Directed by Christopher Carson Emmons Written by Mark Renshaw Starring Aram Hekinian, Jade Elysan, & Marisa Roper Short Film Review by Sarah Smeaton Surrender is a hallucinatory, insightful short film that pulls the audience into the disconnected and disillusioned thought patterns of main character, David, and essentially what has become his way of life. Right from the beginning, we’re forced into a world where we’re unsure of what exactly is real and what is not. This is the world of a severe alcoholic who is driven by his next drink whilst trying to live a normal life, holding down an office job and looking after a young family. Aram Hekinian, playing main character David, shows his true acting potential here in Surrender, by not only being perceptive but also sensitive. He does not overplay the traits of an alcoholic like some performers might have been tempted to do. This is simply an ordinary man that would otherwise be living a ‘normal’ life if it weren’t for his uncontrollable addiction to a substance. Director, Christopher Carson Emmons, and writer, Mark Renshaw, work perfectly together at shining a light on this everyday side of alcoholism. David is essentially an ordinary chap - he’s just had his life taken over by a substance that controls his every thought. The bottle of clear spirit that he drinks throughout the day has ‘Drink Me’ written on it – just one of the many ‘Alice in Wonderland’ types of labels David sees in his day to day existence that shines out like a beacon to him, encouraging him to act in a certain way. Just like Alice in Wonderland, David is forced to obey the notes as he seemingly has no other option. The quote at the beginning of Surrender from Thomas Fuller perfectly sums up what this short film is about: “Wine hath drowned more men than the sea.” With constant hallucinations played out on screen along with whole characters who might just be a figment of David’s imagination, the end of the film will more than likely leave you with more questions than you started with, but what I think this film excellently does is open up questions that must be asked. It allows the taboo topic of alcoholism to have its lid taken off so we can fully see inside. If only more films would have the courage to step away from stereotypical plots and be brave enough to confront important topics such as this. Read more Film Reviews here. Or watch Short Film Trailers on our Film Channel - for your viewing pleasure. #ShortFilmReviews #ShortFilms #SarahSmeaton #ShortFilmTrailers #FilmReviews #ChristopherCarsinEmmons #AramHekinian

★★★★★ Directed by Amma Asante Written by Guy Hibbert Starring David Oyelowo, Rosamund Pike, Jack Davenport, Tom Felton, Laura Carmichael & Jessica Oyelowo Film Review by Dean Pettipher For better or worse, one most likely needs no more than their two hands worth of fingers and thumbs to count up the number of true friends in his or her life at any given moment. Indeed, the same may also be stated concerning the number of people with whom one has honestly experienced the purest limerence. Moreover, in a reality beyond the movie theatre that is bitterly cruel at the most or notoriously indifferent at the least, albeit such circumstances might be deemed as absolutely necessary evils for ensuring that one really appreciates all of the fundamentally good parts of his or her life, coming across any truly genuine people can feel like an extremely rare phenomenon, if not an all but impossible one, which must simply be left at the mercy of serendipity. Similarly, not that often do audiences get treated to the utter delight of a movie like A United Kingdom (2016), in which the central sentiments are felt so strongly that the sheer beauty of the visual poetry consequently becomes so infectious that one cannot help but gleefully spread the glowing words of joy that have been inspired within them long before the end credits commence. The highly-acclaimed director, Christopher Nolan, best explained the notion when he asserted, “Films are subjective - what you like, what you don't like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there -I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.” Bearing these thoughts in mind, whether audiences spend their time viewing the film under the most desperate of seasonal sicknesses or the most life-affirming states of Noël-induced health, they would very likely swear afterwards with clear ease that A United Kingdom is a film that shines majestically bright as one of the best love stories of the year, as well as one of the finest official opening features of London Film Festival 2016 (LFF 2016), courtesy of its proud but elegant overflow of poignant “effort”, “love” and striking “sincerity.”  After the jubilant applause offered by an audience of critics and industry delegates at the early morning LFF 2016 press screening, any clarity that they sought about just how much the cast and crew cared about their production and the astonishing true story upon which it was based would soon be offered in return by an alluringly-esteemed ensemble to those lovers of cinema who made the journey to the Mayfair Hotel for the film’s press conference. During the fruitful discussion, David Oyelowo confidently declared, “knowing that we were on the same page about how we felt about these individuals, our passion for them, our respect for them, our desire to see their story told well and truthfully and I think that that is what enabled us to go for the emotional moment and to go for the light-heartedness because we so respected the love that they shared. It was about a celebration of these two people that we really admired. Being in love is the most exhilarating feeling. It genuinely is. We so rarely see love onscreen. We see lust but this was an opportunity to really celebrate unashamedly how romantic and wonderful and powerful love is.” While Oyelowo was in truth answering a question about how he was able to work so brilliantly with his co-star, Rosamund Pike, in order to ensure that the film successfully flowed with admirable grace between moments of high intensity and moments of the more light-hearted sort, the journalists present needed never surrender to any doubt regarding the evidently boundless levels of passion felt by the filmmakers for their work. Thus, A United Kingdom was ultimately an essential and undeniably special historical period drama about the extraordinary capacity of totally genuine love. Furthermore, not least because of its critical significance in relation to the context of the grand fight for greater diversity and equality within the film industry, A United Kingdom went on to represent both the artistic and the real-life-rooted miracles, which remain ceaselessly possible to this day and well beyond, in the pursuit of such devoutly hopeful ideals. Flinging audiences back and forth between two outwardly dissimilar but internally alike post World War II nations, the breathtakingly flamboyant cinematography, headed by the screen veteran, Sam McCurdy, paints two beautifully-contrasting settings that are both confidently showcased and therefore compelling in equal measure. London and Botswana feature as the two backdrops for a love story of truly Shakespearean proportions. The former setting is painted with vibrant shades of predominantly oxford-blue, midnight-black and flint-grey. The latter location is coated with much brighter hues of mostly deep-sky-blue, honey-yellow, tiger-orange and cinnamon-brown. Each setting features various colours in-between the two primary tint combinations in order to create two juxtaposing sceneries. The former setting captures the most bitterly freezing temperatures that London can be subjected to in the winter especially, even in the apparent absence of snow. The latter setting then propels audiences into the raging heat that often maintains an unexpectedly firm grip upon those who wonder the splendid Botswana landscape. The cinematography is so rich that at times it risks the story depicted feeling like a shamelessly sugar-coated melodrama. However, in the end, when all of the elements that painstakingly-selected images present are considered, the sweetness of the story is just right. Never fake but always heartfelt is the overall interpretation of the perilously problematic journey of love between Seretse Khama and Ruth Williams. For it presents a bold but more importantly candid state of pure adoration between a prince from Botswana, a country that was once known as British Bechuanaland, and a white insurance clerk from South London. Thus, the nineteen-forties and fifties-set story justly sits within the realms of definitive love-centred movies that have previously graced the silver screen with their presentations, such as Gone with the Wind (1939), or Pretty Woman (1990). The splendour of the cinematography would seem all but wasted, were it not for the remarkable performances from the glistening ensemble of actors who all appear to be well within and fully embracing the finest years of their respective film careers. While each player adopts a role that he or she has previously portrayed, at least to a certain extent, with another character in their filmography or television work heretofore, everyone nonetheless glides and glows in a touching dance with the camera, employing enough noteworthy intricacies in the presentation of their latest parts to warrant the assertion that they were all essentially born to play, or for whatever reason thrive on, those particular sorts of characters. David Oyelowo delivers his most wonderful performance to date as the charming prince, Seretse Khama. Drawing upon his tragically underrated and essentially ignored leading performance as Doctor Martin Luther King in Selma (2014), his minor but still impressive role as a pastor in The Help (2011), as well as his role as Henry VI for the Royal Shakespeare Company, which he won not too long after completing drama school, Oyelowo injects a controlled element of theatricality into his latest work upon the stage of cinema. His addresses to both crowds and to individual fellow players are expressed with so much conviction that one can effortlessly become lost in his speeches, as if they were monologues shared only between Oyelowo and the audiences observing him inside the movie theatres. One cannot help but surrender to the most curative of smiles in the wake of his joy, or indeed at least feel an overwhelming temptation to shed but one tear of sorrow in light of his agonizing pain. During his keynote speech at the LFF 2016 Black Star Symposium, Oyelowo stated that “when you’re playing one of these historical figures, the last thing you want to do its play an icon. That’s impossible. You have to play a human being.” Without question, Oyelowo has achieved just that, yet again but on an even more spectacular scale. He has brought to life fully-rounded historically-based induvial to life. He showcases the flaws and the remarkable traits of a human being who is at once clearly unique and then so relatable that audiences are able to pinpoint qualities that they can relate to and share with others, regardless of the various differences between their backgrounds. With the star of the picture consistently shining that luminously, in such a way that is never pretentious or forced, the rest of the cast raise their games to levels not far behind the central masterpiece. Rosamund Pike, arguably the biggest name attached to A United Kingdom because of the clout earned as a result of her still fairly recent Oscar nomination for her shockingly excellent leading performance in Gone Girl (2014), provides a great act that showcases her versatility as an artist. Pike knowledgeably plays the sweet, strong heroine, Ruth Williams, who firmly decides to grasp the courage to love, so that she might walk alongside the man she adores whole-heartedly, even in the face of appalling resistance on all fronts. Audiences are compelled by Pike’s elegant accent, mannerisms and facial expressions, especially during moments of intensified emotion, to believe in every notion, significant or otherwise, which her dialogue reveals for witness exploration. Whether their time spent on screen amounts to very little or not, each member of the supporting cast is granted a pivotal degree of influence within the story upon the development of the two leads. Jack Davenport delivers an incredible performance as one of the principle antagonists. His representation of a declining British Empire clinging with ruthless tenacity to dreadful traditions is presented at times in pantomime-like fashion, which, rather than hindering his imposing presence onscreen and reducing it to a ridiculous joke, instead adds a striking amount of essential humour to the tale, rooted in the mockery of fading ideologies that have no place in a world that is clearly in desperate need of modernisation, greater diversity and, above all, tolerance. Additionally, through a part that feels reasonably similar to his role in The Pirates of the Caribbean series (2003-Present), Davenport highlights yet again, as one of the best-spoken and eloquent actors working in Hollywood today, the urgent need for an audiobook about anything at all to be recorded using his alluringly attractive voice. On a brief side note, Davenport, thanks to industry veterans Jenny Beavan and Anushia Nieradzik, at one stage wears the coolest, most flamboyant movie costume of the year, creating a tirelessly amusing image that is difficult to disremember. Tom Felton portrays a supporting antagonist with superb maturity and authenticity, consequently earning his place within the movie business as a star that has moved on well beyond the role that made him: Draco Malfoy from the Harry Potter series (2001-2011). Albeit his latest part is another ostensibly villainous one, his believable older appearance and extraordinary acting illustrate that he deserves as many chances to shine in a space that is far removed from his supposedly career-defining role of the past, just like the space that Daniel Radcliffe has so often enjoyed recently. Laura Carmichael plays a role of the seemingly plain sister of Ruth Williams; the part at first seems almost identical to her breakout performance from Downton Abbey (2010-2015), save for the aesthetics of the character that are demanded by the changing historical period from the early twentieth century post Second World War. However, Carmichael’s performance in A United Kingdom is no less magnetic as the frank but finally loyal and loving sibling who truly wants the best for her dearest sister and best friend. Similarly, Arnold Oceng rides the bountiful tides of his astounding performance from The Good Lie (2014) to a fairly brief but undeniably passionately-delivered part in A United Kingdom as Sereste’s energetic, fairly witty and very staunch friend, who, deep down, in spite of his apparently great fear of facing up to those cold-hearted forces of oppression currently in power, simply despairs at the mere thought of his dearest companion being hurt by brutal social customs and restrictions. Incidentally, Oceng discussed the similarities and the differences between working on a movie set in modern times versus a period drama at reasonable length during his red carpet appearance at the film’s Opening Night Gala at the LFF 2016. A United Kingdom was Oceng’s first experience with the latter setting of films. In short, what struck him the most was just how similar the sentiments explored within stories set in different places in time actually are. His enthusiastic and humble explanations illustrated just how much both he as an actor and audiences can learn from period pieces. Moreover, Oceng certainly brings a superb performance to the screen that warrants the credibility of his words, for even in this relatively small role, he performs with as much determination and poignancy as he has done for his much more prominent role as a Sudanese refugee in the aforementioned drama that stars Reese Witherspoon. Finally, while not one blotch spoils the stunning painting that is the visual marvel of A United Kingdom, one last mention must be made for Jessica Oyelowo. Having worked with her husband a number of previous occasions, which include her supporting roles in Captive (2015) and Nina (2016), she works with enviable professionalism and swan-like grace to bring a cold-hearted member of the British aristocracy to fruition. The resulting presentation inspires great anger from the audience due to her character’s entrenched imperialist attitude, while also encouraging audiences to at least ponder over the notion that she honestly believes that she is fundamentally right and good in clinging to her traditional values and standards, albeit such beliefs seem to be clearly racist, far from fair and deliberately held to the detriment of Seretse and other people of colour. The concept of an audience harshly judging particular characters from different historical settings was best summarised by discussions centred on The Revenant (2015). The movie’s director, Alejandro González Iñárritu, stated, “I don’t consider people who are racist bad people. I think they are just ignorant. By not having the knowledge or the consciousness or the awareness, they are irresponsible and they can bring a lot of pain.” Moreover the film’s wilderness advisor, Clay Landry, asserted that “the worst thing you can do looking at history is to judge people in historical settings on today’s values and interpretations. You’ve got to put your mind back there. You’ve got to understand the total picture and what their philosophies about life and religion everything else was.” Thus, each of the primary villains played by Davenport, Felton and Mrs Oyelowo, may in fact basically be, as Iñárritu might put it “a victim of his [or her] own culture.” All of the performances from A United Kingdom demonstrate that thorough background research and understanding has paid off in the pursuit of a sincere story about the complex obstacles that love can endure. However, the contributions of the screenwriter and the director become crucial on a scale beyond measure for ensuring that the core qualities of the romantic drama are not lost in the exploration of the complexities behind character motivations and major plot developments. A United Kingdom sparkles principally due to the tender care of the director, Amma Asante, in combination with the finely-tuned script, scribed by Guy Hibbert. The concoction of talent results in a story that achieves a clever balance between highlighting the vast political spheres in play during the film’s specific historical period and an ultimate focus on the loves of various guises at work within the story. During the aforementioned LFF 2016 press conference for the movie, Asante stated, “nothing in this story should come without it passing through the prism of the couple’s love. So that the love is layered and there are different types of love but ensuring that everything comes through the prism of one of those loves.” In truth, the romantic love between Seretse and Ruth clearly and unsurprisingly enjoys the greatest amount of attention. However, the dialogue employed conveys a striking degree of intelligence, an envious amount of sensitivity and, most importantly, an enormous level of emotional depth. Such a glorious descent is apparent even with some key conflicts and resolutions of the story. Candidly, those key plot points have, in some comparable form, already been depicted in other romantic dramas. This extends to the point where the invigorating elixirs known for inspiring the life-hardened souls of audiences to burst into regenerative flames appear to have all but dried up upon the silver screen because similar if not greater emotional depths have been penetrated in other love stories prior to the this one. On the other hand, there is a uniquely touching tone achieved by Asante, underpinned by a graceful whirlwind between joy and despair, which grants A United Kingdom with a special kind of insightful freshness, through which ostensibly exhausted themes feel born anew. An urge to reject the film surfaces just occasionally, during moments where the story feels as though it is determinedly advancing within safe artistic and political territories. For instance, there are clear similarities between A United Kingdom and Asante’s previous movie within the same genre entitled Belle (2013). Similar techniques are employed for linking the story to the source material by the time the closing credits begin, for instance. Furthermore, one wonders if Winston Churchill, whom many regard as a faultless icon of modern history, was frankly allowed to dodge a crippling blow to his saintly image, since the real-life events that inspired the movie did not make up his government’s finest years in power. Still, the film overcomes such rejection in the end because it really is a great story beautifully told. While praising a film out of even minor political motivations can melt artistic ethics away within mere seconds, within the grand scheme of the Western cinematic universe, or at last the British and American film industries, A United Kingdom is a symbol of wonders. Such marvels relate primarily to diversity within film. First off, Asante, representing one of the few black female major decision-makers of the movie business today, has come back fighting with her latest project. Her previous work on Belle was, for whatever reason, shunned by the major award societies, most notably the Oscars and the BAFTAs, in spite of winning honours from reputable but less prestigious organizations like the African-American Film Critics Association (AAFCA) and the Alliance of Women Film Journalists. Asante’s comeback picture of 2016 must be commended for representing the actions that so many only settle for talking about rather than performing themselves; so many film fans and professionals pretend that they desire change while in practice behaving as though they are honestly contented with remaining within their safe spaces, far away from any great risk to their lifestyles or careers. Rosamund Pike best summarised, in a manner that appeared far from rehearsed, one of the aims of the movie beyond entertainment, during the LFF 2016 press conference: “Isn’t it true that a movie like this, when it’s looking for distribution and people start looking at how well it might fare, at the moment, it’s not compared with other love stories? It’s put in a bracket with 12 Years a Slave (2013) [and] with Mandela: Long Walk to Freedom (2013). [These films] bear no resemblance to [A United Kingdom] as a film. The goal would be for this just to be seen in the cannon of love stories.” While David Oyelowo’s aforementioned keynote speech at the Black Star Symposium deserves an entire article solely dedicated to its significance, a few crucial segments relate perfectly to A United Kingdom and its importance both artistically and politically. Oyelowo declared, “I fought for Amma Asante to direct A United Kingdom because I am very cognitive of the fact that as it pertains to diversity, if you are not part of the solution, my friend, trust me, you are part of the problem.” Oyelowo could not have been clearer within theconstraints of life-defining political correctness when he stated, “this thing is only gonna happen, we are only gonna get to the point where I don’t have to give these talks, you don’t have to listen to these talks, we don’t have to keep on talking about diversity, if we actually start to do diversity. The only way that’s gonna happen is if the demographics of the decision-makers changes. I segued from being a cog in a wheel to a decision-maker.” Finally, his concluding statement identified Pathé, one of the companies behind A United Kingdom, as a role-model for other industry professionals to follow in the pursuit of great storytelling enhanced by equally great diversity both in the final cut of the movie and behind the scenes. Holding back tears, he declared that “they [Pathe] are doing diversity. I, as an individual, am doing diversity. Over to you.” The tragedy was that exactly the same plea had been made by Idris Elba in a speech to parliament on diversity in the media earlier this year in January. Speaking with just as much humour and tenderness as Oyelowo would do only months later, Elba stated, “today, I’m asking the tv and film industry to think outside of the box. In fact, just get out of the box.” Elba added shortly afterwards, “think about diversifying at the beginning of the creative process and not at the end.” Elba’s bold entreaties, Oyelowo’s brave implorations and the urgent cries of others who have endured an unjust status within cinema especially must be unheeded no longer. There may be other films released this year that better adhere to specific audience tastes but there will not be a better illustration of the treasures that can be crafted when diversity is given the spotlight it deserves. Fortunately, A United Kingdom successfully ventures beyond those turbulent shores and lands firmly upon the well-earned pedestal available to films and love stories in particular that are pure and superb in their own right. Love, effort and sincerity have united in a powerful story, which is based on fundamentally ineffable events from the history books and provides an undoubtedly worthy addition to the pinnacles of film that lie securely within the most respected cinematic archives. More Film Reviews can be read here. Or watch some amazing Movie Trailers. #FilmReviews #DeanPettipher #TheatricalReleases #LondonFilmFestival2016 #BFILFF #FilmFestival #5StarFilm #AmmaAsante #DavidOyelowo #RosamundPike #JackDavenport #TomFelton #LauraCarmichael #JessicaOyelowo

Directed by Cristóbal Sánchez Starring Yarko González, Dylan Ibanez, Luis Vera, Ana María Torres, Marcelo Mieres & Mauricio Salazer Short Film Review by Chris Olson Set in the Chilean shanty town of Valparaíso in 2015, experimental fictional short film / documentary La Vorágine (or The Vortex), from filmmaker Cristóbal Sánchez, is a shocking and powerful piece about the conflict existing between the social underclass whom inhabit the place, and the corrupt officials and housing developers who want to exploit it. Sánchez's film is one of brutal partnerships. For every conflict or power struggle being depicted in the story, it seems the audience is given a visual or audial conflict in the filmmaking. Whilst the community go toe-to-toe with the mechanical bulldozers dumping endless amounts of refuse on their home, we are also presented with beautiful Chilean skylines. The abstract, industrial, grinding score is at times brutalising, and then feels ethereal when accompanying the naturalistic shots of boys playing football or drinking water from rocks. This unnerving contrast is so cleverly revealed, its impact is subtle and remarkable. By combining the use of documentary footage alongside fictional scenes, La Vorágine is also making a harsh commentary on the nature of the dispute. The corruption and agendas which threaten this community are as difficult to dissect as the film's distinction between real and make believe. A powerful technique that is as simple as it is effective in highlighting the ludicrous nature of the evil apparently being delivered on these people. As with any form of documentary filmmaking, the events themselves must be questioned and the director's motives examined with a degree of curiosity. We must challenge what we are given, and audiences will make up their own minds as to the morality of those involved, but shunting, affecting filmmaking like this should never go unnoticed. Aesthetically, Sánchez dares to be bold. The stark brutality of the conditions found in this shanty town are not shied away from, whilst the lighter sequences such as one character travelling through the city with some scrap metal are playfully delivered. High angle shots of the city are picturesque, the bludgeoning frames of battle between the two sides are gripping, and the final sequence (which I will not spoil) is simply flabbergasting! Aside from getting a little carried away with the documentary footage at times, which caused the coherence to stumble slightly, La Vorágine is a stunning film. Daring throughout and starkly captivating, it is a moralistic tale with capitalism playing the role of the villain, and the victims are the most vulnerable people in that cruel system. As the film itself states, "Nothing is free. Everything is privatized." Watch Movie Trailers on our Film Channel here. #ShortFilmReviews #ChrisOlson #DocumentaryFilmReviews #Documentaries #WorldCinema #CristóbalSánchez #filmmaking #MovieTrailers #FilmChannel

Directed by Pablo Fuentes Starring Jackson Milner, Bettine Mackenzie, Isobel Hughes, Andrew Gourlay, Jude Monk McGowan, Geoff Arnold, Regé-Jean Page, Jacob Shephard, David Burnett, Theo Green. Short Film Review by Lorenzo Lombardi From 1988-89, there was a raving scene in England. It celebrated the rise of acid house, a newly-emerged subgenre of EDM, as well as a rapid increase in ecstasy and LSD. It was called the Second Summer of Love, and this short film of the same name serves as an entrancing visual poem of the bombastic scene. Aside from the heavy focus on the subject matter, there is a plot which follows a group of pre-skinheads attempting to join the scene by extortion and violence. This amounts to growing tension as their behaviour turns more and more unpredictable, which makes for some intense but ultimately forgettable melodrama. The short’s visual style is, on the other hand, eye candy. With an Academy-styled ratio, it stands out to an extent. Imagine Grand Budapest Hotel without the wide colour pallet and perfectly aligned shots. But this is not an insult to the short. Its primary use of white, shot exclusively indoors, is wonderful to look at. Rooms are full of haze and the colour of the walls are paralleling the smoke. Maybe this was supposed to pertain to the famed acid house album The White Room, which revolved around the titular place as a means to contact ‘eternity’. This gives the short a consistent feel and a stylish identity. Although the plot is clearly not a highlight, it raises an interesting contradictory statement of that time in the late ‘80s. The period was described as a ‘summer of love’, and yet the story revolves around a group that commit things that are the complete opposite of love. What is conveyed instead is both the impact of hatred on everyone involved and the toll of the drugs’ elevated effects. Those effects, of which, are psychologically implemented to a tee. Expressionistic sounds are used to immerse the viewer in the characters’ state of mind - the paranoid, heightened-but-distorted type. As an effective result, the film invokes a sickening and disorientating effect, but in a good way because it allows the viewer to empathise with the characters. Second Summer of Love is ultimately a piece of style over substance. It may have some believable acting (most of the actors employed character analysis methods), but plot threads go nowhere. Primarily, it is both a love letter to the acid house scene and a representation of the reality after the partying and induced psychedelia. Amid all its good points, one thing’s for certain - you will surely be spacing out to Second Summer of Love’s mesmerizing visuals. Read more Film Reviews here. Or watch Short Film Trailers on our dedicated Film Channel. #ShortFilmReviews #LorenzoLombardi #ShortFilms #ShortFilmTrailers #FilmReviews #PabloFuentes

Directed by Vadym Shapran Starring Andriy Anisimov, Vladimir Zubkov Short Film Review by Monica Jowett Short comedy that pokes fun at the stereotypes and tropes of Hollywood films, as well as the clichés of a badly made student film, Must Escape, from first time director Vadym Shapran, cleverly uses self-reference to create a comedy that provides many laughs about the conventions of student cinema and filmmaking. The script makes this short film shine. As the film opens with a narration about Peter (Andriy Anisimov) we could be forgiven for thinking it is just another short film, with noir style black and white cinematography, but that is exactly what Shapran and screenwriter Shaun Graham want the audience to believe. But as Peter answers the phone and starts talking, we know he too is aware that it is a short film, and the clichés of swearing, smoking and breaking the fourth wall are brought into focus. As the film continues, it hilariously jests about the stereotypes of randomly using a gun, café settings, the protagonist talking to themselves in the mirror and more. As the film continues to be more self-aware and meta, the better it gets. It is not just the conventions that are mocked, but also the genre. From simply changing the settings, lighting, editing, cinematography and music, Must Escape has brought the clichés of thriller and horror genres to the table too, of which Peter is also aware. Peter, in a perfect stereotypical way of a Hollywood film, is the reluctant hero and his friend Buddy (Vladimir Zubkov) pushes him into enjoying being part of the film. Anisimov and Zubkov show a great chemistry and comic timing, despite they are doing the film in English, not their native Ukranian. In addition to the comical side of the film, it is interesting for a passive viewer to be continuously made aware of it being a film. The comments Peter makes about his place in the short film brings the things he comments on into close awareness. The cinematography and editing, all cleverly done, is a perfect reflection of what it is like in a Hollywood film of that genre, particularly the ‘psychological horror’ sequence. A film that is self-aware can sometimes be hard to pull off, which is why it is not often done in Hollywood, and is frequently attempted in student films. Must Escape seems to have done what many other films fail to do, and the outcome is funny, charming and the filmmakers should be proud of their achievement. More Short Film Reviews here. Or watch some Indie Film Trailers on our Film Channel. #ShortFilmReviews #MonicaJowett #ShortFilms #IndieFilmTrailers #VadymShapran #Filmmaking #Comedy #FourthWall

Filmmaker Feature Interview by Chris Olson Recently I had the pleasure of watching a beautifully made short film, called Lady in the Park, and was luck enough to interview its star (Peter Warnock) and director - Serena Chloe Gardner. This is my interview with Gardner, who talks period filmmaking, mental health issues, and the eternal issue of filming on location. How would you describe your film, Lady in the Park? Lady in the Park is the story of Alex Wilson, a cafe owner in the 1960s struggling to bring up his family. When his cafe begins to decline, his world starts to fall apart beyond his control and no matter what he attempts to do to 'right the boat' so to speak, it all still goes wrong regardless, which ultimately leads to his family's tragic demise. Why did you want to tell this story, set during this time period? Well for a few reasons. My films have a mental health awareness theme and this film was based on a true event which happened and I was always fascinated with news clippings where you read "Loving father shoots entire family and then himself" (not necessarily a spoiler everyone!) but then you'd read another excerpt from an interview with a neighbour which said "I never saw it coming, they we're always such a happy family" - so then the question arose - "How does this sort of thing happen to a seemingly happy normal everyday family then?". You don't have to be a serial killer or depraved to commit such a violent act. There are so many reasons and lots of situations which spiral events which are beyond our control and your mental well being plays such an important role in society today but is rarely talked about or discussed. To emphasise the importance of this I chose to set the film in the 1960s when people discussed mental health issues like depression even less than today and you were very much, especially men, told to "man up" and to keep your feelings in. This lead to many people feeling isolated with their issues and felt like they had nowhere to turn. So with the 1960s setting this made storytelling of this issue easier to highlight the way I wanted it to be shown. Not to make you feel sorry for what you may think is an awful person or act but for the situation that could happen to any one of us and to keep sharing, loving and keep unconditionally caring about one another and accepting our friends and loved ones which I feel we're losing in society today too. The aesthetic of the film is brilliantly done. When you were approaching the different elements of the film (music, editing, visuals), was there any specific theme or idea that you wanted to tie them together with? I worked with a brilliant composer for the music, Patrick E. Fagan who really understood the characters journeys and importantly that music carries emotion and this is a highly emotive film so I wanted the audience to experience the waves or the highs and lows as the film flowed. I was especially keen to separate the difference from making a 60's film to a film that happens to be set in the 60's. Meaning I didn't want all the music to be 60's themed...we have it with the radio in the cafe helping to set the 60's scene and if you listen closely even a news radio article on the arrival of The Beatles but it was important for me that these music themes were kept separate for storytelling purposes. Aesthetically it was immensely important that the detail in front of the camera from sets to costume, props; the money in the till in the cafe was specifically 1960's so we spent a year making sure that all of it was. Every single thing you will see in the film is original 1960's and was super hard to find (especially that till!) but I did this because it makes my job as a director so much better when the actors really feel the world I am asking them to immerse themselves in. I also had a really good cinematographer too, Jason Weidner, who was on hand to light and frame everything and make sure we were visually getting the period and the world to look just right on screen and keeping out any modern items that would suddenly jump out so we didn't have to increase the editor's time in post. Some of the themes in the film are quite heavy. Did you feel any sense of pressure representing them on screen? Our film was based on a true event that happened in Birmingham that I've known about since childhood so it was really important that I found the right actors that could represent them so closely. We spent six weeks in casting and had over 400 applicants for the two main parts but luckily we cast Peter Warnock and Jemma Lewis as the two main leads who were just phenomenal actors. We rehearsed over two weeks and they came along and did some extensive character workshops with us to the point that when we got on set they were those characters! I was hugely delighted with their performances and believe the connection they made with them in rehearsal really made them stand out on screen. Often filmmakers tell us that they face issues when it comes to making their movies. Did you experience any difficulties making this short film? Oh gosh yes! Mainly locations, setting something in the 1960's means that locations with period detail are hard to find and even harder to rent on a limited budget but we did manage it...but we also had a bit of a nightmare. We had one location where we had our film permit, booked six months in advance of the shoot, we're all ready to go but we turn up with a cast and crew of 30 people and no one knows anything?! Turns out the manager of the location (who happened to also not be there that day) had written it in the diary for the next month - despite confirming earlier that week to us that all was still fine! Luckily after frantically waving our permit around for 20 mins to the poor lady at the reception she kindly offered to stay late while we filmed (hurray!)...but we had to wait for the last tour group to go through...45 minutes later we could start! We got it done though but it was a bit of a nightmare! Sounds it! Who, if any, would you say are your filmmaking and/or story telling influences? Gosh I have so many influences I'm a huge James Cameron and Katherine Bigalow fan - their storytelling mesmerised me as a child...but as a grown up I also love the real world storytelling of Ken Loach and I also love the stylistics of Lynch and Winding-Refn and I love the genius of Edgar Wright....okay that's too many....I just love films! You can never have too many. What do you have planned next? I actually already have a new short film in the pipeline called Blackout. It's the story of a talented young carer called Grace Ryan who is growing up on a council estate in London and looking after her sick mum. She wants to be just like her friends and is a a brilliant artist but can't escape the abusive cycle that she's living in. I've always wanted to highlight the plight of young carers in our society because they do this bloody amazing job of looking after an ill parent or sibling and often have huge adult responsibilities way beyond their years but their voices often go unheard in favour of the ill parent/sibling. So this film is for them! To let them know how brilliant they are, that they can still be anything they want to be later in life and this journey will just make them stronger! What would you say if you were a dolphin? I would say "Flabber Dabber-ree Doo!!! Flubba-Dub!" because I always imagine a dolphin's favourite TV show is Scooby-Doo and they all watch it on a Sunday underwater with their friends :) Read some of our Short Film Reviews here. Or watch some Short Film Trailers on our dedicated Film Channel. #Interviews #ChrisOlson #FilmmakerFeature #FilmmakerFeatures #ShortFilms #ShortFilmTrailers #SerenaChloeGardner #PeterWarnock

★★ Directed by David Woods Starring Shane Sweeney, Gemma Woods, & Heather Darcy, Indie Film Review by Evie Brudenall Although Till Sunset sounds like it could be a spin-off of Richard Linklater’s Before trilogy, don’t mistake the romantic title for a sweeping, loving drama as ardour is the furthest thing from director David Woods’ mind. Think more ‘violence in the woods’ than ‘long walks on the beach’. After a blow to the head, Sean (Shane Sweeney) inexplicably wakes up in a wooded area, disorientated and confused. His fears aren’t soothed by his two companions, Kerry (Gemma Woods) and Beth (Heather Darcy), who have also found themselves stranded in the forest with little memory as to how they got there. As the desire to leave becomes even more urgent, Sean, Kerry and Beth experience visions that could explain everything. From the very first frame, mystery is introduced; after hearing the utterance “till sunset”, Sean is attacked by an obscure figure, setting into motion the relentless ambiguity. The narrative is mainly explored through the perspective of Sean, so like him, we question every little detail and piece of information that Kerry and Beth present him with, considering whether or not they are withholding any crucial elements. However, we ultimately begin to distrust Sean’s judgement and perception as he experiences visions that may or may not be figments of bizarre delusion. Beth acts as the newest arrival to the trio of supposed victims and her distressed state heightens and stirs the bubbling tension. Beth’s cryptic clues and evasive references to “the shadows” creates significantly more confusion than it solves and we’re left feeling exasperated by the unforgiving plot. Subsequently, the dialogue feels repetitive and cyclical in its nature; there’s only so many times you can hear variations of the same interrogatives and receive familiar, non-distinct responses before you stop caring about the intention behind the questions altogether. As Beth rambles in riddles, we’re given the continual implication through severely fragmented recollections that these three central characters are intrinsically connected and their memories hold the key to unlocking the conundrum; though perhaps Sean’s retention is more valuable than Kerry or Beth’s. Unfortunately, the editing and transitions between the present situation and the character’s flashbacks/visions is jarring and cheaply sewn into the fabric of the indie film. The visions themselves are nonsensical and simply head scratching, but the original music composed during the sequence creates the desired tension that the convoluted picture fails to generate. The joy for audiences of watching mystery thrillers is that we can fathom our own theories and cast our own predictions based on the information that’s given to us. But when the information is disjointed, that fundamental joy is taken away. As you think you’re inching closer to assembling the pieces of the mystery, the metaphorical rug is pulled out from under you, sending the puzzle pieces flying up into the air. The frequency at which this experience occurs becomes frustrating and you surrender to the fact that you’re unlikely to ever crack the enigma that is Till Sunset. Big on aspiration with an intriguing premise, Till Sunset is regrettably an incoherent mystery tale that raises many more questions than it answers. And, boy – will you want those answers. More Film Reviews here. Or Watch Indie Film Trailers. #IndieFilmReviews #EvieBrudenall #IndieFilms #Horror #IndieFilmTrailers #WatchIndieFilmTrailers #DavidWoods #RichardLinklater

★★★★ Directed by Clint Eastwood Starring Tom Hanks, Aaron Eckhart, Laura Linney Film Review by Evie Brudenall Clint Eastwood directing. Tom Hanks starring. The utterance of this collaboration between two true American cinematic icons is enough to get any film fan’s senses tingling. Factor in the “based on true events” element and the adherence to the recent Hollywood trend of depicting a biographical snapshot of a person’s life, and Sully is a sure fire success. Does the film live up to its immense potential? On January 15, 2009, Captain Chesley “Sully” Sullenberger (Tom Hanks), as US Airways Pilot and his First Officer, Jeffrey Skiles (Aaron Eckhart), board a routing and typical flight. However, mere minutes after ascension, a flock of birds render both engines powerless and Sully makes the decision to land the aircraft on the Hudson River. Miraculously, everyone on board survives and Sully is hailed a hero, but the investigation carried out by the National Transportation Safety Board that ensues casts a shadow of doubt over Sully’s actions. Sully succeeds on many levels, but the casting of Hanks as the titular character was an inspired choice. Having arguably America’s most beloved actor portray the heroically humble Captain Sully, an undeniable saviour and the most likeable man is the perfect partnership. As the narrative unfolds, Sully begins to question his decision, despite saving over 150 lives on that fateful day, and is wracked with PTSD. As an audience, we are positioned to feel sympathy for him over and over again and we almost want to become one of the Captain’s many adoring strangers and give him a quick squeeze of appreciation ourselves. Eckhart provides an excellent supporting turn as Skiles, Sully’s co-pilot and ultimate defender. Interjecting the majority of the film’s levity and being a great champion of his colleague, the bond between the two characters (and inherently the real life figures) is heart-warming to behold. Although this is Sully’s story, he chivalrously reminds everyone that the miracle that happened that day on the Hudson River was a collective effort. From the air stewardesses who guided the passengers to safety, the passengers who complied so helpfully to the quick response times and efficiency of the respective rescue services, the collaboration of everyone that day led to the survival of everybody on board and was the purest demonstration of human goodness. Highlighting the lives of a select few passengers was a welcome inclusion and reminded us that these people are more than just a statistic, and significantly heightened the suspense – even though the outcome is no secret. Sully’s PTSD manifests itself as nightmarish visions of planes crashing into the buildings of New York, and the memory of 9/11 glaringly looms over these apparitions. It’s in these sequences where the reality of Sully’s quick-thinking actions really hit home – the alternative outcomes are too painful to reimagine and we wholly appreciate the risks that are taken every time a plane’s wheels leave the runway. However, although the event is largely perfect for adaptation to the big screen, due to the short time period in which it took place, the script can feel stretched as if there’s simply not enough material to sustain the piece. For example, the scenes illustrating a young Sully and his first piloting experiences show us just how skilled and practiced he is, but are obvious story telling tools to fill the film’s runtime. Arguments have been made regarding whether the tale is better suited to a short film; whilst these arguments are justified, the feature length format afforded the filmmakers an in depth insight into Sully’s psyche and tribulations following the crash. Something a short could not have successfully achieved. Scripting issues aside, Sully is a thoroughly engaging and powerful watch from an actor and filmmaker who are at the peaks of their creative prowess. In the film’s closing moments, a board member asks Sully and Skiles, “Is there anything you would have done differently?” The answer in regards to the film: no. There isn’t. More Film Reviews this way. #FilmReviews #TheatricalReleases #EvieBrudenall #TomHanks #ClintEastwood #AaronEckhart #LauraLinney

‘Meek Marianne’ directed by Blake Fitzpatrick ‘La Petite Mort’ directed by Aaron Burk ‘Hollywood Hospitality’ directed by Brad Paulson Starring Tiffani Fest, Blake Fitzpatrick, Peter Lofstrom and Andrew Mandapat Indie Film Review by Catherine Pearson Trilogie de Tragedie is an indie film comprised of three individual stories, all distinct in narrative but tied together by the same leading actress (Tiffani Fest) and the theme of tragedy. The first of the three short films, Meek Marianne, shows the coming together of two strangers whose lives intertwine and interests collide in a dramatic finale. The second film La Petite Mort, by stylistic contrast, is a narrated short that begins with shots of a man tattooing his own body and opens out into a full and frank exposition of his personal life. The third and final film, Hollywood Hospitality, follows the story of a young, homeless, failed actress who is taken in by a passer-by, an opportunity she takes full advantage of whilst remaining suspicious of him. The trilogy of films has evidently been inspired by the aesthetics of French New Wave cinema. Not least because all three parts are shot in black-and-white, there is clear experimentation with film form occurring, with sudden jarring close-ups, snappy editing and effects that appear to simulate the imperfections of 35mm film on the digital image. In the first short film there are moments when the entire image switches to negative for a few seconds and the layering of two images, one on top of the other, is played with. The narratives of the three stories also echo the subject matter of the New Wave films, addressing social concerns from street-level in the case of ‘Hollywood Hospitality’ and looking at the lives of those who are rejecting the convention in ‘Meek Marianne’. Of course it cannot escape notice that the film, despite being filmed in America and performed wholly in the English language, has a French title and in addition runs French subtitles throughout all three parts, all of which are introduced in French titling; a clear stylistic choice to pay homage to its inspiration. The issue that arises from the use of subtitles and experimental effects is that the frame can get very ‘busy’ at times. In the introduction to the first film the screen is initially filled with the title of the film in French, the acting credits and French subtitles for a spoken soundtrack that plays over the top. It is difficult to know where to focus. In a similar way we are next introduced to the image of two characters layered on top of each other whilst the subtitles cut across the bottom of the screen. Of no benefit to an English-speaking audience, they soon become an interference that can disrupt the image when the focus of the shot is in the lower portion of the frame. Tiffany Fest’s strong acting carries the film and adds cohesion to the three very different stories. Each story has something striking about it to engage its audience; the first has a strong plot, the second some great visuals and the third an unexpected character development. However, it is difficult not to wish that the editing had been more ruthless as there are moments, particularly in the final instalment, where the script continually covers the same ground in the form of dramatic monologues that become quite relentless. Trilogie de Tragedie has some hits and some misses but ultimately has bold intentions and admirable creative flair. More Short Film Reviews here. Or watch Indie Film Trailers on our dedicated film channel. #IndieFilmReviews #IndieFilms #CatherinePearson #FrenchCinema #BlackandWhite #IndieFilmTrailers #WatchIndieFilmTrailers

Filmmaker Feature Interview by Chris Olson Star of the short film Lady in the Park, Peter Warnock, took some time to talk to us about his experience working with director Serena Chloe Gardner. He also discusses the actors he would most like to work with, his man crush on Pierce Brosnan, and what he would say if he were a dolphin. What can you tell us about your character, Alex, in the film Lady in the Park? He loves his kids above all else and tries his best but is overwhelmed by the situation he finds himself in. How did you arrive at being in this short film? Total chance! My world is 95% voice-overs, video games and teaching. Every few years I think about doing more theatre as it’s my first love, but the chance of doing this project was luck for me. Serena got in touch with me and I got lucky. Serena is 100% an actor’s director and she made the casting session about the story. I am also a very physical actor and she knew how to turn that tap on and off. Serena is quick thinking and that is so refreshing. Did anything specific about the character attract you? Trying to show a man’s love of his family and his destruction in 15 minutes without being sentimental. There is an incredible journey for your character during the movie, which demanded a lot from you as a performer. How did you feel portraying such an emotional storyline? I cannot say how much I enjoyed being on set with the perfect crew, cast and extras. I think Serena had to stop me smiling a few times. I like to laugh between takes. I think we only did one or two takes in every set up. I would not like to do that type of emotional journey every night on stage… you need to let go of that kind of energy really quickly. Film really allows you to explore that rage and let it go too. What's your opinion of acting in short films? Do you enjoy the process? and how does it differ from other forms? I like that the medium is fast! I really like it when you get an organised team of talented people together, crew, clever giving actors and kit that works! I think 20 years ago, acting in TV was so slow - we spoke really slowly, the camera described everything a bit too much. Short Films are just like a 30 second voice over: every visual and word has to be just right. I did 4 shorts in the last two years, apart from this one (LITP), each had a degree of organisational problems. I think the process for Serena was a lot longer and more complicated but it made the process for me as an actor much more enjoyable because she was so organised. Who would you most like to work with and why? Oh God! that question. Serena again - in the blink of an eye. Ed Harris - mesmerising. Clint Eastwood - efficient and brilliant. Bill Murray - I would laugh all day. Denzel Washington - he inspires me. Pierce Brosnan - I have a man crush! Judi Dench - I would love to be on stage with her in anything. But I get completely tongue-tied when I see actors I hugely admire and run away! Do you have any advice for young actors? Read, read and read everything you can to feed your experience and imagination. What’s next for you? Voice overs and I am planning a theatre project next Autumn What would you say if you were a dolphin? "Darn that propeller, ouchcy. I mean click click click. Oh shit People are pointing again." To find out more about short film Lady in the Park visit their website - http://www.secretgardenpictures.com/ Read more of our Filmmaker Features and Interviews. #Interview #ChrisOlson #FilmmakerFeature #Interviews #PeterWarnock #SerenaChloeGardner #ShortFilms #ShortFilmTrailers #Filmmaking #Acting

Directed by Richy Jacobs Starring Richy Jacobs, Anthony Ray, Josh Margulies, Alan E Ramos and Meosha Bean Short Film Review by Catherine Pearson It Was An Accident is an interesting glimpse into American police culture and the concepts of blame, guilt and morality. When cops Sam (Anthony Ray) and Roy (Richy Jacobs) respond to a call in an office building, they find themselves faced with a young man aiming a gun in their direction. Sam acts immediately and according to his duty, shooting the perpetrator. The film follows the fall-out after the accidental killing of the young man and looks at the effects that such action can have on one’s mental health, personal and work relationships, and future. It Was An Accident presents its two central characters, Sam and Roy, as loyal partners and honest police officers who understand the importance of their oath and the gravity of their actions. This is set up very early in the indie film with the portrayal of the two men handling and wrestling with the implications of what has happened; whilst Sam is shown with his head in his hands, Roy thanks him for acting in his defence before ‘calling in’ the incident as per protocol. It is crucial to the story that these two characters are established as ‘the good cops’ from the offset, allowing the audience to then judge the response from the board of superiors that follows and form an opinion surrounding the handling of such tragic events by the police. Anthony Ray’s performance as Sam is very believable; he is suitably troubled and subtle in his grief and his expression often speaks volumes where the script need not. There is a clunky moment of dialogue in which Sam utters “I shot a kid, I can’t believe it” to himself; a line that could have easily been replaced with a close-up on his face to convey his deep trauma. Richy Jacobs, seen here in a far more collected and assertive mode than his character in Hard Requitals, is very strong in his role and balances his part well between key witness who has no qualms with arguing with his superiors and friend who must down-play the event to his colleague to keep him sane. Josh Margulies and Alan E Ramos, too, perform well in their roles as the superiors to whom Sam must answer and arguably present the ‘old’ and the ‘new’ style of policing in their interrogation of Sam. The camera work is largely very effective with the short, frantic shots of Sam’s face following the incident enhancing the impression of his declining mental state. Whilst the camera work assists in this case, however, the film quality does suffer with some hand-held camera action scenes when compared to the sharpness of the static sequences between Sam and Roy. It Was An Accident is not without its dose of melodrama and occasional uneven sound, however it does engage with some really interesting material. The fact that the victim of the shooting is a young African-American man is no coincidence and, likewise, the board members being white males allows for plenty of audience interpretation. It is interesting to see a take on this issue where the response from the police is evidently wholly correct and the killing wholly accidental. The nature of the police “accident” here is very different to that in Ryan Coogler’s Fruitvale Station and whilst the recent documentary 13th highlights the role of the police in branding black male youths as criminals, the police officers here have no such prejudice. In fact, officer Sam is in many ways a victim also; a victim of his duty and his own moral conscience. More Film Reviews can be found here. Or watch Short Film Trailers on our Film Channel. #ShortFilmReviews #ShortFilms #CatherinePearson #Crime #RichyJacobs #Drama

★★★ Directed by Ben Younger Starring Miles Teller, Ciaran Hinds, Aaron Eckhart, Film Review by Sean Drake The opening sequence of Writer and Director Ben Younger’s Bleed For This is perhaps the most fitting of openings for a film that aims to depict the story of a man who, regardless of the circumstances, chose to do things his own way irrespective of what he was told. Arriving late to the weigh-in of a title bout against Roger Mayweather because he was trying to shed those last minute pounds, tells us exactly what we need to know about our protagonist from the start. He’s different and that’s how he’ll succeed. Miles Teller, star of the fantastic Whiplash (2014), and the not so Fantastic Four (2015) takes up the role of world champion boxer Vinny Pazienza. It’s an inspirational comeback story, about an overly confident and extremely talented athlete whose career is placed in jeopardy after a serious car crash breaks his neck. Forced to relinquish his title, Pazienza is told he’ll never box again and is medically advised to have his spine fused. Not ready to give up on the thing he knows how to do best, he refuses the surgery, determined to return to the ring. When you break down Pazienza’s story, you have the perfect formula for a Hollywood biopic, and in many ways Bleed For This gives you everything you’d expect. Unfortunately it was always going to be a difficult task to produce anything that was going to advance the boxing genre in any way, having said that, Ben Younger (Boiler Room, 2000) gets a lot right with this picture. The casting choices are particularly strong, with some great performances across the board. Teller manages to capture elements of Pazienza’s cock-sure attitude, both inside and outside of the ring and it is in these moments that he is at his best, charismatic and charming. Ciaran Hinds (Game of Thrones) whom plays Vinny’s father/manager Angelo Pazienza is one of two standout performers; alongside the consistently brilliant Aaron Eckhart; who effortlessly steps into the role of Vinny’s straight talking Coach Kevin Rooney. It is through these two characters that we witness the true depth and effect of Vinny’s plight. Angelo is perhaps affected the most by Vinny’s accident, and Hinds captures this with great sincerity and emotion. Fired as Mike Tyson’s coach, Eckhart’s character Kevin Rooney has as much to prove in this story as Vinny does. When the two meet they are both desperately looking for a win to get their careers back on track, and as events unfold it is this non-blood related relationship that overshadows the rest. From a directorial point of view Younger makes some sophisticated choices. He makes a conscious effort to allow the camera to remain still when the contents of the frame are enough to sell the message of the scene. In combination with some hard-hitting use of sound, the two techniques allow the images and their intentions to resonate with the viewer whether the action is taking place inside or outside of the frame. It’s good to see Younger back at the helm of a feature film, and overall it’s a fairly solid return. The main gripe many may hold against Bleed For This is possibly a lack of connection with Vinny’s personal journey; despite the intense physical trauma he endures he’s always so confident of his comeback that it’s hard to ever doubt him. By the end we’ve seen more growth and change in his family and friends than we have in Vinny. The family bond of the Pazienza family shines throughout, and Younger’s choice to emphasise this bond is a smart one. The audience quickly come to realise that every hit Vinny takes, is a blow to those who care most about him. For all the moments that Bleed For This does right (of which there are many), by the time the credits roll it’s very difficult to shake the feeling of just being underwhelmed by it all. This may be more of a comment on a genre that has likely become too predictable and formulaic than the film itself. More Film Reviews this way. #FilmReviews #TheatricalReleases #SeanDrake #Boxing #BenYounger #MilesTeller #CiaranHinds #AaronEckhart