lee away from Manchester, he shows that there was warmth in his heart but it was drained away from him. Along with Patrick, Lee has to do deal with his own grief, but is less well-adjusted than his nephew. Patrick was more prepared for his father's death and had a support network of friends and two girlfriends; Lee has the weight of being a parent, having to handle the finances and care and deal with his own personal issues. Lee and Patrick also have different needs - Lee wants to leave Manchester whilst Patrick wants to stay and Lee tries to accommodate this as much as possible. Affleck does have an excellent cast supporting him. He shares most of his screen-time with Hedges, showing he is a talented actor at his young age. Michelle Williams had the other emotionally heavy role as Lee's ex-wife - who also suffered from the same tragedy, but her reaction is more overwhelming hysteria compared to Lee's unhealthy approach of bottling up his feelings and letting it out in violent bursts. The rest of the cast were perfectly fine and natural in the roles - Kyle Chandler and Gretchen Mol being the most notable as Lee's brother and Patrick's absent mother. Earlier this year I reviewed the Jake Gyllenhaal film Demolition about a man unable to process his grief - so ending up smashing up his home and forming a friendship with a single mother and troubled teenaged son. It was a film I hated because the main character was absolutely unsympathetic - despite what happened to him. Whilst Manchester by the Sea looks at similar themes and has a similar set-up, it has much better writing. Lee and Patrick can be pretty unlikeable themselves but they acted and reacted like real people, making them compelling. Demolition just wanted to be an "indie" film - it started with the line 'everything is a metaphor' which is a warning sign that the writer thinks too much of themselves. Lonergan's focus was on realism – both the psychological aspect regarding its characters and the dialogue that is spoken. Even when there is a humorous moment it is relatable like the bickering between Lee and Patrick, and Patrick's attempts to bed one of his girlfriends. There are also great little details about the community like people talking about the incident and how some of them react to Lee. Lonergan made sure that he got the most dramatic capital from his film. He used lots of long takes which allows the actors to perform uninterrupted and many times Manchester by the Sea had a voyeuristic quality to it. Occasionally there is a slow camera movement or zoom to highlight a scene; and Lonergan knows that a facial expression can say as much as words. The static camera was effective when Lee flares up and fights since he does it without much warning. This is especially true of the second fight. I will admit I am a sucker for this style of direction. The use of classical music also added to an emotional drama using tracks featuring violins, organs and choirs throughout the film. The acting, writing, direction and music all culminate to a peak during the flashback scene in the film revealing what the tragic event was. It was a pitch-perfect moment. Manchester by the Sea was a slowly paced film which is to be expected from this type of drama. However, the film has a running time of 147 minutes it is bum numbing and stretches the material thin at times. Similar dramas are usually shorter and Manchester by the Sea would have perhaps benefited from being just two hours long. Manchester by the Sea is deserving most of the positive critical reception even if some film critics were a little too enthusiastic. It is a master class in acting and screenwriting but it is on the long side. Watch some Movie Trailers on our glorious Film Channel. #FilmReviews #KieranFreemantle #TheatricalReleases #CaseyAffleck #Drama #KennethLonergan #LucasHedges #KyleChandler #MichelleWilliams #GretchenMol #MovieTrailers #FilmCritic

Directed by Stanislava Buevich & Lara Myles Starring Fanny Escobar, Liliana Scuderi, & Rob Talbot Short Film Review by Chris Olson Short thriller Behind Closed Doors is a striking and surprising treat, brimming with tension and intrigue. Running at around 3 minutes, filmmakers Stanislava Buevich and Lara Myles have done superbly well to create a formidable piece of filmmaking that sucks you in, twists you around, and spits you back out, all within the same time some movies take to run their opening credits! A woman (Liliana Scuderi) arrives home during the daylight hours and proceeds to unwind in her house. It is quickly revealed someone (Fanny Escobar) is hiding in a cupboard. As the two characters inevitably collide, what first seems like a home invasion thriller becomes something completely different, but equally as terrifying. With standout performances from all three players (including Rob Talbot who joins the film in the latter section), Behind Closed Doors is a short film running on supercharge. Everything about the film is poised and sharp, with no room for any superfluity, including baggy dialogue. Scuderi delivers a captivating performance using naturalistic movement and expression, with the roving camera focusing largely on her during the fluid sequences through the house. Escobar is also a great presence, allowing the viewer the be sucked in by her foreboding suggestion to the plot without revealing too much of her character. Whilst Talbot is a formidable presence during the final moments, giving the film an immense climax. There is a lot to enjoy in a short film like Behind Closed Doors, and the movie goes a long way to prove what can be done under tight filmmaking constrictions. The svelte tone of the overall atmosphere allows the harrowing events to focus quicker, getting the audience immediately invested. This “no nonsense” approach is where the premise of a film is allowed full reign, with no unnecessary distractions. The simplicity of the idea is where the power of the film lies. A particular scene stood out for being hugely effective involving Escobar being under the sofa. The sharp cutting and dark aesthetic was really well done, coupling thriller and horror moments to create something quite special. A later scene in a bedroom is also phenomenally affecting, where all three characters come together...I will not spoil what happens as viewers should enjoy this for yourselves! Aside from being too short there is not much to criticise about Behind Closed Doors. It is consistently engaging and tense throughout, working in a number of visual and story challenges for the viewer, with some great, albeit brief, performances from a talented cast. More Film Reviews for your pleasure, or watch some of our Movie Trailers here. #ShortFilmReviews #ShortFilms #ChrisOlson #MovieTrailers #FilmReviews #Thriller #Horror

Directed by Michael Coulombe Starring Andrew J. McGuinness, Starr Gilliard Short Film Review by Phil Slatter The Purpose of Apples is a familiarly themed, if none the less sweet, tale of two contrasting love stories. It opens with Caden (Andrew J. McGuinness) walking through what we later learn is L.A. The impressive music sets the tone and the smart shot choices (including a good use of fades, birds soaring above and long shadows) create the necessary picture of Caden walking alone, lost, clearly down on himself and for some reason carrying a solitary lily. At times, the camera visibly shakes which does somewhat detract from the mood, but it’s a minor misgiving. The master wide shot then stays largely the same for the rest of the film as Caden befriends elderly woman Ethel (Starr Gilliard) at the bus stop. Ethel is recently widowed while Caden we learn has recently split from his girlfriend. Two different people at different stages of their lives but both coming to terms with love and loss – it is a little obvious where the film is going thematically. The performance of Gilliard though – very much the film’s beating heart – keeps you interested and she gets a surprising laugh from an unexpected comic beat. The dialogue in The Purpose of Apples does occasionally feel forced with the central apple metaphor becoming a little stretched but it does work as an interesting entrance point to the characters’ conversation and subsequently their very different, yet equally similar, lives. We learn much of the back story through two flashbacks: one showing the very start of a relationship and the other showing the very end. Both of these are presented in vibrant colour which is a stark contrast to the washed out aesthetic of the present and serves to enforce the notion that where we’ve been can often be happier than where we are. For a reported budget of $1,000 it does make good use of its almost solitary location and relies on script and performance to get its points across and the music, as mentioned before, is always impressive and key to setting the scene. While perhaps certain elements could have been tightened up somewhat and there is not a lot of fresh material in the film’s core messages, there are none the less elements to be applauded with the short film’s overall look and sound being undeniably its best feature. More Film Reviews over here, or some Movie Trailers for your viewing pleasure. #ShortFilmReviews #PhilSlatter #ShortFilms #FilmReviews #MovieTrailers #MichaelCoulombe

Directed by Alex Hardy Starring Shauna Macdonald, George Newton, Jamie Laird, Amy Roxburgh, & Katrina Ann Foster Short Film Review by Chris Olson A brutally moving and psychologically affecting short film, Soldier Bee goes elbow deep into the harrowing suffering of someone with PTSD (Post-traumatic Stress Disorder), exploring the incredibly difficult assimilation that some war veterans face, and the pathological violence that can become entrenched in their being. Jodie (Shauna Macdonald) is a former Captain who served in the Afghanistan conflict. After a terrible incident which left her body and mind scarred, Jodie finds it difficult to reconnect with her family, struggling sexually with her husband (Jamie Laird), as well feeling like she has missed important parts of her daughter Sophie's (Amy Roxburgh) upbringing. Finding solace on her own in a lonely hotel room, Jodie becomes obsessed with the pair across the hallway from her - a prostitute (Katrina Ann Foster) and an aggressive patron (George Newton). With such heavy themes, it was important that director Alex Hardy coped with the troubling elements of Jodie's psychotic state alongside the bubbling tension being built during the unfolding of the plot. This balancing act, it is safe to say, is handled with deft care and craftsmanship, creating a gripping thriller experience that audiences are unlikely to forget. The use of cross-cutting and multiple timelines dramatically enhanced the movie without overwhelming the viewer, showing Jodie’s homelife, war life, and the present. The characters in Soldier Bee are portrayed completely believably without succumbing to saccharine ideas of heroism or pity. Hardy heads a charge into a formidable and important story, tackling difficult notions about violence, sex, family, evil and hate with considerable filmmaking poise. The central performance from Shauna Macdonald is one of the best in a short film this year. Equal parts engaging, sympathetic, troubling and more, the character is delivered like a symphony of sadness and rage, until her story/journey comes to a phenomenal culmination by the last act. Macdonald is heartfelt delivering the full range of emotional dialogue, as well as bold in her physical presence. During one scene where she engages with the inhabitants of the room opposite her, Macdonald goes through a multitude of complex behaviour which is completely engrossing to watch. She is then complemented by a more than capable cast of supporting players. George Newton is a dynamic on-screen presence, and special mention to young talent Amy Roxburgh as the daughter, who is terrific. This is a film that doesn’t really put a foot wrong. Other films have covered the topic of PTSD (Born on the Fourth of July, Less Loss, Brothers etc), and Soldier Bee stands shoulder to shoulder with those great movies, in terms of delivering a film which is powerful, intelligent, and crafted with the most delicate of care to do justice to the harrowing nature of PTSD. Watch some Movie Trailers on our Film Channel, or read some more of our Film Reviews here. #ShortFilmReviews #ChrisOlson #ShortFilms #AlexHardy #PTSD #WarFilms

Written & Directed by Imogen Ross Starring Adam Soldo & Erik Mackintosh Short Film Review by Chris Olson The coming-of-age genre is often filled with magical moments, not least because films depicting these stories have a central theme that is laced with pathos. Very often coming-of-age films are about the loss of innocence, the search for identity, sexual confusion, or the emotional turbulence of experiencing all of the above. Short film Luna, written and directed by Imogen Ross, is a slightly different take on the genre, expertly revealing the loneliness one can experience growing up. Set in a relatively quiet Australian suburb, Andy (Adam Soldo) and Matt (Erik Mackintosh) are introduced to the audience riding through the streets on their bikes, then rifling through a pair of bins in an alley. This set up immediately lets us know that these kids are not having the most typical of childhoods. Seemingly bereft of adult supervision, the pair are co-dependents of sorts. Matt, the older of the two, constantly chides Andy about his silly behaviour, playing practical jokes on him and making fun of his choices - such as wearing a ring. As the two navigate the mostly deserted streets, it becomes clear that the two boys are desperately vulnerable, and Matt's role as the "adult" is likely to lead the two towards disaster. I mentioned previously this idea of loneliness being a potent piece of Ross's short film, and that may seem strange given the fact that there are two central characters, who are together throughout. The feeling of loneliness seems to emanate from the nature of their relationship, rather than any specific discussion they have or feelings they reveal. Matt feels isolated as the protector of the group, feeling the weight of responsibility - such as when he attempts to steal a car. Whilst Andy seems to lack the guidance needed from a responsible adult, one who will nurture his innocence rather than make fun of it, and not lead him into the mistakes of doing wrong. This is then complemented with a lack of supporting characters. What is really interesting about Luna is that whilst the film appears to explore two characters who seems to have the utmost freedom in life, enjoying the spoils of a nomadic lifestyle, the reality is the complete opposite. Whilst riding their bicycles in a tiny alley, the viewer cannot help but feel the choking claustrophobia of lives limited by a lack of choices. Andy in particular seems to be stifled by his place in the world, glancing into the stars for inspiration, hoping something is up there. The performances are pretty solid, and it is the younger of the two (Soldo) who actually delivers the most convincing turn. Mackintosh is a little wooden at times, sticking to the lines a little too rigidly. That being said, both are enjoyable to watch, and their chemistry together is great. There is a fantastic score from Brent Rowley, which provides a beautiful, graceful accompaniment to the movie. It perfectly contrasts the restrictions that our protagonists face with an otherworldly feel, suggesting a limitless bounty that is always slightly out of their reach. Poignant and tonally insightful, Luna is a coming-of-age film that shines some light on the rarely explored topic of childhood loneliness. More Film Reviews here, or why not watch some of our Movie Trailers? #ShortFilmReviews #ChrisOlson #ShortFilms #ComingofAge #ImogenRoss #Drama

★★★★★ Directed by Nate Parker Written by Nate Parker Starring Nate Parker, Armie Hammer, Penelope Ann Miller, Aja Naomi King, Jackie Earle Haley, Mark Boone Junior, Colman Domingo & Gabrielle Union Film Review by Dean Pettipher In the early twentieth century, the director, writer and producer named D. W. Griffith saw his movie entitled The Birth of a Nation (1915) unleashed by Hollywood upon the global media stage. The picture was an adaptation of Thomas Dixon Jr.’s novels, most notably The Leopard’s Spots (1902) and The Clansman (1905). Audiences and critics alike looked beyond the fact that Griffith had led the charge in creating a Klu Klux Klan (KKK) propaganda film that was based on pro-Klan literature and so the work was elevated to the gold standard of a commercial, critical and cultural triumph. In the decades that followed, movie scholars who occupied mainstream positions carried on celebrating the technical accomplishments and all but ignored the shameless racist cinematic didacticism at the heart of its story. Albeit there might have been a scarce amount of credible evidence to support such assertions, historians couldn’t help but wonder whether or not the project had at least played a part in inspiring a rebirth of the KKK, as well as an increase in the number of lynching incidents and other acts of racist violence throughout the first half of the last century. In the grand scheme of cinema’s role within society, where audiences often find themselves torn between judging a movie within a social context or in complete isolation, one of the best summaries of the movie came from the US President, Woodrow Wilson, when he declared that The Birth of a Nation (1915) was “like history with lightning and my only regret is that it is all so terribly true.” Almost a century later, in spite of recent scandalous predicaments, including the #OscarssoWhite drama, an excellent directorial debut from Nate Parker, appropriately entitled The Birth of a Nation (2016) has gloriously charged into the spotlight. With sheer passion, candid shock and intelligent exploration of religion, the very deliberate and determined feature highlights both how far society has come and how much further still society must traverse so that the hopes for total and sincere racial equality are one day fully and forever realised. For at least on paper the notion that all human beings are created equal has served as an integral part of the American Dream and indeed the equivalent aspirations of various nations around world. To the aforementioned end, Parker stated that he employed the title of Griffith’s 1915 movie of the same name in such a manner that was “[ironic], but very much by design.” Furthermore, Parker also asserted: "Griffith's film relied heavily on racist propaganda to evoke fear and desperation as a tool to solidify white supremacy as the lifeblood of American sustenance. Not only did this film motivate the massive resurgence of the terror group the Ku Klux Klan and the carnage exacted against people of African descent, it served as the foundation of the film industry we know today. I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change." To date, Parker’s The Birth of a Nation (2016) has attracted celebration and controversy in ostensibly equal measure. The former consequence has been epitomised by the winning of major awards, such the Audience Award and the Grand Jury Prize at the Sundance Film Festival. The latter result has been fuelled by past turmoil that Parker has endured behind the camera, within the space of reality, which has been raging to varying degrees for over a decade. To best understand each state of affairs and the latter one in particular, one would be best-advised to explore various sources on all sides of the argument and ultimately make their own minds up. In the meantime, in the interest of appreciating The Birth of a Nation as a work of art and celebrating the noble sentiment that the painting-in-motion promotes, without drowning in the troubled waters of politics, The Birth of a Nation is without question a superb film in its own right. In short, not a single description fits the movie quite so aptly as 12 Years a Slave (2013) meets Braveheart (1995). However, albeit the description is abundantly clear in almost every scene, to employ such words alone would be cruel oversimplification of the film and overlook its genuine glistening of Academy-Award-worthy elements, which may tragically be deliberately overlooked, simply because principle decision-makers feel that they have ‘been there and done that’ when it comes to celebrating films that promote racial diversity. Such beliefs would undoubtedly be justified by the fact that 12 Years a Slave won numerous accolades not so long ago, suggesting incorrectly that the quest for greater diversity within the film industry is over. Parker has merged the overwhelming overflow of emotional imagery and music from Braveheart with the horrifyingly uncompromising depictions of slavery from 12 Years a Slave in the manner that combines the best of both films. Furthermore, the combination results in a uniquely reflective and defiant cinematic voice that has revelled in the opportunity of bringing an untold true story of a tragedy that helped set the stage for the American Civil War and the abolition of slavery in the United States that followed the furious conflict. While The Birth of a Nation will not win over those who for whatever reason did not find either Braveheart or 12 Years a Slave appealing, freeing one’s mind to giving the movie a chance will allow for the quick realisation in relation to why the film’s worldwide distribution rights were bought by Fox Searchlight Pictures for a record-breaking sum if 17.5 million US dollars, which amounted to the biggest deal of its kind ever reached at the Sundance Film Festival. The risk, at least as far as the artistic side of the equation was concerned, was most certainly worthwhile.  Beyond the obvious similarities with 12 Years a Slave, the theme of slavery and the historical context of pre-Civil War America, The Birth of a Nation features a blunt and horrific presentation of the turpitudes endured by African-American men, women and children. Parker appears determined to illustrate the agony both within and without that the slaves suffered under the ruthless control of their white masters in a manner that insists that the memory must never, ever be forgotten or forsaken, for such a turn would risk society taking leaps backwards towards repeating such viciousness. Fortunately, rarely do the instances of ruthless torture portrayed feel like exact copies of or even heavily mimicked versions of the definitive scenes helmed by Steve McQueen for 12 Years a Slave. Depending on the distinctive sensibilities of individual audience members, some scenes from The Birth of a Nation may be extremely difficult and excruciating to view. Moreover, they definitely served as some of the most shocking moments of the 2016 London Film Festival (LFF 2016), whether one held up the movie as a personal favourite from the festival selection or not. As far as Braveheart is concerned, story arcs, plot turning points, music, imagery and the desperate fight for freedom together utterly compel audiences to recall the definitive historical drama from Mel Gibson. One key example is the dramatic music from Henry Jackman that fuels the thrills of the more intense spectacles especially. While the melodies do not stick in memory long after the credits roll, when one is lost in the moment of their rampage, they are consistently superb cinematic aids that suit their intended film perfectly. Another crucial example is one of the best small-scale battle scenes of the present decade, for it is alluded to with excellent imagery of a foreboding nature and still manages to firmly grip audiences with its fast-paced and very dramatic exhibition of filmmaker talent and storytelling brilliance. Similarities extend even to the crafting of the work, since just like Gibson directed, co-produced and starred in his movie, Nate Parker confidently directed, wrote, co-produced and starred in his film, becoming a worthy addition to the roster of admirable filmmakers who thrive on the workaholic, passion-driven, possibly less expensive and ostensibly one-man-band approach to filmmaking. However, once again, the intense drama from The Birth of a Nation is so poised and masterfully-presented that one appreciates the mix of influences from cinematic milestones with original, even if only slight, variations of artistic interpretation. Parker’s movie may not be better than either of its most crucial sources of creative stimulation. Nevertheless, the film emerges on a platform that stands just about as high, glowing and glistening as vividly and as brightly as any other exemplary movies of its genre. Before condemning The Birth of a Nation as a safe, derivative picture, one should remember that some of the most successful works of art have flourished in no small part due to their borrowing and adaptation of ideas from other great works. Notable examples include Avatar (2009) and its similarities with FernGully: The Last Rainforest (1992) and Pocahontas (1995). Furthermore, the director and writer, James Cameron, noted that he had also drawn from every single science book that he had read as a child. Allowing so many influences to ultimately enhance Avatar did not stop it from making around 2.788 billion US dollars at the global box office, more than covering its enormous cost of 237 million US dollars in the process. Additionally, the late film critic, Robert Ebert, asserted that Star Wars: Episode IV – A New Hope “was a technical watershed that influenced many of the movies that came after.” Thus, one might easily forget or indeed never learn in the first place about the films that influenced George Lucas’s cinematic genius, such as Flash Gordon (1934), The Hidden Fortress (1958) and The Searchers (1956). Even literary landmarks such as “Beowulf” (c. 700–1000 AD for the poem and 975–1010 AD for the manuscript) are believed to have been heavily influenced by works that came before them, most notably the Bible. While there are plenty of films available to watch today that excessively indulge in seeking creative counsel from great films of the past to the point where they plagiarise or at least surrender their own original narrative voice in their lazy or desperate pursuit of making a good movie, The Birth of Nation does not deserve to be chained to eternal damnation within such territories.  Truly, The Birth of a Nation features performances that are worthy of the most prestigious accolades from across the world. Nate Parker’s self-assured and composed leading performance as a frequently neglected and under-appreciated historical figure, a the literate slave and preacher living in the Deep South named Nat Turner, bleeds with passion, grit and tenacity. Audiences observe Turner’s inner turmoil as he seeks to understand his Christian faith, particularly in the wake of witnessing horrifying acts of violence committed by his masters, justified by the apparent approval from God and the Holy Bible. Every drop of tempestuous emotion spilled by Parker is impressively conveyed and therefore deeply felt by many around him, both on and off-screen. Even as Turner merely sits and broods over crucial decisions, Parker’s composure proudly encourages his fellow players to also deliver their most emotionally-charged and collected performances to date. The finest delight of that circumstance is the breath-taking presentation of the morally ambiguous slave owner, Samuel Turner, by Armie Hammer. Hammer performs with striking elegance and eloquence, meaning that his character remains firmly within memory even though he is not required to do anything particularly drastic as an artist, such as cry or shout hysterically. Samuel Turner grows up with the protagonist as if the two of them were brothers or at least close childhood friends. When they are well into adulthood and Samuel takes on the family responsibilities of running the plantation and becoming Nat’s master, Hammer employs wonderful facial expressions and incredibly meticulous vocal expressions, which consistently suggest that Samuel is plagued by a moral dilemma prompted by the harsh lenses through which he must view Nat at society’s demand. Thus, Hammer’s character is the only antagonistic force of the story that prompts the suggestion best outlined by the director, Alejandro G. Iñárritu. That is to say, Samuel appears to be the only clear and genuine “victim of his own culture.” Albeit Samuel ultimately conforms to the status quo, he never does so with malevolence in his heart, which is most certainly not the case regarding his fellow members of high society, who in comparison greatly exploit the high elevation afforded to them by the state of white supremacy. Hammer featured in three films at the LFF 2016. While his roles in Nocturnal Animals (2016) and Free Fire (2016) were no less believable, his performance in The Birth of a Nation is by far the best and indeed the most significant of his career. Hammer in the historical drama may be aesthetically-recognisable but it is here alone where he shines as an actor who is more than capable of descending with self-confidence into the boundless depths of his character, to the point that audiences could easily forget the identity of the artist in action. To this day, Hammer has celebrated precious little luck in the sense that the films he has helped to bring to fruition as the leading star have usually been flops, such as The Lone Ranger (2013). Furthermore, his more demanding performances have tended to be in well-received films, such The Social Network (2010), where he has unfortunately played a supporting character with far from enough screen time to stand out in audience hearts as a one of the greatest highlights of the picture. The Birth of a Nation may just mark the point where such misfortune changes. Hammer’s humble road to a well-deserved Oscar nomination continues, promising with all but absolute certainty that the destination will be reached. Finally, regarding the acting talent, brief but essential mentions must be made for Jackie Earle Haley, Mark Boone Junior and Aja Naomi King. Without their input, the pain-inducing impact of the sickeningly nefarious behaviour displayed by the principle antagonists, Raymond Cobb and Reverend Zalthall, would fall flat. Furthermore, the stunning beauty and poignancy of Nat’s brave love interest, the slave girl named Cherry, would fall flatter still. Instead, all of the cast have risen to the challenge of employing their artistic prowess in order to make The Birth of a Nation astonish with authenticity and distinctiveness.  The directing and the writing from Parker indicate that he has the potential become one of the best decision-makers in Hollywood today. In spite of adding in a number of fictitious story elements for dramatic effect, made possible partly because so little is known for certain about the real slave and preacher, Nat Turner, there is a great deal of clear signs that suggest an underlying pursuit of an honest and sensitively passionate tone, particularly in relation to the importance of the central theme of slavery. Parker’s stunning cinematography depicts the white palaces of the plantations dotted around the lush cotton fields of the Deep South. Even in darkness, the presentation of the various purpose-built sets and the real-life historical structures, which are utilized to the fullest by the intensely immersed actors who employ them, keep audiences happily shackled to their seats from start to finish. Parker also demands total engagement from audiences when he employs intriguing imagery that links Turner’s childhood to his adult life in such a way that occasionally slows the pace down a little bit too much for the sake of fruitful reflection. Also, Parker’s well-balanced screenplay illustrates his credible understanding of how to employ dense works like the Bible in a manner that consistently escapes from the dreaded spectre of dullness. Parker evidently undertook thorough research into the spiritual literature, since he successfully selects appropriate quotes to insightfully highlight how the numerous contradictions of the sacred text have been exploited for fundamentally selfish and arguably evil aims, most notably creating and maintaining notoriously unjust hierarchies based on race. Employing frequent biblical references within the dialogue, Parker presents Nat Turner as a beleaguered preacher who is driven to the stage where he can no longer acquiescence with agonizing guilt in oppression by white supremacy that thrives on the abuse of African-Americans. Thus, Turner’s sudden epiphany that motivates him to lead a fierce uprising appears well-justified and perfectly reasonable. Even if one cannot judge the antagonists as wicked at heart, one would find it much more difficult not to consider the actions of those antagonists as so wrong that a furious fightback against them, resulting in significant collateral damage, seems like an absolutely necessary last resort for positive change. Audiences, critics and industry professionals may think that they have done all that they should in relation to celebrating the achievements of black stars and the increased success resulting from the broader diversity debate simply because 12 Years a Slave won big at the Oscars in 2014. Thus, they may feel content with giving future works from such artists precious little of their attention, even if they really do deserve much more than that, without critics needing to exaggerate their overall quality for the sake of political progress. Nonetheless, the need for stories like Nat Turner’s to be told remains critical. Similarly, the thirst for decent romantic comedies that remind audiences, for better or worse, about how success in romantic love is possible even if not quite in the fashion of a film script, remains forever unquenchable. The Birth of a Nation may not quite be one of those movies that audiences urgently need to see before it is too late. However, if they end up watching the film for whatever reason, the seeds of regret will not have been sown as a result, for they will be treated to an inspiring presentation of an ephemeral, Pyrrhic victory that helped to cause a crucial ripple effect that led to the abolition of slavery in the USA. As far as the technical side of the filmmaking is concerned, just like audiences did for Star Wars Episode VII – The Force Awakens (2015), they will forgive The Birth of a Nation’s similarities to other movies that have come before it, mainly because Parker’s film is so brilliantly made by its team of talent and desperately wanted by fans of the specific genre. However, the challenge for the future will be for Parker and his collaborators to take more creative risks as filmmakers in search of more innovative cinematic storytelling. More importantly, however, as long as Parker never loses his unique heart that keeps all of his movies so passionately alive, illustrated even off-camera most recently by the fact that he put 100,000 US dollars of his own money towards The Birth of Nation, his work will always feature at least a handful of silver screen treasures for audiences to revel in.  Take a look at some of our Movie Trailers or read some more of our Film Reviews. #FilmReviews #TheatricalReleases #DeanPettipher #BFILFF #LondonFilmFestival2016 #FilmFestival #5StarFilm #NateParker #ArmieHammer

★ Directed by Stephen Sewell, Ian Sewell and Eric Sewell Starring Stephen Sewell, Matt Butt Butler, Nathan Ewert, Adrian Robinson, Cadie Fox, Ian Sewell and Eric Sewell Indie Film Review by Catherine Pearson 100 Miles From Hell follows the story of Steve (Stephen Sewell) and Virgil (Matt Butler), friends who turn to the drug trade with the help of Steve’s unreliable friend and inside man Darren (Adrian Robinson). When Darren arranges an exchange with a gang that goes horribly wrong, Steve and Virgil are left penniless and desperate. With nothing to lose, the pair decide to steal the drugs back and make their mark on the drug scene with huge repercussions. Making a feature-length film, of 108 minutes no less, is no mean feat. This indie film is an ambitious project with a promising set up; Steve is laid out to be a bit of a ‘macho’ type in an amusing opening scene in which the less self-aware Darren defends the right to send text messages, a past time Steve asserts is ‘girly’. Sewell is comfortable and natural in front of the camera and there is some light-hearted banter and the encouraging indicators of soon to be well-rounded characters…and then, unfortunately, the rest of the film passes by. You know when you’re talking to someone and they keep repeating a phrase? Maybe they always say ‘like’ or ‘you know’ and after a while it becomes the only thing you can focus on. Well, this film has that with the word “f***ing”. At first the ‘F word’ is used to express anger but within minutes it becomes a filler word that continues to be used in any pause for breath throughout the film. There is absolutely a place for swearing in cinema and careful use of foul language can be incredibly powerful. This, however, was gratuitous and lazy. In place of close ups of expressive acting, the camera continually catches its characters in mid-shots shouting “what the f***!” until the word doesn’t even sound real anymore. All character development is lost in the quest to make 100 Miles From Hell as ‘adult’ and bloke-y as possible, starting with relentless swearing and moving swiftly on to what can only be described as ‘car porn’. At one point Virgil steps out of a car that we see screeching around various roads and exclaims to Steve, “That was f***ing fast as a motherf***er. S*** man…holy s*** that’s a f***ing muscle man”. I needn’t say much more, except that most sentences end with ‘man’ to make it painfully clear how manly they, indeed, are. From one muscle to another, there is a scene in which Steve inexplicably lifts weights in a rare close-up specifically focused on his bicep. It’s macho to the point of near-homoeroticism but, as though only to assert how hetero he is, there is a girl sat opposite him who is wearing a tiny pair of shorts and is introduced gradually by the camera working up from her lower leg to her thighs. This is the only named female character in the film. I’m sure Michael Bay would be proud. Feminists, however… The only thing missing from this ‘man film’ is, of course, fighting and whilst thought has clearly been put into the choreography of each clash, there is so much more that good camera work, sharp editing and soundtrack could have done to increase the impact of what can be very lengthy and flat action scenes. 100 Miles From Hell opened with potential and lost its way with one-dimensional characters whose narrative consisted primarily of having a swear-y, manly romp. Read more Film Reviews or watch some of our Indie Film Trailers on our Film Channel. #IndieFilmReviews #CatherinePearson #IndieFilms #IndieFilmTrailers #FilmReviews #MichaelBay

Written and Directed by Adam de la Cour Starring Benjamin Campbell Piggott Short Film Review by Chris Olson Like a nightmarish acid trip, filmmaker Adam de la Cour's short film Mr Topps is not for the faint of heart, the young viewer, the easily offended, those suffering from a heart condition, or basically anyone who is scared of clowns. However, for that small audience demographic that is left, this is chaotically enjoyable and takes clowning around to a whole new, darker level. Mr Topps (Benjamin Campbell Piggott) is a lion tamer who finds himself tied to a chair, gagged and being tormented by a robotic voice and violent sequences. We feel sympathetic towards him for only a short while, though, once his explicit reactions to the torment are given, showing him to be just as ghastly as his persecutors. As the baffling nature of the interrogation intensifies, including an eye-wincing array of methods (from electric screwdriver phalluses to butt cheeks covered in cream), it is anyone's guess as to what, if anything, is happening. Dark horror comedies like Mr Topps can find it hard to locate a willing audience, however fans of things like The League of Gentlemen or Black Mirror, and to some extent The Mighty Boosh, will certainly enjoy the scope of the darkness. The language is incredibly foul, which perfectly suits the tone, and the film is far from afraid to be daring...in fact it revels in its rebellion. The central performance from Campbell Piggott is hugely enigmatic, if not particularly endearing. His mad-as-a-hatter flamboyance is completely thrilling, as is his facial expressions during the dialogue with the "voice". Towards the end of the short film some more characters and performers are introduced, with varying degrees of appeal, however there are a couple of ropey turns which break the momentum created beforehand. There is a brilliance to the editing of this film, using some sharp, fast cuts to keep the viewer on edge, and the use of intense close ups and low angle framing at times made for an unpredictable and exciting atmosphere which was needed to partner the sheer craziness of the story. The frenetic energy created by de la Cour is commendable. The ending was a little flimsy for this reviewer, and there was absolutely no coherence to the plot, but Mr Topps is a film to bask in, not understand. Throw away your inhibitions and let loose the inner circus performer, the idea of taming this kind of beast is simply ridiculous. You can read more Film Reviews if you click the words, or watch some fantastic Movie Trailers for your viewing pleasure. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #Horror #AdamdelaCour #filmmaker #BlackComedy

★★★★★ Directed by Ron Clements, John Musker Starring: Auli'i Cravalho, Dwayne Johnson Film Review by Kieran Freemantle One of the great staples of Disney Studio is their Princess properties, from Snow White to Frozen's Anna and Elsa. With Moana, the studio has made a princess adventure using a tropical Polynesia setting and continuing Disney's Second Renaissance. A thousand years ago the shape-shifting demigod Maui (Dwayne "The Rock" Johnson) stole the heart of the island goddess Te Fiti - the bringer of life. This act leads to a darkness spreading across the ocean and it reaches the island of Motunui where a young woman - Moana (Auli'i Cravalho) - is the heir to the chief (Temuera Morrison). Crops are failing and fish have disappeared from traditional fishing grounds. Moana has to defy her father's orders and sets sail beyond the reef, looking for Maui and to return the heart back to Te Fiti. Back in 2013 Frozen earned a lot of praise for subverting the tropes of the Disney Princes subgenre - ignoring Shrek had already parodied and subverted Disney tropes. Moana is the more daring and original from the House of Mouse. The story structure is a typical 'Hero's Journey' - someone from a small village has to go on an adventure beyond the world they know so they can save their home. However, unlike other Disney Princesses who have been criticised for being too submissive, Moana is a headstrong young woman who wants to explore beyond her island: yet is being tutored in the skills of leadership and shows a talent for it. There is no love interest and the usual Disney theme of love is creatively twisted - more so than it was in Frozen. Not that Moana lacks references to previous Disney films - from a quick cameo to more subtle references to previous Disney story beats. When Moana finally meets Maui they become an incredible double act. I have a soft spot for Johnson: he is the best wrestler to become an actor, having charisma and a good sense of comedic timing. He plays a larger than life character, with a huge ego whose only goal is to get back his magic hook: Maui only acts to help Moana because his tattoos act as his conscience and the ocean literally forces them together. Some of Maui's actions make him seem like he is aware he is in a Disney film. Johnson was also able to handle the sincere, emotional moments that audiences would expect from an animated Disney film. Although Johnson was strong in his role, Auli'i Cravalho was the true star of Moana and a terrific find by Disney. Cravalho is a teenage Hawaiian girl and only 14 when she was cast and 16 at the time of this film review. She is the youngest actress ever to play a Disney Princess and was hugely likeable in the lead role - being a charming, upbeat and confident young woman and was funny and emotional in equal measure. Cravalho had a great singing voice and she clearly has the potential to become a star. Many of the actors were of Polynesian descent (i.e. Hawaiian, Fijian, Samoan and Maori), which shows a certain level of sensitivity from Disney. There is a discrepancy because some characters speak with American accents - others have New Zealander accents, but this is just minor nit-picking. The only non-Polynesian actor in the film was Alan Tudyk and that’s because he has become a lucky charm for Disney, appearing in all their films since Wreck-It Ralph. Tudyk was given the role of Hei Hei - the incredibly stupid chicken that could rival Becky in Finding Dory for mental deficiency. Hei Hei offered plenty of child-friendly humour as it is a marvel how he survives. Lin-Manuel Miranda wrote the music for Moana and, as expected from a man whose show won a Tony Award for Best Musical, the songs were of a high quality. The song that has been getting the most attention was Maui's jazzy introductory song "You're Welcome" where he shows off his achievements and modest attitude and the use of a Polynesian art style made the scene similar to "I Just Can't Wait to be King" in The Lion King. However, the best song was "How Far I'll Go" where she sings about her dream of exploring the world, but has to accept her responsibility to be the next chieftain. It was Moana's "For the First Time in Forever" being respired during the run time. Jermaine Clement had the villain song, "Shiny" which sounded a lot like the song "Goodbye Moonmen" - which he sung in Rick and Morty, which in turn has been compared to David Bowie’s sound. Screen Junkies are going to have fun making their parody songs for their Honest Trailer series. Opetaia Foa'i from the music group Te Vaka also provide some songs for the soundtrack. The big number is "We Know the Way" and, because of the use of percussion instruments and tribal chanting, it was like the opening for The Lion King. Moana is the CGI animated film from Ron Clements and John Musker - who worked on films like The Little Mermaid, Aladdin and The Princess and the Frog. The pair have made a beautiful looking film, showing Moana's home as a tropical paradise and the water efforts are some of the best in an animated film. Animating water is one of the most difficult tasks in CGI animation and the way water moved was like the water in James Cameron's The Abyss. The Ocean was a character in its own right as it interacted with Moana and Maui. The main villain, Te Kā the lava monster, was an impressive feat of animation, being black and glowing orange with lava flowing from it. Bright luminous colours were used when showing Tamatoa the crab monster: when the lights went out - it was a startling effect. Moana is a great modern take on the Disney Princess genre, updating the characters and the themes and giving the audience a proactive female hero. A great addition to Disney's recent scale of animated films. Take a look at some of our Movie Trailers on our Film Channel. #FilmReviews #KieranFreemantle #TheatricalReleases #Disney #Animation #AnimatedFilmReviews #RonClements #JohnMusker #DwayneJohnson

Directed by Joe Bowes Starring Todd Snethen, Eve Cusack, Lisa Kendall, Jack Coakley, Jake Viaene, and Peter Murphy Short Film Review by Chris Olson The moment audiences decided zombies were funny, a huge proportion of horror filmmakers threw down their litre bag of watered-down-ketchup and grey face paint, and moved to ghosts, ghouls and garish theatrics with ouija boards. What was the horror genre’s loss was the comedy film’s gain, as short, indie, and theatrical films started to be produced where zombies play the central role as a source of humour not horror. American Zombies, a short film from director Joe Bowes, dives straight into this subgenre, with a movie that tickles your ribs whilst grossing you out. Set inside a family home where mother (Lisa Kendall), father (Todd Snethen) and son (Jack Coakley) are attempting to enjoy the spoils of some together time, American Zombies is like The Brady Bunch meets Shaun of the Dead. The aforementioned family are not the soon-to-be victims of some evil unleashing of plague or outbreak, instead they are the zombies in question; we follow them on a routine evening where they attempt to live family life whilst sustaining a diet of human nutrition. Bringing in two fresh captives, the father is reprimanded for keeping them both alive, as humans taste better cold...apparently. Even though his “Quinoa Club” told him otherwise. This scene gives you a pretty clear idea where Bowes’s film takes his audience. Subversive comedy like this is still a really fresh taste for audiences, especially those who enjoy movies such as the aforementioned Shaun of the Dead or something like Zombieland. The beauty of a horror-comedy blend is that you appeal to both sets of viewers (which are large contingents in themselves) whilst being able to cherry pick the elements which you want to carry forward, casting away those which are unattainable or useless. American Zombies has a biting comedy, in particular in the script which is comprised mostly of incoherent mumblings from the performers but hilarious subtitles which translate their undead utterings. This is partnered with lashings of blood and gore, in particular when the human meal is introduced to “Piglet” (Jacob Viaene) downstairs. Such a partnership rarely works with other genre crossovers, but here the result is hilariously gripping. There is a chaotic abrasiveness to the audio in American Zombies, especially during one scene where Eve Cusack continually screams. It was obviously fitting for the scene, as she witnesses another human (Peter Murphy) being eaten alive, but the comedy was lost in the noise and the horror seemed slightly banal. That being said, this is my only nitpick in a short film which is otherwise fantastic. The performers are also pretty engaging throughout, maintaining a deft balance between home life and horror. The set design and aesthetic is brilliantly done to capture this white-picket ideal, whilst the tone of the horror felt reminiscent of the original The Texas Chain Saw Massacre (1974), combined with the farcical spoof levity of a Mel Brooks movie. If you like your blood and guts with a side of funny bone, then American Zombies is a terrific piece of comedy filmmaking with devilish horror and just a touch of normal life...everything you could ask for really. More Film Reviews are here for your reading pleasure. Or Indie Film Trailers for you to watch at your leisure. #ShortFilmReviews #ChrisOlson #ShortFilms #Horror #Comedy #Zombies #JoeBowes #Filmmaking #FilmReviews #IndieFilmTrailers

Written and Directed by Lee Amir-Cohen Starring Lee Amir-Cohen, Amanda Maddox, Shoshana Bush, & Cameron Diskin Short Film Review by Chris Olson "You are so close to almost there" Such are the words written in a neon-pink sign above the head of The Brother (Lee Amir-Cohen) at the beginning of his short film The Other Place. This sentiment, however, falls short of effectively describing the beautifully crafted movie written and directed by Amir-Cohen, which is a piece of stunning filmmaking perfection. Set completely within the confines of one room, our antagonist stands in front of two people (Shoshana Bush and Cameron Diskin), who are sat on chairs with bags on their heads. Away from them, casually strewn across a pew in a stunning red dress is Amanda Maddox. The two, we quickly learn, are most definitely on the wrong side of the law. What transpires during the course of the movie...well that would be spoiling it. There is an ownership to The Other Place, where Amir-Cohen proves himself completely capable of controlling every aspect of a multi-layered film without ever dropping the ball. From the svelte script and nuanced performances (including his own), to the sumptuous set design and the intelligent score, every detail has been carefully sculpted to create a phenomenal atmosphere of thrilling intensity, gripping the audience by their special parts. As the characters engage in a complex game of manipulation, viewers will enjoy the spoils of a wonderfully engaging crime thriller that is masterful in its execution and bold in its theatricality. The cinematography should also be applauded, with some daring camera angles which completely enhanced the aesthetic. Such as an overhead shot of the two captees or a long shot from behind them, which again cemented this feeling that Amir-Cohen was flexing his cinematic biceps, and not without substance. There was a playfulness to the tone of the short film, which was reminiscent of comedy plays. This coupled with the adult themes and crime elements was wonderfully balanced, and never felt cartoonish. In fact, the characters were really vivid and believable. Fans of the greats of crime thrillers (Scorsese, Mann, Fincher) will be in their element with The Other Place, as will audiences who enjoy period pieces and solid comedy. Read more Film Reviews here. Or watch Indie Film Trailers to discover some amazing filmmaking talent. #ShortFilmReviews #ChrisOlson #ShortFilms #FilmReviews #IndieFilmTrailers #Crime #CrimeThriller #PeriodPiece #LeeAmirCohen #filmmaking