★★★★ Directed by: #LindsayBennettThompson Written by: #LindsayBennettThompson Starring: #LucieBrowne, #LindsayBennettThompson Short Film Review by: Emily Davison In a near future reliant on technology, Jenny lives an idyllic life with her spiritualistic partner, Maggie, but there are unseen horrors lurking in the shadows that could tear the couple apart. File Not Found (2022) is a British sci-fi/horror short which explores an intriguing blend of technology culture and traditional horror, with talented director and writer Lindsay Bennett-Thompson taking inspiration from Black Mirror (2011-2019) and The Babadook (2014). The film is currently showing in Film Festivals. The setting is very creative and striking, both in narrative and visual execution, with an unsettling tone immediately established through the title credits and the recognisable sound of electronic glitches, foreshadowing the danger to come. There is a distinct lack of musical score following the title, increasing the disturbing atmosphere as we are introduced to Jenny (Browne) waking up next to her sleeping partner, Maggie (Bennett-Thompson). Their home appears unnatural, with a sleek white interior that suits the apparent utopian setting of 2035. Direction is impeccable, with Lindsay projecting a clear creative vision through stand out shots such as when the camera travels into a door as Jenny leaves for work, creating a seamless transition to hours later when she arrives back home. There is an overall eerie tone throughout the sixteen minutes and wonderful world building through the sci-fi aspect, with Jenny offered a therapeutic device called Sophie to help her cope with her wife’s apparent suicide, which uses an augmented reality of the memory of Maggie. This story beat about using technology to help humans deal with bereavement is fascinating and leads to many emotional moments, with Lucie Browne as Jenny giving a heartfelt, authentic performance as she struggles to cope with the loss and becomes dangerously reliant on the AI. The horror aspect of the short soon comes into full force with a heart-pounding score kicking in as Jenny discovers something sinister upstairs in the darkness. The escalating tension reaches its peak as she is cornered by a tall creature with a slender silhouette, Lindsay cleverly choosing to keep the entity in the dark to heighten the terror. Much of the narrative is open to the interpretation of the viewer, with an impressive set up and some information given about the technological utopian future and the inclusion of the monster can raise many questions about what this may represent for the film’s thematic messages. Overall, File Not Found presents a splendid combination of thought provoking science fiction and effectively disturbing traditional horror to great effect. Direction and performances are all on point and the captivating narrative featuring a chilling ending will certainly leave a strong impression on viewers. #EmilyDavison File Not Found (2022) trailer:

Directed by: Ti West Written by: Ti West Starring: Mia Goth, Martin Henderson, Jenna Ortega Film Review by Robert Stayte Ti West was once a consistent figurehead of indie horror, directing The House of the Devil, a segment of VHS and The Innkeepers. After a long break, he has teamed up with A24 to write/direct a homage to both 70’s slashers and porn. X is a more mainstream effort from both creatives, but the end result is still another quality horror film. In 70’s Texas, actresses Maxine and Bobby-Lyne (Mia Goth and Brittany Snow), actor Jackson (Scott Mescudi), assistant Lorraine (Jenna Ortega), director RJ (Owen Campbell) and producer Wayne (Martin Henderson) get together to shoot a porno near an old house. But trouble starts brewing when the old couple don’t take kindly to them. X wears its vintage roots on its sleeves proudly. There are both clear visual call-backs to classic horror movies and filmmaking choices that make the movie feel like a film of the 70’s. The sometimes-strange jumpy editing, the wipe transitions, the look, even the soundtrack invoke this old-fashioned feel. There is little that wouldn’t have been in a 70’s version of this film (aside from maybe some of the graphic violence) and West’s cinematography is great at not only being like this but also at just being appealing to look at. There are many standout angles and shot choices, which goes hand in hand with the sense of build-up and payoff/subversion, not to mention excellent sound design and music. X’s porn hook allows the chance for not only more sex and nudity than you’d typically see in a mainstream film, but also a story about desire vs repression, the old generation vs the newer generation and the porn industry vs the standard Christian way of living. There’s even some meta stuff and typical A24 metaphorical readings about filmmaking, horror movies, censorship, religion, even fate. The script can get unsubtle with these themes towards the end, but in many ways X not only functions as a film of two halves (a sometimes creepy but mostly humorous and light look at these guys shooting a porno followed by a dark disturbing slasher situation) but also like sex. A slow seduction followed by rough action and a climax. The script also writes the villains more interestingly than one would expect and they create some of the most bizarre scenes in the film, but there is a genuine creepiness to them and the motivation for one of them is interesting and a tad sympathetic. X’s pacing is slow, and the film does feel longer than it is, but it has enough characterisation to keep investment. The characters are surprisingly likeable. Maxine is on her own a sympathetic character and one that is more interesting in light of a reveal towards the end, Wayne could have easily been a sleazy stereotype but has a lot of charisma and is decent towards his crew, even enthused stars Bobby-Lyne and Jackson are decent people. The only dislikeable one is RJ, but he fits what the film is going for thematically well. As for the acting, Brittany Snow as Bobby-Lyne is a fun presence, as is Martin Henderson, though Mia Goth’s acting is the standout, especially when considering that she actually plays two entirely different characters, which is both blatantly clear and seamlessly handled. She nails it. X is probably Ti West’s best film since House of the Devil, a blend of old-fashioned homage and A24 weirdness that will be an interesting sit for some audiences. The upcoming prequel Pearl is teased after the credits and it looks like it will be an interesting addition to this accomplished horror production.

★★★ Directed by: #SkyMcIntyre Written by: #SkyMcIntyre Short Film Review by: Emily Davison In this experimental short, debut director Sky McIntyre explores the necessity of death in life and the beauty of their coexistences through a montage of still, black and white photographs, music and text. the transience of life and the inevitability of death (2021) runs at just under two and a half minutes and was heavily inspired by the influential still image filmmaking of Chris Marker’s La Jetée (1962), as well as the 17th century Dutch still life Vanitas. The film is entirely comprised of black and white still photos of a graveyard and statues of an angelic mother and young daughter. The choice of opting for no colour enhances the timeless quality of this visual aesthetic and philosophical themes addressed within the short, with aspects of mortality and the inevitability of life and death naturally covering a universal topic to the human condition. McIntyre evokes the tone of an old silent film from the early period of cinema, with an elegant title card preceding the short, before haunting vocals by Angèlia Grace fade in to accompany the succession of images. The short opens with the statues of mother and daughter (Favriel) in a graveyard, both acting as the speaking points for the film, with small yellow text depicting dialogue underneath the heavily saturated photos as Favriel asks why “life must come to an end?”. McIntyre utilises various angles of the statues throughout to maintain viewer engagement, with the significance of the themes explored highlighted by cuts between long to medium shots. The ‘conversation’ is edited together with various photographs of the expansive graveyard and it is unclear whether these photos were taken in the same location as the statues. There is a very effective correlation between the philosophical ideas and visuals, with a photography of a symbolic white light at the end of the tunnel as the mother explains that death is “part of the voyage of rebirth”. The unique, experimental style is successful in compelling viewers to engage with the existential subject matter of mortality, especially when coupled with the moving vocal track. However, this choice of presentation is also flawed in its static editing together still photos to present the director’s own meaning, which does result in a slight disconnect whilst watching as there is a lack of spontaneity or authenticity to the piece. Nevertheless, the transience of life and the inevitability of death is still an admirable effort and its short length enhances the provocative nature in engaging viewers with its exploration of life and death. #EmilyDavison

Free industry events set to help London indie filmmakers with Covid recovery The London Independent Film Festival has announced its programme of knowledge-sharing and networking events, in addition to showcasing emerging diverse talent for their 2022 film festival. Independent filmmakers getting back on their feet after a tough two years will benefit from an array of free masterclasses and networking opportunities at the London Independent Film Festival (LIFF) from 1–10 April 2022. LIFF returns to the real world this year, after switching to virtual formats during the Covid pandemic – and will be bigger than ever at London’s independent Genesis Cinema. Featuring six feature films and a dynamic line-up of short films, LIFF will also host a programme of knowledge-sharing events chaired by industry leaders to help indie talent reconnect with peers and grow their expertise. The festival’s strong focus on supporting and developing emerging filmmakers has secured nine unique opportunities to enhance equality, diversity and inclusion in the UK market. The free-to-attend classes and networking events include: · Speed pitching with film industry professionals and a ‘how to pitch’ masterclass with Smash Media · A ‘story surgery’ with Scriptwright · Changing perceptions and opening minds with Female Film Club · Panel on funding short films with Genera · The role of disruptive tech in films with Cinnect · Multiple networking events hosted by Mosaic, Genera, Female Film Club and Tweetup in partnership with LIFF. Advance registration is required for each of these industry-leading sessions – more information about each event, and how to register, is available here. LIFF Director Natasha Marburger says the training and networking programme will allow anyone interested in film to access insider tips and guidance at the same time as seeing award-winning new films. “As filmmakers, we are always learning and gathering information, and networking is a key component. After the last two years, that’s even more crucial than ever. LIFF aims to provide filmmakers with tools to help them take their next step in their careers. I have made sure the programme is full of industry events that are interactive as well and provide lots of networking opportunities,” says Natasha. Audiences, industry leaders, film buffs, journalists and editors are invited to join London’s indie filmmakers for the full programme of screenings. Must-see films include: · God’s Petting You by Jamie Patterson · Iris Warriors by Roydon Turner · When The Screaming Starts by Conor Boru · Much Ado by the Shakespeare Sisters. The LIFF awards ceremony on Sunday 10 April will recognise and reward fresh talent in a highly competitive field of the next generation in film. “I’m so excited– it will be great to welcome everyone to LIFF and showcase our industry’s strong and diverse talent pool in London and worldwide,” says Natasha.

★★★★ Directed by: Jamie Blanks Written by: Silvio Horta Starring: Jared Leto, Alicia Witt, Michael Rosenbaum and Rebecca Gayheart Throwback Film Review by: Rachel Pullen Urban Legend (1998) Film Review I was watching Panic Room the other day in preparation for the Jodie Foster film podcast that is coming up (follow us on Spotify kids, we all love a shameless plug) and I realised that everyone’s favourite egomaniac Jared Leto was in it, and it got me pondering how many late 90’s/early 20’s movies he did. Now in most of these movies, he played a B character and often they were successful films, Girl Interrupted, Fight Club etc, but no one remembers him because those movies had huge players in them, how can you compete with Edward Norton’s performance in Fight Club? You can’t! But one of the more forgotten roles and films he did was a cash grab slasher flick from 1998, riding on the waves of the success of Scream, yeah, we're going to talk about Urban Legend…please feel free to Google if he was in it because he was pretty forgettable in this movie. Urban Legend tells the story of a group of teens who are at a very swanky university, I’m not exaggerating, this university looks like a country home! If I could go there, I wouldn’t feel as robbed as I do for my final investment into my degree! Anyway, they are reeling in the sudden death of a classmate who had been decapitated in her car and lead on to talk about murders that had happened in the same university the year before, of course. Natalie (played by Alicia Witt) is suspicious, and as more of her school pals get knocked off she starts to see a pattern in the way they die; they're just like the urban legends we all hear of as children. So she pals up to the local journalism student Paul who is played by Jared Leto, and he is on the case, researching and investing his energy to help her solve the crimes or bang her, I haven’t quite figured that part out, I’m going with banging because I get that vibe that Jared would think he could bang anyone, even if it's not in the script. Anyway, we enter the standard climax of any horror movie, it's night, it’s raining, and Natalie and Paul seem to be the last ones standing, they hear screaming coming from the 5-star dorm rooms and upon investigating Natalie finds her gal pal of the whole movie, Brenda, unconscious on the bed…not another dead pal, it's so hard to keep friends these days. But surprise, Brenda is alive and whacks Natalie on the head, they tussle, Paul turns up late, he was probably looking in a mirror or something, and they manage to subdue her and get her into the car to take her to the cops, during this time we found out that her boyfriend, the love of her life was killed last year by an urban legend prank gone wrong because of students at the million-dollar school, the grief has driven her mad and she was like; “revenge will help’’ and so here we are. No Brenda it won’t, but hey I would have done the same. Without giving away too much, the film has your standard surprised ending/twist formula but as for the movie itself, it’s not predictable. For you see, although Urban Legend is taking the already saturated slasher genre template, we must take our hats off to its fresh approach, for you see we as an audience tend to seek out things like nostalgia, the familiar and relatability, and who amongst us was not scared of the occasional urban legend story when we were little kids? The 1998 film plays on the insecurity and fears that stem from our youth, and for a horror flick that’s a very clever move, and while the cast is pretty predictable and the kills are nothing we haven’t seen before, I applaud the movie for developing everyone on screen, no one is placed there just to die, for giving a back story that has a level of depth to it, and an idea that I’m surprised it took so long for Hollywood to cash in on. This movie is not going to blow you away scares wise but it's an enjoyable little tale, with great casting and locations, the movie holds its head above the water, while many other slasher flicks of the time sank to the bottom. So, what have we learned this week? Universities in England are trash compared to the U.S.A Jared Leto won’t save you if a mirror is nearby And if your classmate seems unhinged, enquire into their knowledge of urban legends, just for your own safety. #RachelPullen

★★★★ Directed by: #IsaacGarryMadden Written by: #PeterHampford Starring: #AndrewGoulding, #BarbaraAshworth Short Film Review by: Emily Davison A young man and his mother are elated when they discover they have won the lottery, but he is harbouring a dark secret that is dangerously close to be uncovered when the media arrive to interview him. Making a Killing (2021) is a short British horror filmed in London and features an ordinary domestic setting of a block of flats hiding a very disturbed killer within its walls. Gus Denton appears like a completely normal, everyday man caring for his elder mother, only for the layers to be gradually stripped back to reveal the evil he is capable of. The film is definitely not for the faint of heart once the plot thickens and terrible truths are revealed. Director Isaac Garry-Madden and writer Peter Hampford do a tremendous job at gradually building up the unsettling tension simmering throughout the short, with our introduction to the lead presenting him as a seemingly compassionate, caring individual on the phone to his mother so that they can tune in to the lottery draw together. However, things become more grotesque during the next scene, which depicts Gus in his tiny bathroom brutally sawing off body parts from his murder victim, dumping bits in the toilet and dropping blood on the floor when he leaves the room. The visceral horror of this segment is emphasised by a lack of musical score and the clear cut sound design by Vilte Hope Marcelyte, which highlights the vicious cutting into the limb. The gore intensifies when Gus returns to the kitchen to dish up his mother’s roast dinner, Dutch angles effectively presenting his psychotic pleasure in cutting the meat – a part of the young woman he murdered earlier. Matters become even more intense as reporters have gathered outside, desperate to get a comment from the lucky lottery winner and Gus’ mother is growing suspicious. Andrew Goulding gives a totally convincing, chilling performance as Gus, capturing the unsettling balance between the ‘nice guy’ persona and quickly deteriorating into something frightening when he becomes desperate to hide his dark side. The sound design once again shines here, along with Victoria Brightmore’s precise editing, when Gus confesses to his mother on the other side of the door and describes how he killed the young woman, which is accompanied by gruesome sound effects and quick cuts to flashes of dark imagery. Overall, Making a Killing is a riveting short horror with perfect pacing and a features a huge amount of talent behind and in front of the camera, a must see for those looking for an effective chiller. #EmilyDavison

★★★★ Directed by: #AlexCarr Starring: #JoshEnnis, #AnthonyRoberts, #ShaunFagan Short Film Review by: Alexandra James Needs Must is a short film which highlights the struggle of our conscience, from what is right but also what is moral. This short follows the character Darren played by Josh Ennis and his descent into the world of crime. Darren is a 30-something dad who is desperately trying to secure a life of health, happiness, and safety for his children. Even if this means putting his own life and future at risk. Darren meets his two accomplices in a car park, a very fitting location which manifests a dicey vibe and is often associated with most crime genres. The two criminals Darren has come to meet fit the seedy profile society envisions for a couple of reprobates accurately. From their dark clothing to their physical presence and aggressive manner, which they use in order to intimidate Darren. The suit and tie combined with his innocent and nervy approach to the two men, only strengthens the fact that he should not be there or more evidently, that he does not belong there. Out of the two, Shaun Fagan is presented as the more no nonsense, ‘beat you to a pulp if you mess up’ kind of guy, he certainly can be seen as the ‘boss’ type in this job. His role carried excitement and action, so it would have been beneficial to delve more into his character and perhaps give more of an exposé into his background and life of crime. Once a ‘plan’ was organised by the men, Fagan heads into the building ready to grab as much dosh as he can, whilst the others wait outside, and new guy Darren is given the job of getaway driver. This is when the story takes an unexpected turn in terms of character development. Darren at this point reveals the real reason he has turned to this new way of life, his children. The desperation and sorrow in his voice was obvious and made even his crook of a partner feel some form of empathy for him! This short portrays the battle between our heart and our head, and the fact that it comes down to what is most important to you in your life. In this case, it was Darren’s children who are his priority and are irreplaceable. It was great to see that director Alex Carr used Liverpool as the central location, the vast buildings, dodgy alleys and dubious car parks helped to build the story and the grittiness which surrounds the characters. It’s always nice to see authenticity and rawness within cinema, to show the city unfiltered especially when filming genres such as crime or action. Needs Must was gripping and a moving short, it would have been fascinating to see this as a full-length film and witness the final fate for Darren!

★★★★ Directed by: #HarryWootliff Written by: #MollyDavies and Harry Wootliff Starring: #RuthWilson #TomBurke #HayleySquires Film Review by: Bruna Foletto Lucas True Things Film Review Based on the book True Things About Me written by Deborah Kay Davies, the film True Things is a beautiful portrayal of a woman who dives headfirst into a troubled relationship that she can barely understand. Ruth Wilson plays Kate, a woman who seems lost in life, with a dead-end career and a very limited social life. At her job, she encounters Blond, played by Tom Burke, an intriguing man who has just left prison and who ignites something within her. Blond asks Kate out and they develop a love/hate relationship, love coming from Kate and hate coming mostly from Blond. As the days go by, Kate becomes enthralled and somewhat consumed by her affair and lets herself get overwhelmed, prioritising Blond over her friend and career. During a Q&A director, Harry Wootliff said that she had purposefully left out some parts of the book for being too dark, which also would have ended up compromising the characters. She stated that by having those in she would not have been able to maintain the ambiguity and withhold guilt, thus she is able to explore Kate’s journey with empathy and without judgment, even when Kate’s actions seem questionable. She takes the passenger seat and lets Kate drive the story forward, wherever she might find herself in. This feat could only have been done given the fact that Wootliff allowed Wilson to bring Kate to life and trusted her to portray the character with compassionate subtlety. What’s more, Wootliff extends this freedom to Burke, giving him space to explore Blond’s nuances and turn him into a three-dimensional character, instead of making him guilty for derailing Kate’s life. One thing that stands out from the film is the nuance, not only seen in the characters and their relationship but in the cinematography as well. Ashley Connor, the director of photography, focuses the gaze on small details, she allows the actions to happen and uses the camera to follow them, rather than expecting the actions to unfold for her lenses, almost as an intrusive third party in this relationship. By the same token, she understands when to hold back and leave scenes to the imagination – while doing so both herself and Wootliff avoid gratuitous scenes of nudity and maintain a female gaze throughout. True Things feels more like a character study of these two people rather than a fictional film – but nonetheless compelling. #BrunaFolettoLucas

★★★ Directed by: #BrylleGaviola Written by: #MyDo Starring: #MyDo, #EmilyHooks, #JDCharisma Short Film Review by: Emily Davison When Minh loses his fiancé, he reunites with a family he hasn't seen in years and a sister that's recently out of rehab. Philippine born director Brylle Gaviola and writer/star My Do come together to present a short twenty minute drama, filmed in Los Angeles, California. Minh (Do) has been estranged from his family for some time and, feeling hesitant to meet with them again, he brings Ian’s sister, Su (Hooks) to accompany him. The reunion begins well, with Minh’s sister Rose (Michelle Park) accepting them both with open arms, only for the arrival of Lin (Abbey Rey) to stir tensions to a breaking point. The moment when Lin walks in to the dining room is very well realised through Gaviola’s inspired direction, with the camera spinning from an over shoulder shot to facing the actress. The uncomfortable suspense and unresolved issues are foreshadowed between the family through Lin’s arrival and many truths come to light during a tense conversation over dinner. The scene is acted well by all involved as brother and sister explode on each other and go their own separate ways to cool off. With You, I Found Me is an effective examination of a dysfunctional family trying to reconnect with each other following the fallout of a terrible tragedy. This intimate narrative will surely connect with many viewers for its identifiable characters and relatable situation the family finds themselves in, coming to terms with loss and a family member recovering from recent rehab. We get a good understanding of the dynamic between the cast, although it would have been nice to see more before the fallout, with the classic ‘show, don’t tell’ being utilised more. The film can often be too sentimental and tries too hard to emotionally involve viewers in the family drama, instead of relying on the performers. A tender scene towards the end of the short shows Minh and Lin reconciling by openly discussing their problems, only for sister Rose to overhear and walk in to initiate a group hug. This moment may have been stronger if brother and sister embraced without any onlookers, however, the film does have a touching ending with Minh listening to a heartfelt voicemail from his fiancé, Ian (Charisma). Overall, With You I Found Me is an insightful exploration of relatable family dynamics which are bound to resonate with many. The short is directed well and features good performances, but may have made a stronger impression with more development in its screenplay. #EmilyDavison

UK Film Review was lucky enough to be invited to catch a very up-close glimpse of the latest iteration of one of the most iconic vehicles ever to hit the big screen. Hidden away underground, in a long-abandoned tram railway system, we ventured into a tunnel bathed in bright red lights, ominous (and fitting, given the location) score pounding from speakers above our heads, posters from the movie lining the walls until at the end sitting alone on a raised platform, we finally caught a glimpse of what we were here for, an exclusive look at the new Batmobile featured in Matt Reeves upcoming The Batman, as well as the new costumes of Batman and Catwoman. And what we saw was unlike anything we’d ever seen before. At first glance, it might not look as formidable as say the Tumbler or as impressive as anything that has come before, but up close this Batmobile is still a beast, more stripped-back, old-school muscle car than gadget-filled all-in-one craft. The essence of this car throughout the years has become as much a part of Batman's identity as the suit, the voice and the gadgets. It needs to make a statement, to immediately strike fear into the hearts of those who dare to cross it, and this does. Director Matt Reeves has talked previously about his influences for his upcoming take on the Dark Knight, but more specifically, his influences for this new Batmobile. “The Batmobile has to make an appearance out of the shadows to intimidate, so I thought of it almost like Stephen King’s ‘Christine.’ I liked the idea of the car itself as a horror figure, making an animalistic appearance to really scare the hell out of the people Batman’s pursuing.” And seeing this car in the flesh, it’s a comparison that is easy to see. We were asked politely not to touch the and of course didn't, but even the car itself, purposefully left mud-stained, rough and in it's own beautiful way, ugly, seems to give such an intimidating presence that you might not dare to anyway, If everything else we’ve seen thus far in trailers and teasers wasn’t evidence enough, this car makes it even clearer that Reeves and Warner Bros. are doing everything they can with this film in an effort to give us something we’ve never seen before. In the hour that we had with this car we could clearly see the echoes of what seems to be the main ethos about this film, which is about bringing Batman back to basics, a raw and rugged barebones vehicle for a man still piecing together his new identity. Will it work? On March 4th the truth will out one way or another the dust will settle. But if the movie is as exciting as the car is, this could be the start of something really special. The Batman hits cinemas March 4th starring, Robert Pattinson, Zoe Kravitz, Paul Dano, Colin Farrell, Jeffrey Wright and Andy Serkis. #ChrisBuick Watch the trailer here:

★★ Directed by: Bam Margera, Brandon DiCamillo, Joseph Frantz Written by: Bam Margera, Brandon DiCamillo, Joseph Frantz Starring: Bam Margera, Brandan DiCamillo, Rake Yon, Don Vito and Missy Rothstein Throwback Film Review by: Rachel Pullen Minghags (2009) Film Review Remember the other week when we fell into the hole of early 2000’s skate culture, all of which was condensed into the wonderful full-length feature, directed and written by skateboarding hunk Bam Margera? Sure you do, it was iconic, well as we all know I love a running theme so this week I decided to carry on with Mr Margera’s next instalment in the world of full-length features and embrace a movie so lovingly titled: Minghags. Minghags follows the story of a bunch of trailer trash pals (“Lenny” played by Margera and “Ponce” played by Dicamillo) who try and exact revenge on a billionaire called Rut Ro who stole the garbage juicer invention for his own. Now even though the garbage juicer invention was featured in the Haggard movie, this must not be mistaken for a sequel, for nothing in this movie will make sense nor relate to Haggard outside the juicer and the use of the diamond mountain bike, which was the prize from the invention of the future contest. So in essence that is as far as I can describe the plot of Minghags, I’m not kidding, the best way to describe this movie as stuff happens on screen and we watch it! There are massive sections of the film which are bizarre and unnecessary. A personal favourite is Don Vito, dressed as a judge, hitting a hostage with a pizza slice, shouting about wanting to kill his gay nephew - this is just one of many scenes that is redundant yet beautiful. Every now and then we are reminded of the garbage juicer issues, Margera sprinkles it in between the pranks and bum jokes as if to give purpose to wanting to make a goofy video with his pals, and it is needed to keep the movie moving, grounding to a reality that does not seem to exist. Lenny and Ponce try to enlist the help of different folks to help them defeat the infamous Rut Ro, and eventually, he is defeated by some gang members, Rut Ro loses his millions and is left to live in the trailer park where the Minghags used to reside, but of course, he strikes oil there, making him richer than he was before the garbage juicer - always the way for the rich it seems. Once again Margera is not trying to impress anyone it seems with these movies, they simply exist as a way for him and his pals to do something they love, to have fun doing it and sell it to their loyal audience that it appeals to, and of course if you’re not part of that audience you’re going to probably switch off after 10 minutes, but if you're of the CKY generation, or enjoy this kind of slapstick comedy, you will definitely stay tuned. As for me, it’s the worst of the films from Bam Margera I feel, it just seems to take the crazy to a level that makes the movie a little bit too art house for my liking, it is hard to stay into characters and the plot when so much is happening on the screen at every given moment! So, what can we learn this week? Vito is the best judge of pizza. The rich always get richer. And if you steal a garbage juicer, someone is going to hunt you down, no matter how rich you are. #RachelPullen

Back in 1939, two gentlemen by the names of Bob Kane and Bill Finger introduced a character to the world that would go on to be one of the most iconic figures in pop culture today. For decades since, one man has instilled fear into the hearts of criminals and villains time and time again merely through the uttering of those two immortal words... “I’m Batman” From the camp frivolities of the 60s Adam West era, to the pulpier, more comic-booky fares of Tim Burton, through to the darker side of Gotham with Christopher Nolan all the way to the even darker still contributions from Zack Snyder, the world’s greatest detective has gone through many iterations, some with more satisfying returns than others. Now, with the Dark Knight about to rise again in Matt Reeves’ upcoming The Batman, we’re going to take a look back at the films that have come before to see which one rises about the rest. 14 - Batman & Robin (1997) Let’s start with a short anecdote. Back in 1997, after a fairly long journey to the nearest big-name cinema (there wasn’t as many back then kids), I had settled into my seat ready to revel in the latest offering featuring what had become and still is my favourite hero, only for my hopes to be dashed by sound issues resulting in an early exit from the screening and a long drive home for my parents and their distraught son. Little did I know that my disappointment with this film was only just beginning. What hasn’t been said about this movie already? Batman & Robin has not only become the yardstick when discussing the worst Batman film, but a popular go-to when it comes to bad films as a whole. On paper, a cast consisting of what were very bankable stars at the time such as George Clooney, Alicia Silverstone and of course Arnold Schwarzenegger should surely have meant a recipe for success. But between the criminally unconvincing performance under the cowl from Clooney (and everyone else to be fair), the WTF creative decisions (bringing the bat nipples back?) and just sheer ridiculous (but not in the fun Tim Burton way), it instead carried on the horrific backwards slide started by its predecessor Batman Forever, it’s planned sequels were subsequently cancelled and the franchise was banished to oblivion for eight years. 13 - Batman Forever (1995) Only slightly more palatable than the entry that came after it, but by a hair. Batman Forever shows where a lot of the problems of its successor stemmed from, including those aforementioned bat nipples, but before things got really out of hand. The film looks just as terrible, from the costumes to the sets to Gotham itself, not to mention the nauseatingly over-the-top performances that might just be some of the hammiest you’ve ever seen, Jim Carrey manages to out Jim Carrey himself and even Nicole Kidman is hard to watch. Nicole Kidman! Yes, Kilmer is slightly less stiff behind the mask that Clooney, but that’s not saying a lot and at points the film does have some moments to cheer for, but Batman Forever reeks of a film manufactured to sell toys, lunch boxes and whatever else you can stick a bat logo on and was a dramatic and saddening shift away in tone from the ridiculous but enjoyable world that Tim Burton had built. To paraphrase Tommy Lee Jones… I cannot sanction this films buffoonery 12 - Batman v Superman: Dawn of Justice (2016) Martha! The scene that spawned a thousand memes is only the tip of the iceberg in terms of what’s not good about Zack Snyder’s second entry in the DCEU. Part sequel to Man of Steel, part Justice League precursor, BvS is a film trying to do a lot at once and none of it convincingly. Cavill, Gadot and Affleck try their best with weak material, but all three seem rather frustratingly to be in the right roles in the wrong films at the wrong time. A nonsensical plot and general misunderstanding of the characters, (see the complete miscasting of Jesse Eisenberg as Lex Luthor as a prime example) are simply some of a plethora of things to point at here, but ultimately the only way to describe BvS is…boring. Which for a film brimming with potential for an epic battle of the ages is what really stings here, instead it is so underwhelming that it’s poor reception actually started the ball rolling on Warner Bros. demanding swift action on the production of the soon to follow Justice League movie…and we all know how that turned out. 11 - Justice League And oh look, here we are. The backlash of BvS caused Warner Bros. to step in and demand changes when it came to the next entry in the DCEU, and so the legend of the troubled production of Justice League began. Numerous script rewrites and demands for a lighter tone led to the recruitment of Joss Whedon who helped write and eventually took over during post-production when Snyder stepped away, and while that move has since brought its own terrible controversy, there was a time when bringing on a director that already had a track record for bringing a bunch of super-heroes together to great success (twice) for one studio would have made sense to anyone. But as we now know, it only exacerbated issues even further. As for the film itself, while the action scenes have merit and there a highlights among the performances as was the case in BvS, the inconsistency of plot, tone, characterisation and overall direction is what makes Justice League an undeniable train-wreck, so ultimately in all that effort to please audiences after BvS, instead what they got was essentially a Frankenstein’s monster of a film that audiences panned across the board, jarringly torn between the two very different styles of two very different film-makers, with very little of it actually working. 10 - Zack Snyder’s Justice League (2021) The saga of the Snyder Cut is one of the most interesting stories in modern cinema. Having stepped away from the initial Justice League production due to tragic personal circumstances, Zack Snyder always claimed there was a bigger, better vision of this film out there. His vision. The Snyder Cut. Did it exist? If it did, was it any better? It surely couldn’t be any worse. A lot of questions and were raised and for a long time unanswered until 2021 when the full four-hour uncompromising promise became a reality. So, it did exist, but was it any better? Yes, Absolutely yes. ZS:JL is miles above anything that Justice League achieves. It’s more coherent under a single film-makers direction. Its plot points come together much more elegantly. Performances are more engaging across the board in both the heroes and villains, characters are fleshed out and made whole, especially in Ray Fisher’s Cyborg, whose presence in this film actually means something rather than being cut down to a literal exposition machine. But there are still flaws. The amount of slow-mo is simply ridiculous even for Snyder, a director with a certain style you’ll either get on with or you won’t. The story still isn’t the best, but at least it makes sense(ish), and the last hour is where the films sing but you could argue if you throw enough mud at a wall some of it will stick, so after four hours you’d expect to get something out of it. ZS:JL isn’t perfect, but it’s a damn sight better than what we got before and if nothing else, Snyder got to finally realise his vision. 9 - The Killing Joke (2016) Its very limited theatrical release may be a technicality here, but the adaptation of one of the most iconic stories within the Dark Knight’s canon (or is it canon, the debate rages on) definitely deserves a mention. The Killing Joke is the ultimate Batman versus Joker story for fans so a cinematic adaptation was something to both have hope for given the ultra-rich source material to draw from, but also approach with caution for fear of the legacy of this particular work being tarnished. It’s a film of two halves really, meaning this adaptation doesn’t quite meet the dizzying heights the graphic novel achieves. It’s a messy start and not entirely faithful especially in the first half and generally with its characterisation, Batgirl/Barbara Gordon’s story arc specifically is something that drew warranted criticism from both fans and critics. It does grow in strength somewhat in the second half and of course includes the delightful dynamic duo dream team of voice performances in Kevin Conroy’s Batman and Mark Hamill’s Joker (perhaps the greatest Joker?) but it’s not the greatest testament to one of the most beloved comic books of all time, all-in-all a story more worth-reading than watching. 8 - The Dark Knight Rises (2012) The Dark Knight Rises was always faced with an impossible task. After The Dark Knight did what it did, it was always going to be an ask for it to get anywhere even remotely close. As a trilogy topper its fine, it does what it needs to do even if it isn’t done in the most elegant way. The performances are mostly strong as well, Tom Hardy’s Bane was meme-laden before release but actually presents as a formidable villain in the end and Bale, who actually never seemed out of place as Batman or Bruce Wayne, really brings home that struggle as he begins to question his legacy behind the mask. However, while the film is ambitious and not short on the action, the plot is muddled and too long, resulting in a safe but bumpy landing of the Dark Knight trilogy. 7 - Batman: The Movie (1966) You always remember your first Batman. In full colour! Adam West was one of a kind, he didn’t need to say “I’m Batman”, people just knew he was. God rest him. Of course, Batman: The Movie is utterly, utterly ludicrous as a film/long episode, and camp to no end. But even with shark repellent, cheesy one-liners and onomatopoeic captions included, , Batman: The Movie channels that camp and ridiculousness in ways the Schumacher films simply couldn’t, allowing us to laugh with it rather than at it (mostly). While audiences of the modern age of Batman might look back at the Caped Crusader and the Boy Wonder’s exploits from that era with raised eyebrows, the Batman series of the 60s was a real beacon of silly ridiculous light and while this one might be more for fans of the show than your contemporary bat-fan, it’s a film that works as a beautiful piece of nostalgia, escapism and innocent fun, and really was the spark that brought Batman into the mainstream. 6 - Mask of the Phantasm (1993) A brilliant origin story for our hero, focusing not just on the mask but the man behind it, and why Bruce Wayne feels compelled to put on the suit night after night, learning his way through his early days of vigilantism while dealing with his torment in choosing between a normal life and vengeance for this parent's death. It’s a wonderfully animated adaptation that is refreshingly respectful of its source material, Kevin Conroy and Mark Hamill are again insurmountable in their voice performances in a piece filled with compelling characters throughout. More one for the die-hards perhaps than the casual observer, but Mask of the Phantasm is as crucial a story as it gets when it comes to Batman. Not initially successful, the film thankfully found its audience later on and has since become a must-see classic and one of the most respected on-screen stories Batman has ever had. 5 - The Lego Batman Movie (2017) Black. All important movies start with a black screen. What do you do with the best part of The Lego Movie? You give him his own movie and let him own it. The Lego Batman Movie is simply a joy from the very first second, somehow managing to fully celebrate the franchise while barraging its history of ridiculousness as a concept with playful jabs all the way through, the perfect antidote to the dark, despairing and unimpressive live-action offerings that were around at the time. It’s not perfect, not all the jokes land but the great majority do and they do with a resounding thud, providing laughs for kids and grown-ups alike and fully captures the undeniable pleasure that the Lego movies started, not to mention hosting a veritable who’s who of supporting voices and cameos. And if Kevin Conroy is to be considered king when it comes to the voice of Batman, Will Arnett is the prince in waiting. More please. 4 - Batman (1989) “Now you wanna get nuts? Come on! Let’s get nuts!” Tim Burton did, and what we got back in 1989 was a film that ripped up the playbook when it came to superhero movies. Nolan might get name checked more these days for bringing Batman to the table of serious discussion, but Burton was the man who brought him to the big time. An absolute smash, Batman is a smile-widening, two-hour joy ride for everyone to delight in. Keaton is both the quintessential Bruce Wayne and Batman, no actor to date has been able to traverse both roles equally with such success and while Heath Ledger’s Joker might be the definitive for many, there are those who would point you to Jack Nicholson’s brilliantly maniacal turn here as a counter argument, and they would definitely have a case. It’s a film with some odd moves sure, some more welcome than others. The Prince songs are a bold choice, especially when coupled with a few peculiar dance scenes. But Batman is quirky in all the right places, fun, dark, cheesy, serious and laid the blueprint for its even more brilliant successor. 3 - The Dark Knight (2008) Often looked to as the pinnacle of the Caped Crusaders cinematic exploits and to be fair it’s impossible to deny the enormity of what Christopher Nolan achieved with his sophomore instalment in his Dark Knight trilogy. Inspired loosely by the magnificent 1996 series of comics The Long Halloween, The Dark Knight is more crime thriller than superhero fare, that once again sees Batman and Joker, two of cinemas greatest ever characters, battle it out but not just for the heart of Gotham, but that of the city’s moral compass Harvey Dent, a role for which Aaron Eckhart was a great fit. For some, it’s a story told ever so slightly better and fuller on the page than the screen, but there is no denying how significant this film has been and continues to be for...well...the Dark Knight. The Dark Knight isn’t just an incredible achievement as a Batman film, but as a film period. Heath Ledger’s Joker performance is so unerringly brilliant it's hard to see how it could be topped, and everything there is to be said on that has been. The Dark Knight has simply become the benchmark against which all other superhero films have been and will be measured for years to come. 2 - Batman Begins (2005) But while The Dark Knight is often the most celebrated of not just the Nolan Trilogy and we’ve already mentioned what that film achieved, it simply cannot be understated the importance of what Batman Begins did for our masked vigilante when it glided onto the big screen back in 2005. Batman was a franchise floundering in an purgatory after Batman & Robin, even George Clooney said he thought he had killed the franchise forever. But no, it did rise again and it made those who had previously turned their noses up at "superhero nonsense" stand up and take notice. Drawing inspiration from Batman: Year One, The Man Who Falls and The Long Halloween again, Batman Begins shows the journey of how Bruce Wayne becomes not the hero Gotham deserves, but the one it needs. It’s a Batman centric epic that celebrates everything we love about the character, managing to feel both like a comic book and an exciting cinematic experience at the same time, all the while managing to lay the necessary groundwork to be built upon for the rest of the trilogy. And for my money, it has the best alley scene of them all. Sure, Scarecrow’s plan doesn’t make total sense when you really think about it. But with everything else going on around, who really cares? 1 - Batman Returns (1992) However, while The Dark Knight and Batman Begins brought Batman back from the dead and into the serious film discussion and inspired all those that came after it, it’s Tim Burton’s second and unfortunately final outing with the world’s greatest detective that has everything, the best car, the best villains, the best Gotham and of course, the best Batman. Batman Returns not only carries on from a lot of the hard work done by its predecessor, but also builds on it, smooths out the edges, polishes things off and at the same time, completely goes all in. It’s Burton at the top of his game, Performance wise, there isn’t a bad one. Keaton’s batman is still the best and here was he firmly placed that marker. Devito’s Penguin is still a villain for the ages, but Pfeiffer’s Catwoman is the one who steals the show. It’s fun, it’s dark, it’s a comic-book-come-to-life, as close as there has been anyway. And that is what a Batman film should be.