★★ Directed by Lee Chambers Starring Presley Massara, Carl Bailey, Priscilla-Anne Forder, & Wayne V. Johnson, Indie Film Review by Andrew Young There is something about the Action genre that seems to make it ripe for cliché. The same tropes trotted out again and again and largely similar action played out time after time. It is a trap that is easy to fall into without some deeper observation of character, greater thematic weight or technical flair – visual invention or plenty of wit in the script, for instance. It is a trap that Lee Chambers’ The Pineville Heist sadly falls into. It appears to offer a string of solidly made action sequences and a few twists without doing enough that is new or noteworthy to really elevate the indie film. However, it should be noted that there is the odd moment that transcends the rest of the movie. The narrative follows high-schooler Aaron (Presley Massara) after he stumbles upon two rather large bags of cash following a robbery at the local bank. He then retreats to his school and spends the rest of the film on the run from Carl Bailey’s snarling villain, whilst trying to protect his teacher Miss Becker (Priscilla-Anne Forder). There is also the added dimension, although sadly not a particularly developed one, of Aaron’s apparent bastard of a father, played by Wayne V. Johnson as an inconsiderate money man who is far more concerned about reclaiming the money taken from him in the heist than by Aaron or his love of acting. It is a theme that feels like it has been taken straight out of Dead Poet’s Society and thrown in to make it seem like the film is not just mindless action. Having said that, it makes Aaron more of an outsider who values his teacher as the only authority figure he can trust, allowing him to become an engaging and likable protagonist. Sadly, this is somewhat hindered by slightly stilted delivery from Massara, although it must be acknowledged that he has to carry the film and doesn’t have much to work with in the way of dialogue. A lot of it is a bit too on-the-nose, meaning that it jars the flow of the film and prevents much chemistry building up between the actors. It is factors like this that prevent The Pineville Heist from even being a slick-but-generic action picture. The score by Fabio Acri helps the action to zip along nicely for stretches but then at times feels misplaced, the music signalling one tone and the visuals another, which, like the dialogue issues, draws the viewer’s attention away from the high-stakes action unfolding. It is harder to care whether a character lives or dies when we are not fully immersed in their story. It is also harder to care when they are not complex, well-drawn characters with the depth to make us consider their value as people. Chambers and co-writer Todd Gordon plunge straight into the action, making for a lengthily gripping approach, but it is at the expense of the characters. There are a few social observations early on and the entanglement of money and violence throughout is commendable but for the most part, great complexity isn’t really present, thereby removing genuine drama from the film. One exception to this could be the character who at first seems the most one-note, chief villain Sheriff Tremblay, played with suitable levels of snarl by Carl Bailey. He grunts his threats behind barely concealed violence and there is a lack of articulation present in his character. Take this in conjunction with his first appearance struggling to control a room of smart-ass kids and you have a character who is perhaps masking the pain of being unable to communicate and subtly mocked for it – violence may be his only outlet. Nevertheless, this is not explored in any great detail and gives way to more basic motives later on. The action itself, which occupies most of the film, is solidly executed, with the odd scene, particularly an early death scene that is full-on in its disturbing content, being more than just “solidly” effective. The school also makes for a nicely claustrophobic location for the narrative to unfold in, particularly so when compared to the beautiful natural expanses of the opening; credit must go to cinematographer David Le May for his shooting of the film. Perhaps what is key to a film that aims to thrill like The Pineville Heist are the twists the writers throw in there. Here, Gordon and Chambers include a mixture of clever and surprising, somewhat predictable twists and one, right at the end of the film, that is both unexpected and has great implications for the film as a whole. It is a twist which changes our views of the characters and could introduce potentially fascinating themes, but because it happens so quickly before the credits roll, it instead feels like just another plot-twist when it could do with more time to develop and really hit home. Still, it is a surprising ending that merits some praise. However, all in all, The Pineville Heist is a disappointingly mediocre affair that, with some more skill and ingenuity in its delivery, has the makings of a good film. Sadly, without major surgery on the script, it is unlikely ever to be truly great. More Indie Film Reviews this way. #IndieFilmReviews #AndrewYoung #IndieFilms #ActionFilm #LeeChambers #CarlBailey

★★ Directed by Gavin O'Connor Starring Ben Affleck, Anna Kendrick, J.K. Simmons, Jon Bernthal, John Lithgow, Cynthia Addai-Robinson Film Review by Kieran Freemantle The action-thriller The Accountant is a film with high ambitions, wanting to be a smart, mainstream thriller and a serious look at a learning disability. It has divided critics whilst movie fans have been a lot more receptive. Christian Woolf (Ben Affleck) is a man with high functioning autism and is a maths genius. He is also highly trained in deadly skills like martial arts and sharp shooting due to his army officer father being of the mindset that this would be a better way to deal with his condition. Christian has used his skills to become a forensic accountant for various criminal organisations around the world. The authorities are closing in on Christian, so he takes up a legitimate client, a Chicago based robotics company: but it turns out the 'legitimate' work can be just as dodgy as the mafia families and drug cartels he has served. It has been quite a year for Ben Affleck, he has starred in two major films that have not been well received but he has been praised for his performances. Playing a character with a condition like autism requests a great skill to do it justice and Affleck manages to do that - he gets the nuances like lack of eye contact, and coming across seemingly emotionless when the reality is he's not sure how to process his emotions. Some humour comes from Christian having no filter - so he has no problem saying things that people find upsetting. Due to his size and physique, Affleck was perfectly convincing in the action sequences. The Accountant is attempting to be like Steig Larsson's Millennium Trilogy, both focus on a hero with incredible analytical abilities but poor social skills, having their own moral code and being centred around a big conspiracy - showing that industrialists can act like big gangsters. The Bourne series is also an influence on The Accountant because of the flashbacks to Christian's childhood, showing the training he underwent, his troubled home life and his career in the criminal world. Christian also gets his assignments from a mystery British lady over the phone, similar to how Agent 47 receives missions in the Hitman games. The major problem with The Accountant is it takes itself too seriously - it's a silly premise but wanted to come across as an adult thriller. The Accountant was directed by Gavin O'Connor, a filmmaker who has made some solid movies during his career: Miracle, Pride and Glory and the excellent Warrior being examples, whilst he was able to salvage Jane Got a Gun which was a notoriously troubled production. The Accountant is O'Connor's least interesting film - partly due to the subject manner - financial crime is hard to make compelling on screen. Nor is the film as action-packed as it should be. There are some solid action sequences, the finale sees Christian become like The Professional in Leon and there should have been more. Weirdly the best fight is when an Indonesian martial arts master beats the crap out of two kids. Another issue is the screenplay: I am going to steal a joke from the video game critic Ben "Yahtzee" Crowshaw when he reviewed Daikatana: the film was written by a real go-getter, he didn't let his inability to write a story get in the way of him writing a whole bunch of stories. There is too much going on that doesn't even play a major part of the plot: the subplot involving J.K. Simmons and Cynthia Addai-Robinson as Treasury agents were so perfunctory to the events involving Christian that they could have been cut from the film and it wouldn't have made a difference. The dialogue was mostly expository - people explaining information which isn't the making of an interesting thriller. The film comes across as an adaptation to a novel that doesn't exist. The Accountant has an impressive cast - even if some of them are wasted. Anna Kendrick is her likable self and adorkable as Dana, a junior accountant who first discovers that something sketchy was happening at the robotics firm and grows to like Christian - she's the ordinary person thrown into an extraordinary situation. Jon Bernthal plays an assassin and fixer for various criminal enterprises and there is a twist in his identity that is easy to guess early on. John Lithgow as the head of the robotics company was a standard role that he could play in his sleep. The Accountant has a great cast and Affleck is shaking off his bad acting reputation, but everyone involved has made much better films in their career. The Accountant is a forgettable entry in their filmographies and 2016's poor slate of thrillers. More Film Reviews for your reading pleasure. #FilmReviews #TheatricalReleases #KieranFreemantle #GavinO39Connor #BenAffleck #AnnaKendrick #JKSimmons #JonBernthal #JohnLithgow #CrimeThriller #Autism

Directed by Joseph Wright Starring Valentin Shlyakhtichev and Charlotte Hayes Short Film Review by Catherine Pearson Lucidity is a visually striking look into how the unconscious is able to recreate the familiar in the form of dreams and play games with our precious memories. The dreamer (Valentin Shlyakhtichev) has a series of lucid dreams over the course of one restless night, each time treading familiar ground and each time coming across a woman (Charlotte Hayes) whom he is unable to connect with before waking. Joseph Wright has created a visually beautiful world in Lucidity; a world in which everything looks normal and yet there is something uncanny about it. The dreamer treads streets that would be familiar to any Londoner and yet it is clear that he is treading the line between reality and dream. The cinematography goes a long way in helping to create a familiar looking world in which something is not quite ‘right’. The blurring of scenic shots makes night lights and crowds of people unnaturally silent and distant whilst the camera’s shallow depth of field maintains focus on the dreamer in the foreground and his response to the dream; he is kept in sight whilst what we see of his surroundings can be at times limited. It is made very clear from Valentin Shlyakhtichev’s understated performance as the dreamer that the places within the dream are known to him. The decision has clearly been made to steer the narrative clear of confusion and fear at the dream to one of passivity and acceptance and Shlyakhtichev is hypnotic to watch. In this slightly distorted but familiar dream world he walks about with a calm curiosity and a numb acceptance of his reliving old memories; a muted look of wonder that could so easily have been overplayed. It is only when the character of the dreamer wakes that the flowing images are interrupted and the audience is effectively jolted into the familiar feeling of groggy uncertainty that most people will have experienced when they wake in the middle of the night. In this way Lucidity contains a point of reference for almost every viewer and therefore casts the audience under its spell, with the aid of mellow yet other-worldly music from James Green that wouldn’t sound out of place on a Café Del Mar album. There is a clear message from the filmmaker about dreams’ ability to alter memory and tamper with places that are precious to the dreamer. We watch the dreamer’s attempts to make contact with a woman from his past, an inaccessible figure that he hasn’t the control to approach despite his control to explore in the rest of the dream and it is as frustrating as when you wake up before the ‘good bit’. Have you ever tried to recall a place but the first picture that comes to mind is one from a recent dream of it? A place that was right but not right? Lucidity puts into images what we often try to put into words after we awake. More Film Reviews this way. Or Watch Short Film Trailers here. #ShortFilmReviews #CatherinePearson #ShortFilms #WatchShortFilmTrailers #JosephWright #FilmReviews #filmmaker

 ★★★★★ Directed by Denis Villeneuve Written by Eric Heisserer Starring Amy Adams, Jeremy Renner & Forest Whitaker Film Review by Dean Pettipher Ever since Mr Denis Villeneuve broke out into the mainstream Western cinema psyche with the superbly scarring chef-d'oeuvre entitled Prisoners (2013), not long after attracting prestigious attention for his BAFTA-nominated drama, Incendies (2010), the rapidly ascending star has consistently crafted works that above all make one think to their soul’s boundless satisfaction. Such a feat results from stories told on each occasion with Hitchcock-like suspense, agonizing tension and a fearless plunge into the debates that few dare to even whisper of in more open spaces of intelligent discourse because of a fear for brutal reprimands from others or, indeed, for the sheer amount of overwhelmingly uncomfortable possibilities that such discussions encourage, which, in the interest of experiencing as much joy in one’s brief existence as possible, are best left alone and unspoiled, unless a drastic shift in personal circumstances demands otherwise. Having shaken audience disposition to its core through uncomfortable and bone-chilling explorations of survival in the wake suddenly-stolen children within ostensibly peaceful suburbs with Prisoners, survival in the wake of a ruthless war in the shadows against drugs raging on the border between Mexico and the United States of America with Sicario (2015), as well as survival in the wake of discovering an exact look-alike in a movie with Enemy (2013), Villeneuve strikes again. On his grandest scale to date, he lands firmly upon Oscar-worthy territory yet again with Arrival (2016), a picture that dives into the exploration of humanity’s survival in the wake of an alien advent. Based on the short story authored by Ted Chiang, entitled “Story of Your Life,” screenwriter Eric Heisserer has penned an excellent science-fiction thriller, which, in an alarmingly beautiful illustration of serendipity, appears for many to be an allegory for the presently turbulent state of global affairs. Cast and crew assemble to transform the screenplay into an eloquent and gentle, albeit occasionally confusing, titan of its genre that rivals classics like 2001: A Space Odyssey (1968), Close Encounters of the Third Kind (1977) and Alien (1979). Similarly to those movies, Arrival highlights a connection between humanity and aliens beyond Earth in a manner akin to the link between humanity and the natural world within Earth. Just like the natural world, human beings appear here to be encouraged towards taking aliens more seriously, ensuring that they never allow arrogance to prevail and thus underestimate what they do not understand. Throughout the eighteenth, nineteenth and the twentieth centuries especially, Canadian literature was arguably the finest, most passionate philosophical investigation of nature. The Confederation Poets in particular revelled in seeking to accurately comprehend the Canadian wilderness. Some claimed that nature was an overall angelic force worthy of frequent celebration. Others urged readers to heed the stark warnings that nature had a malevolent mind of its own, which was intent on obliterating any explorers who were brave or foolish enough to attempt any sort of hostile takeover, or even a friendly visit. However, consensus amongst many Canadian authors ultimately emerged around the notion that nature was neither good nor evil but simply indifferent towards humanity. Consequently, nature could be enjoyed and appreciated with at least a small degree of caution. However, nature could also be lethal if messed with even in the slightest and people would misinterpret her ineffable qualities at their peril. A strikingly identical stance is taken with Arrival in relation to humanity and extra-terrestrials, which is a phenomenon both fitting and intriguing, not least because Villeneuve is a French-Canadian filmmaker. Moreover, Arrival was the film chosen for the Royal Bank of Canada Gala (RBC) that formed an integral part of the 2016 London Film Festival (LFF). For many more reasons than the undeniable fact that Jeremy Renner looked dashingly handsome in a sable-black tuxedo, while Amy Adams appeared more magnificently beautiful than ever as she glistened in the most perfect snow-white dress imaginable, those representing the LFF, RBC and all of the powerful institutions in-between made, without question, an excellent choice. The most uniquely impressive quality of Arrival is the orchestral soundtrack composed by Jóhann Jóhannsson. One specific section of the score, played during a highly-anticipated moment of grand revelation, never fails to inspire an at once frightening, and then strangely pleasurable, internally-rooted chills, even after the melody was proudly revealed for all to hear during the trailer in order to emphasize the sheer scale of the imposing stationing of alien vessels around the globe. Like the notoriously famed, ceaselessly nerve-numbing theme that the sensational musician, John Williams, composed for Jaws, the theme composed for the apparent alien invasion is a mellifluous, sonorous melody. The movie theatre descends into a bombinating vacuum the instant that Villeneuve and Jóhannsson unleash the track; the tune would very likely for some jar the ear towards an aching sensation beyond the context of Arrival. Yet, for the science fiction work for which it was conceived, the harmonies could, without a hesitation, not be deemed more perfect. Such faultlessness rises to the extent that one would not be at all surprised if Jóhannsson’s music developed an entrenched, defiant and ultimately permanent association with alien encounters of the more eerily uncertain sort in the same way that Williams’s aforementioned orchestral toil of genius forever reminds one of the dangers linked to the underestimation of sharks. The trio of acting champions headlining the best of humanity in Arrival perform with expert vocal eloquence and striking physical elegance in more or less equal measure. Amy Adams portrays the gorgeous, intelligent and people-focused protagonist with dove-like grace. Consequently, audiences witness admirable amounts of strength repeatedly come into contact with alluring degrees of fragility. For these intense forces, not unfamiliar to audiences in their awed entireties, rise and fall while raging against one another at various turning points of the story, within and without a fully-fledged and therefore totally-believable human heroine. The former quality propels Adams into the light of the ever-growing number of admirably strong-willed female protagonists who never fail to surrender their position in crucial matters of the heart or the mind without a fight in their male-dominated environments. The latter trait of Adams’s character aids highlighting of familiar flaws that serve to only make her that much more attractive. Moreover, the internal delicacy revealed leads towards an engaging exploration of how one copes with a tremendous loss in such a way, which, through pitiless trials and relentless revisits, can ultimately reward those who survive with an infectious strength of character. Jeremy Renner glows humbly within the soothing shadow of Adams’s leading role, delivering a familiar but finely-tuned and consequently no less compelling performance than the heroine whom he supports. Renner’s suave composure, in combination with his gentle sprinkling of witty remarks, allows his character to serve as the principle source of sporadic, feather-light comic relief for Arrival. Moreover, Renner creates an aura that burns defiantly bright with calmness and relaxation within the vast space filled by an almost totally-immobilizing suspense, which not infrequently overflows in the wake of the unnerving sensations encouraged by the sensitive dialogue between Renner’s team of human experts of various fields and their alien visitors. Finally, Forest Whitaker also delights audiences with a compelling performance. He expertly plays an integral supporting role, as a realist military officer whose noble intentions are clear, in spite of his outer professional coldness towards others and the often severely stern behaviours that appear clearly fuelled by such a war-hardened mentality. Albeit Whitaker does not venture into unknown galaxies of high artistic demand witnessed by audiences heretofore, most notably the pictures entitled The Last King of Scotland (2006), he nonetheless goes well-beyond the call of duty sounded by the material that he is given. The result is an undeniably strong and commanding character presence, which is no less compelling than Whitaker’s finest works to date, which range from the aforementioned movie about a notorious Ugandan political leader, to films that include Lee Daniels’ The Butler (2013), as well as appearances in television shows like ER (1994-2009). The three actors together induce audiences to aquiver at least a few times while they sit in their enchanted states of solitude. The impressive feat proves vital, particularly when the dialogue-heavy scenes occasionally indulge in tasters of both scientific and linguistic exploration that risk forcing uninterested viewers into a rapid descent towards total boredom. Villeneuve demonstrates with his latest project that he is a consistently incredible adept of the directing craft. Together with his teams of artists working in all departments, Villeneuve has never failed to produce film that is breathtakingly atmospheric. Moreover, the darker shades applied to the otherwise fairly vibrant colour schemes of the tasteful cinematography ceaselessly imply the presence of nefarious forces in the air ready to strike at any moment. Thus, the suspense and tension, prompted repeatedly by ever-rising stakes, appear entirely believable, even for those who do not typically relate in the most genuine sense to works of science fiction. While one hopes that Villeneuve might one day explore uncharted systems beyond his forte of the thriller, one may, in the meantime, become justifiably excited for his next endeavour, which is, incidentally, a hotly anticipated and long-overdue science fiction tale: Blade Runner 2049 (2017). Indeed, the words declared by Ridley Scott in relation to the completed script for the future blockbuster could comfortably be repeated when discussing Arrival as an illustration of Villeneuve’s directing ability. That is to say, “[he’s] damn good.”  The plot of Arrival is the greatest cause for stark division between those who ardently adored the movie and those who felt, with perfectly reasonable elaborations in their arguments, that the movie was at least a little overrated. Support for the former camp may turn to the wonderfully poignant opening sequence; the beginning of the story boldly establishes an essential, unbreakable emotional connection between the protagonist and her audience in such a way that has not been pulled off so brilliantly since Disney’s rather more flamboyant and cheerful animated film entitled Up (2009). For the former camp, however, truly felt connections with the movie’s characters do not compensate for the controversial twist and ending that provide much of the film’s longevity within audience hearts throughout the upcoming Oscar season and beyond. Controversy arises primarily because of the believability of major epiphanies and the exploration of debates between linguists and scientists, which, at times, can feel slightly contrived. On the other hand, examinations of language especially are presented via the silver screen through genuinely funny and at least ostensibly plausible analogies and well-composed oral deliveries of succinct elaborations in relation to principle ideas that are crucial for advancing either the plot or certain characters. Nevertheless, thanks to the plot’s numerous layers, Villeneuve has yet again chosen and succeeded in bringing to life a story that one wishes that one could see again and again, as if those viewings were repeats of the first time, so that one could once again celebrate the shock of various surprises, as well as appreciate being sincerely treated by Villeneuve and the team like intelligent audience members who thrive on the challenge complex stories with characters experiencing equally complicated internal skirmishes. The most damning blow to Arrival is the tragically-underwritten character played by Jeremy Renner. Certainly in comparison to the linguist portrayed by Amy Adams, the theoretical physicist that Renner raises from the page to the cinematic stage enjoys much, much less backstory revelation. Furthermore, the character also endures a much more shallow depth of character development. One also wonders whether or not he could have played an even more substantial part in the final act especially, so that his overall presence in the story did not seem expendable alongside its grand themes. One does not at all mean to mock when noting, with no sarcasm whatsoever, that Renner has had a decent amount of professional, high-profile experience with making the most of unjustly limited parts, especially within grand ensemble pieces, such as The Avengers (2012). Fortunately, yet again, Renner humbly treats the part as if every single word spoken and every minute movement made mattered more than ever to the film’s overall quality. In the end, then, while Renner’s character is not quite able to inspire a true state of limerence, Renner’s performance is more than strong enough to grant his character’s relationships with others sustainable amounts of credibility. It may seem like a lifetime has passed since Renner earned an Oscar nomination for the Best Actor award as a result of The Hurt Locker (2008). Moreover, his nomination for the Best Supporting Actor Oscar following his significant contribution to The Town (2010) may be all but completely eradicated from memory. In fact, the rapid succession of Marvel movies may have encouraged audiences to move on far away from Renner’s more prominent role in Avengers: Age of Ultron (2015). However, Renner’s critical success is definitely both well-earned and well-deserved. Somehow, he must be granted with opportunities to demonstrate the correct extent of his ability as an artist, ideally in the form of roles that allow for a showcasing of greater versatility than audiences have seen heretofore. For now, Renner dazzles through demonstrating the benefits of embracing the age-old concept of making the most of what one has, even when it is, at least in some noteworthy respects, not much at all. Villeneuve is fast becoming one of those directors for whom an international consensus is growing regarding the notion that his films deserve much more substantial levels of high-profile recognition for their artistic accomplishments than they have received to date. For instance, albeit the Oscar class of 2014 was bursting with magical productions and astonishing performances, for that particular awards season included landmark movies like 12 Years a Slave (2013), Dallas Buyers Club (2013), Rush (2013) The Wolf of Wall Street (2013) and Gravity (2013), without meaning to understate the significance of its nomination for the Best Cinematography award, Prisoners deserved an identically-great degree of attention as far as almost every other category was concerned, most notably the leading performances and the screenplay. Ultimately, however, the defiant telling of yet another story that basks in an emotional complexity and a uniquely vivid cinematography proves that awards are worth far less to the collaborators than the making of an exceptional film, which audiences will remember long into the future for the best of reasons. One motive for recalling Arrival in forthcoming conversation may very likely be its phenomenal examination of what unites and divides humanity, which Renner incidentally talked about at length, during the London Film Festival press conference for the film at the Corinthia Hotel in Central London. To that end, Arrival is this year’s best call for audiences into a soothing state of sonder, which in turn compels them to believe in ambitious but benevolent causes in such a way that achieves at least a few fleeting moments of collective unity across the world in particular, or individual enlightenment within one’s personal bubble. Such optimistic sentiments evoke words written by one of the more prominent Canadian Confederation Poets: “Awake, my country, the hour of dreams is done! Doubt not, nor dread the greatness of thy fate.” – Charles G. D. Roberts, “An Ode for the Canadian Confederacy” The handful of tenuous links to Canada shine because the nation to this day has endured vicious divides rooted in conflicts regarding nature, ethnicity and national identity for instance, which, needless to state, are of course not unique to any single nation. Fortunately, there have always been at least a small number of individuals who take it upon themselves to inspire a quest in search of a positive cure for the divisions. Similarly, Arrival highlights great divides that are presently prevalent across the world, especially in the wake of recent political shocks in both the United States and Europe. Consequently, the movie has, in a way, fortuitously succeeded in encapsulating a much broader range of universal issues than its creative team conceived within their initial expectations for the film’s reception. Whether it be the position of women in film, the turbulent international relations, or the notoriously ambiguous relationship between human beings and the galaxy beyond their home planet, Arrival casts a pure, brightly shining light of hopefulness upon such debates. Many filmmakers will no doubt seek to replicate or exceed this specific success, ensuring that their audiences are borne forward ceaselessly into the future. Thus, most certainly, without meaning to overrate the picture, Arrival turned out to be one of the most underestimated films of the London Film Festival and wider universe of cinema. Read some more of our Film Reviews. #FilmReviews #DeanPettipher #TheatricalReleases #FilmFestival #BFILFF #LondonFilmFestival2016 #DenisVilleneuve #AmyAdams #JeremyRenner #ForestWhitaker #Scifi #ScieneFiction

Directed by Hassan L. Moore Starring Keldamuzik, Nick Dagger, & Colin Asher Short Film Review by Sarah Smeaton Love The Original Way focuses on a female who we first meet while she’s attending an Alcoholics Anonymous session, then quickly moving to following her dating life, and all the mishaps along the way. Whilst there’s some real potential for comedy gold here, there’s never a real rapport built between this main character, Sissy, and the viewer. Thus at no point can any real empathy be felt for the character, and as a result any comedy or emotional connection is lost. There is most certainly a nice underlying message that emanates from the film that indicates that actually, yes it might be easier to find quick dates through Internet searches and online dating, but in actual fact you’re much more likely to find something more meaningful if you meet in a more organic, ‘original’ way. Having said that, the relationship that does form from this ‘original way’ actually begins in the AA meeting we see at the start of the short film, which arguably is perhaps not the best foundation for a new relationship! Witten by Keldamuzik, who also plays lead in the film, the plot did feel like it lacked focus at times, with no real end goal in sight, apart from a quick, rather clichéd ending put in place, which takes up all of the last minute. The opening scene for example does not immediately appear to have any real relevance to the rest of the plot, apart from it being a natural, organic way for Sissy to meet Aaron - the one guy she’s met of late who she actually appears to like. The leader of the AA group having a relatively large speech about how ‘delicious’ alcohol is, while mildly comical, didn’t appear to have any substance or natural link to the rest of the plot. The disjointed nature of the storyline was also supported by disjointed transitions between scenes, making it hard for the Love The Original Way to flow as a whole. Perhaps director Hassan L. Moore was aiming to create a real abstract piece of work here, but for this film reviewer, the rambling nature resulted in a plot that was more hard to follow and incoherent than intriguing. The actors Keldamuzik (Sissy), Nick Dagger (Aaron) and Colin Asher (Tyler) did most certainly show great potential as performers, however, I would like to see them in something a little more complex that stretched them in their field in order to showcase what they could achieve. In essence, this short film is trying to be a classic love story, but unfortunately lost its meaning somewhere along the way. More Film Reviews this way. Or watch Indie Film Trailers over here. #ShortFilmReviews #ShortFilms #SarahSmeaton #FilmReviews #WatchIndieFilmTrailers

★★★★★ Directed by David Yates Starring Eddie Redmayne, Colin Farrell, Katherine Waterston, Dan Fogler, Ezra Miller, Alison Sudol, & Jon Voight Film Review by Chris Olson Duh, duuuh, duh, duh, duuuuh, duh, duuuuh...duh, duuuh, duh, duh, duuuuh, duh, duuuuh. Never before has one of my film reviews started in such a bizarre fashion, but never before have movie audiences been treated to such a bizarre phenomenon as the world created by J. K. Rowling. The instantly recognisable score (see above) that accompanies the onset of those huge WB letters sparks an indescribable job in the hearts of viewers. Yes, it has been 5 years since the last movie instalment of the Harry Potter franchise was tearfully delivered, to a fan base so devoted to the cause that an infinite number of offshoot endeavours would be demanded to take its place (from theme parks to merchandise), if only to numb the feeling of loss for a short while. When it was announced that the wizarding world famously created by Rowling was to be explored with a new film, fans erupted across the globe in unison, like sparks from a Weasley Wizard Wheezes toy. Then with the news that Fantastic Beasts and Where to Find Them was the be the first of 5 films, there was pandemonium! But could the magic be recaptured with a completely new set of characters, actors, and even time era? As the title suggests, Fantastic Beasts and Where to Find Them is pretty fearless when it comes to being its own...ahem...beast. The plot follows a brand new protagonist, Newt Scamander (Eddie Redmayne), who has travelled to New York bearing a suitcase filled with magical creatures, a wizard on a particular mission. Calamity ensues, however, when his delicate cargo manages to escape and elude him, wreaking havoc across the busy NY streets of the 1920s. After a run in with an Aura called Tina (Katherine Waterston), as well as a muggle-cum-baker Jacob (Dan Fogle), who become his aides in trying to recapture the Fantastic Beasts, Newt's trip to the Big Apple reveals turbulent goings on between the magical and muggle world. By keeping the same creative team of Warner Brothers, director David Yates, producer David Heyman, as well as Rowling writing the script, no amount of authenticity is lost in the movie. Never does it feel like a crude copy, and neither does it shamelessly pilfer from the Harry Potter source material in order to get quick and cheap gratification. Yes a few nods of the head occur, but they are done with the story in mind. Fantastic Beasts and Where to Find Them benefits from being its own movie, one which is one of the most imaginative and thrilling films in years. As you might expect, no expense is spared making this a visually stunning movie. From the beautifully recreated period look of New York, which was reminiscent of the sumptuous Brooklyn, to the simply astounding fantasy world found in Newt's suitcase, everything in this movie is nothing short of cinematic splendour. The score, from James Newton Howard, is everything you want it to be. Pounding and rousing when required, delicate and emotive when the heartfelt tugs of Rowling's story emerge. The performances are wonderful. Redmayne's coy and awkward British Invasion is sublime to observe as he traverses the city landscape filled with aggressive New Yorkers. Fogle as Jacob is excellently funny and has some of the best comic moments, especially with Queenie (Alison Sudol), who is Tina's mind-reading sister. The real star of this show are the creatures though. Superbly brought to life with so much attention to detail, the result is mindblowing and what makes the film feel so far ahead of the Potter films. It was a slight shame not to see more of Ezra Miller, who is always great to watch on screen, but the parts he was in were still enigmatic. So, not only can the world breathe a huge sigh of relief that 2016 didn't also ruin Harry Potter for them, they can also be well chuffed it gave them a front runner for one of the most exciting and promising film franchises in a long time. Fantastic Beasts and Where to Find Them is now available to watch in UK Cinemas and IMAX. More Film Reviews can be found here. Or watch Movie Trailers on our Film Channel. #FilmReviews #ChrisOlson #TheatricalReleases #5StarFilm #DavidYates #EddieRedmayne #ColinFarrell #DanFogler #KatherineWaterston #AlisonSudol #JonVoight #EzraMiller

Directed by Meosha Bean Starring Mark E. Ridley, Richy B. Jacobs, Jeffrey Tymich, Theresa T. King and Rachel Kylian Short Film Review by Catherine Pearson Hard Requitals is a chilling horror thriller that throws its protagonist into the clutches of a disturbingly charismatic apparent stranger to the backdrop of a soaring and suspenseful musical score. When Doctor Felix Harrison (Mark E. Ridley) has his morning appointment cancelled he decides to head straight from his regular coffee shop to the park to have breakfast, all the while attempting to contact his wife, to no avail. Sitting down to enjoy his coffee, he is startled out of his thoughts by a familiar face from his everyday routine. This man (Richy B. Jacobs) seems to know why Harrison’s wife is not answering his phone calls and, in this treacherous encounter, explains what he plans to do and why he has decided to take such drastic action. The title of this short film suggests that an act of retaliation is to come, but in what form and for what reasons retribution will be undertaken is revealed tantalisingly slowly. Much of the film’s dramatic tension and the resulting sense of paranoia is owed to Peaches Chrenko’s original score. The music is at work throughout, from its dramatic introduction of Doctor Harrison as the camera observes him on his journey to the coffee shop to the ominous and chilling individual notes played when he first encounters the seeming stranger. The camera work creates an uncomfortable and threatening atmosphere for the audience, with a blood-red filter used in Hard Requitals' most emotionally jarring and climactic moments as well as the use of varying camera focus. The audience are offered a clear picture of moments that drive the narrative forward, but when Harrison is uneasy and afraid we are presented with a distorted view; an almost frenzied close up on his face paired with echoing, ringing sound effects that stress his character’s paralysis. In a similar way, the stranger is presented in one key scene with a strobing effect that is both distorting and menacing, another moment that elicits fear with a simple yet effective visual technique. Hard Requitals’ only notable flaws occur during the film’s first scripted scene in the coffee shop. Whilst the script is appropriately naturalistic for the setting, there is an uncomfortable moment of plot exposition where Doctor Harrison tells his secretary exactly what he will do next over the phone; a cringey line of dialogue that briefly stunts the suspense. Also in this scene, Harrison’s dialogue is inexplicably dubbed over the acting, a post-production decision that makes for an uneven soundscape. The very natural performance of the coffee shop assistant Christine (Theresa T. King) sounds more distant and slightly less clear than the lines of dialogue spoken by Harrison and the lip syncing, too, is not entirely matched. Richy B. Jacobs is a real talent and puts in a very strong performance full of charisma and dark humour as the stranger on the bench that wonderfully counterbalances Mark E. Ridley’s terrified Doctor Harrison. It is credit to the dynamic between the two actors that the film’s final dramatic kicker is just that; an inventive twist that keeps the audience thinking as the credits roll over the looming, high-contrast stills from the film. Were there some flaws? Yes. Did I hope for a female character that wasn’t a victim or in a menial job? Sure. Was I gripped by the plot anyway? Absolutely. More Film Reviews this way. #ShortFilmReviews #CatherinePearson #ShortFilms #Horror #MeoshaBean #WatchShortFilmTrailers

Directed by Teodor Todorov (Теодор Тодоров) Starring Jordan Opitz (Йордан Опиц), Marin Markovski (Марин Марковски) and Elijah Tsotsin (Илия Цоцин) Documentary Film Review by Lorenzo Lombardi The truth can be clouded in many ways, especially in a crime case. A Brush Soaked in Carmine, a Bulgarian documentary directed by Teodor Todorov, presents such a case where we will never know the true intentions of the perpetrator and whether it was manslaughter or downright murder, but to just interpret it. This allows the film to create a custom and personal connection with the audience based off their beliefs and ideals, making this a documentary film that stands out. In 2007, Jordan Opitz shot and killed Marian Ianchev. The victim was trying to escape Optiz’s apartment, of which him and his friend were accused of burgling. Opitz stated that this was in self-defence but others, including Marian’s friend, think he had malevolent intent. Uncommonly, the killer in question is an iconographer. He paints religious icons and has a decent amount of moral standards. Initially, he seems vulnerable and well-meaning, coupled with his lack of an eye. Perception of him is explored, however, and his ideals are increasingly conflicting as the interviews progress. Editing in the film is deliberate. The increasing criticism of Opitz’s actions from the opposing lawyer undertone Opitz’s vanity-filled comments, without giving any side an edge. I still cannot decide whether or not he meant to murder the burglar. What makes A Brush Soaked in Carmine particularly engaging is its amount of balance and sheer impartiality. Each side of the story is told by the people who experienced it. And mostly nothing else; because this documentary’s 1-hour runtime mainly consists of interviews, alongside rare but effective re-enactments. As a result, none of the documentary tropes are here, except for the interviews and re-enactments. This is suitable, then, as the aim of the documentary is to solely gather the thoughts and feelings of the victims and the people who had to witness a tragedy. And most of the people involved have tragedies of their own - from the loss of a friend to a tarnished reputation. The interviews themselves are very compelling, as the interviewees are very eloquent and involved with the events, even nearly a decade after. A particularly memorable person showcased is Vladimir Mindov. He is the friend of the deceased, and he truly shows disdain for Opitz. Justifiably, he gets emotional, and I realised how much I had changed to his side of the story. And that is one of the best aspects of the film - the earlier mentioned interpretative conclusion the viewer can make. Some also discuss the state of Bulgaria around that time - the heavy increase of crime. With this, the documentary goes poignantly beyond the story and acts as a sort of commentary on the act of self-defence and how it should be judged. If you love captivating crime documentaries such as Making a Murderer, you will be thoroughly engrossed by A Brush Stroked in Carmine’s raw honesty and bare-bones style. This is purely a novelistic kind of documentary, and no cinematic techniques are used. Instead, we are treated to a series of interviews that are both emotionally intimate and powerfully sympathetic. More Documentary Film Reviews here. #DocumentaryFilmReviews #Documentaries #LorenzoLombardi #WorldCinema #Crime

Directed by Andrea Niada Starring Peter Kerr & Douglas Adams Documentary Film Review by Chris Olson With heartbreaking insight, How We Are Now is a well-crafted piece of documentary filmmaking that maintains a perfect harmony between thorough exploration and respectable distance. The result is an engaging and thoughtful journey through the lives of two men as they approach the “winter” months of their lives, and how they truly feel about leaving this world. The two central characters in How We Are Now (Peter Kerr and Douglas Adams) have a sassy and humorous attitude towards life's inevitable decline. Their chuckles and intimacies are completely disarming and audiences will most likely thoroughly enjoy their company during the movie. Jovial conversations about topics such as sex, death, and the state of affairs in the world are delivered without any grumpy old man syndrome or unnecessary gloominess. Their wicked sense of humour and good natured joshing with each other and those around them is completely endearing. This heightens the sense of sadness surrounding the issues that plague these two people, a couple in their 80s. Not just the myriad of health problems that arise (along with the inevitable pills that ensue) but also a sense that their place in the world is one of an imminent queue to leave without being much use to it before they depart. During one scene, Douglas mentions how he doesn't believe in the afterlife and will applaud when he dies. He also states the small comfort he does find is in the safety of his home rather than the troubled world outside. A telling and unsettling truth to reveal; the idea that the elderly members of society feel this way about the world as they near their journey's end. Director Andrea Naida makes his film powerful without resorting to schmaltz. There is no Comic Relief style score tugging at the heartstrings every few seconds, or extreme close-ups during emotional moments to highlight the pathos for audiences. Instead, the documentary consists of minimal camera work, and lots of mid-range shots keeping a degree of distance from the two men. Some scenes are left to linger a moment or two extra, picking out the human reflection that we should all be doing. In some films this could prevent a connection being made, however, Peter and Douglas are so enigmatic you cannot help but love them straight away. This allows the withdrawn filmmaking to make sharp comments about the way in which society views people like them. Their problems are enduring ones everyone in our community experiences, and yet we keep them at bay as best we can. Elderly people, in turn, feel reluctant to reach out towards the rest of us for fear of entering a scary and largely uncaring populus. There really are two ways of coming away from watching How We Are Now. You are either absolutely besotted with these brilliant characters, sympathising greatly with their fading bodies but loving their carefree attitude towards their approaching finality. Or you are passionately frustrated by the supposed “normality” of this situation, moved to question everything about the way in which society conducts itself, and determined to do your bit to bridge the gap in any way you can. In fact, most will probably come away with both attitudes. This is fierce filmmaking with a potent message and two of the best on screen characters you could wish for. More Documentary Film Reviews this way. #DocumentaryFilmReviews #ChrisOlson #AndreaNiada #Documentaries #FilmReviews #ShortFilms #BritishFilmmaking

Directed by Matt Green Starring Chad Fuller Marty Brown Jennifer Stokes Tim Emery Alonzo Pennington Andy Grace Bobby Bileyu Bobby Linville Lori Beth Fooshee James Stokes Danny Lee Ramsey Kathy Simpson West Cody Boyd Short Film Review by Evie Brudenall Western films have largely fallen out of fashion since the 1960s when the genre saw a box-office depreciation, signalling a decreasing level of interest from the movie-going audience. However, over the past few years, a notable resurgence in the genre can be seen, with the Coen Brothers remake of True Grit a storming success and the even more recent Slow West and Bone Tamahawk proving to be hits amongst critics. The creative team behind The Switch seem to be taking full advantage of this piqued interest, whilst simultaneously infusing elements from another popular genre: sci-fi. Infamously, this amalgamation has been attempted before with Jon Favreau’s Cowboys and Aliens, and the result was somewhat disastrous. Would The Switch fall into the category of celebrated Westerns or fall victim to its quirky combination of film classifications? A quiet town in the West are disturbed when a mysterious man enters their perimeters with an unidentified box. The community so stuck in its comfortable ways are perturbed by the arrival and the contents of the box, but its function is more peculiar than anyone could imagine. The Switch begins with an archetypal Western opening; a lone man and his horse stride through town, attracting glances of suspicion and quizzical remarks from residents. The filmmakers are acutely aware of the conventions of the Western genre, and they utilise them to great effect. Carefully constructed creative decisions have been made to fully immerse the audience in the genre; including everything from the use of language, the production design, the costumes and the stereotypical accents. Fuller and Green Productions evidently have their finger on the Western pulse and pay respectable homage to it whilst also arguably displaying helpful dashings of parody. Through sweeping camera movements and intentionally obscure positioning to prevent fully exposing the mystery stranger’s face, the rouse of secrecy is successfully maintained throughout and provoke us to ask questions of our own, such as; who is this man? What’s in the box? What is his purpose in this sedate community? Unfortunately, those questions are never really answered. Yes, we do discover the function of the box and its provides some visually interesting moments, as do the amusing reactions the community have to the box’s effects. But the reason and motivation for affixing the box is ambiguous and not at all defined. This elusiveness is apt in regards to the nature of the box’s keeper, but the general rule is that the filmmakers must have answers to their posed enigmas, even if they choose not to share them with the audience. However, the impression is given that they don’t even know their own solutions. The attempt at sci-fi also feels a little half-hearted, as the box could have had significantly more outlandish properties than it ultimately bestowed. Undeniably competently made with commendable attention to detail and reverence for the Western, Fuller and Green’s The Switch ends up neglecting one half of its hybrid genre, creating an uncommitted but admirable short film. #ShortFilmReviews #ShortFilms #EvieBrudenall #MattGreen #FilmmakerFeatures #Scifi #Western

Directed by Andrea Niada Starring Kate Reed, Jemma Churchill, & Richard Ginn Short Film Review by Chris Olson A tense and thought-provoking drama/psychological thriller, Andrea Naida’s short film Home Education is a compelling piece about a daughter Rachel (Kate Reed) living with the death of her father (Richard Ginn). What is unusual about her situation is that her mother (Jemma Churchill) is convinced that as long as the pair of them continue to love and impress their father, whose body lies rotting on an upstairs bed, he will most likely come back to life. Rachel’s mother enforces a strict curriculum of important lessons for her daughter which will ensure she does not disappoint her dearly departed dad. Disturbing and absurdist, without ever feeling farcical, Home Education is an absolutely enthralling short film. There is heightened tension throughout, two powerhouse performances, and a nightmarish atmosphere created through stark visuals and an eerie score, that are perfectly delivered by Naida. By focusing the story on a mother-daughter relationship, the emotional core is built very quickly, which is essential in allowing the tone of the movie to develop without hindrance into something more challenging for the viewer. We instantly connect with Rachel in particular, whose naivete and innocence, which gets manipulated by her mother, makes her completely endearing. The film then takes on some dark overtones as the mother’s increasingly disturbing behaviour becomes threatening, and Rachel faces a coming-of-age like no other girl has to experience. The idea for the story is fantastic, and works really well as a short film. Its plot is strong enough to be entertaining for audiences by itself, but add in the thematically troubling elements which the story represents and you have something particularly special on your hands. For example [SPOILER ALERT], Rachel comes into her own strength in the latter end of Home Education, where she transcends the bondage of her mother’s “teachings”, representing the power of youth and its inevitable commencement through life which clears the way of people and ideals which have come before it [SPOILER ALERT END]. By focusing the story, and indeed even the title, on this idea of “education”, Niada combines elements of horror filmmaking within the assumed safety of a home and safe environment of learning. This contrast works brilliantly to highlight the tension of the film, the unspoken divide between the two main protagonists, whilst making a poignant commentary on the sometimes false presumption that our elders in society know what’s best. Reed deliver an excellent onscreen performance as the film’s leading character. Her arc throughout the story is believable and tenderly done, allowing for some absolutely formidable moments later on. Churchill is brutally engaging, reminiscent of Kathy Bates in Misery at times, maintaining that important balance between intimidating but believable without venturing into cartoonish melodrama. As mentioned previously in this film review, the atmosphere created in Home Education is palpable, and a great deal of credit is due to the score by composer Andrea Boccadoro. Music for horror films is often a tricky business. Too much foreboding and the whole thing feels heavy with darkness, too much plinky plonky keys and you feel like you’re watching a panto. Home Education benefits from a score which is completely in tune with the bulging tension that rides throughout, capturing the sense of intrigue that audiences will feel through the opening and middle sections, then capitalising on the momentum Naida builds by the end with perfect musical execution. It is wonderfully done. Some of the creepy visuals may be off-putting for some audiences, especially given the difficult nature of the events unfolding alongside it. However, many will enjoy this combination which is brilliantly done. Fans of the horror or thriller genre will feel in their element with Home Education, a piece of filmmaking which tears others like it to shreds. It has an original story which is gripping and interesting, fantastic performances, and an overall aesthetic which is masterfully sculpted and delivered. More Short Film Reviews this way. Or Watch Short Film Trailers here. #ShortFilmReviews #ChrisOlson #ShortFilms #WatchShortFilmTrailers #AndreaNiada #KateReed

 ★★★★★ Directed by Tom Ford Written by Tom Ford Starring Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Ellie Bamber & Armie Hammer Film Review by Dean Pettipher Few wield such impressive capacities to so brutally and yet so beautifully illustrate the vast disparities between appearance and reality that come even close to the masters of fashion design. Thus, Hollywood and all of her ebullient, tireless lovers were most certainly blessed when the Oscar-nominated drama, A Single Man (2009) eloquently and elegantly revelled in that very declaration, courtesy of the world-renowned fashion designer, Tom Ford, who admirably dared to take on the challenge of procuring the art of filmmaking for his already striking personal repertoire of mastered trades. Having tasted the alluring movie magic and left audiences with a single illustrious, tear-like drop to stain audience hearts with tempting notions of how his own unique voice could contribute to the wider cinema community, in a manner that has a potential amounting to proportions known only by cinema’s directorial legends, Ford has returned, over half a decade later, with endearing fearlessness. The well-earned consequence is Nocturnal Animals (2016): a fabulously distinctive work of art exploring the uncomfortably possible implications of various turpitudes committed both within and without the velvet, perilous realms of romantic love. Moreover, if audiences acquired just one lingering thought following their contemplation of Ford’s second dive into the silver screen, it may very likely echo his words spoken in a recent BBC interview: “We have something quite new in culture, which is this idea of happiness, which just stretches out. You hit a moment and you get all these things and then guess what? You’re just happy. Well that doesn’t exist and it’s not part of the human experience. Happiness is sadness, happiness, boredom, nostalgia, longing, pain [and] suffering. That’s what life is. And if you buy into this concept of being always happy, you’re going to be disappointed.” Let not the ostensibly dire albeit defiantly truthful cynicism deter one from cherishing the cinematic masterpiece, however, for Nocturnal Animals achieves all that Ford declared that he hoped to always accomplish with his films. That is to say, for more reasons than the aforementioned philosophical concepts, the picture truly “haunts you,” “challenges you,” “makes you think,” “entertains you while you’re watching” and, above all, “stays with you.” Ford has not only helmed the project as the director but he has also produces and writes the screenplay. Concerning the latter responsibility, Ford has expertly adapted the novel, which is in turn written by the author Austin Wright, entitled Tony and Susan. The transition from prose to dialogue and comparatively much more succinct accompanying descriptions has resulted in an intriguing, thrilling plot that seamlessly intertwines multiple layers, which the marketing campaign rightly dared not shed light upon, for fear of deflating the slit-throat suspense of the feature on a catastrophic scale. Scene order has evidently enjoyed thoughtful, microscopic attention, working hand-in-hand with equally carefully-composed dialogue that drips backstory and other devices known for creating substantial emotional depth in film, as if those qualities made up the purest holy water, which was all but dried up entirely, upon the fiercely rough, blazing dirt trails of the Texan deserts. The vigilantly-concocted story is brought into a dazzling, sweet but often eerie existence by shamelessly seductive imagery that bursts with a varied overflow of vivid, voluptuous beauty, ceaselessly heightened by stunning colour shades and schemes, in a style that can only be described as magnificently Ford-esque. Furthermore, the latest film from Ford, which proudly draws much influence from the fascinating worlds of fashion and modern art, represents the finest example to date of the visual poetry of a filmmaker instilling the sentiment of a painting in motion within its mercilessly captivated audiences. Ford’s success goes further, for he proves himself as one of few artists able to employ the directing craft in such a way that illuminates a path for his entire cast towards conceiving their finest possible performances. Amy Adams, whose boundless degree of sheer resplendence has shone at its brightest in all of her work to date, delivers an astutely-composed presentation of an ostensibly flawless high achiever increasingly at the mercy of guilt rooted in the past, as well as fear in the wake of a suddenly less certain future potentially destroyed by that very untidy history. One simply cannot deny the overwhelming awe inspired by her ravishing presence, particularly while she stands both firm and frightened in a raven-black dress that could only have been designed for her employment. While her role in Arrival (2016) will be the one more likely to attract award season attention, since her part in the science fiction thriller alongside a much smaller ensemble of fellow mega stars is ultimately much greater in terms of size and political significance for women in film especially, while fortunately remaining equal in relation to acting quality, her role alongside the comparatively more crowded, glistening assemblage in Nocturnal Animals warrants the assertion that Adams appears set on a rapid ascension to the ranks of Hollywood goddesses, such as Marilyn Monroe and Audrey Hepburn. The second major role, occupied by Jake Gyllenhaal, serves as the most essential ingredient for the central mystery and its exhilarating exploration. Gyllenhaal executes the presentation of a gentle soul lost within internal struggles of perilous depths superbly. While he may not cross physical boundaries previously exceeded in Nightcrawler (2014) or Southpaw (2015), he embraces the emotional turmoil along with the reflective intelligence of his character, an aspiring writer from the Deep South who is desperate to hold on to unwilling treasures of the heart, in a manner that rivals his Oscar-nominated performance in Brokeback Mountain (2005). However, while the leads are magnificent, the supporting cast glow just as marvellously, if not more so, in a collaboration that successfully results in an overdose of cinematic excellence. Along the dark, treacherous, uncertain dirt road of Nocturnal Animals, audiences encounter a host of fully-fledged characters portrayed by actors on an ostensibly unstoppable roll in their respective careers. One must begin with Michael Shannon, who appears destined to play the politics-hardened officer of the law who injects an unexpected dose of humour into the tale with sharp wit that is often at once a frank admission in the wake of indifferent realism and then an embrace of harsh cynicism. Shannon’s performance may prompt recollection of the memorable work produced by Matthew McConaughey and particularly Woody Harrelson in the television series entitled True Detective (2014-Present), before ultimately encouraging indulgence in his own uniquely brooding presence capitalised upon by such a role.  Armie Hammer also makes a pleasing appearance as an undisputedly handsome, dashing husband who is for sure not short of bleak but necessary character failings. Hammer’s role here was the smallest of his three performances showcased at the London Film Festival 2016. When considering Hammer’s contributions to The Birth of a Nation (2016) and Free Fire (2016), one cannot help but admire his apparent humbleness in taking up both leading and supporting roles. Such a determination to pursue his craft through a reasonable variety of parts proves Hammer’s versatility as an artist and will indeed aid his gradually more prominent presence within the mainstream spotlight. Similarly, Isla Fisher also demonstrates her willingness to pour her heart, soul and flamboyant energy into roles great and small, to the extent that her supporting role in Nocturnal Animals (2016) will linger in memory just about as much as the leading ones. Fisher has demonstrated this feat before, most notably in The Great Gatsby (2013). The up-and-coming young British actress, Ellie Bamber, follows the aforementioned standard of effort and the fruits that follow in a role that must not be written of further, for the sake saving such delights for future audiences. However, it is Aaron Taylor-Johnson whose incredible performance as a malevolent, quixotic antagonist that seriously scars. With his wonderful mastery of the accent from the Deep South in addition to his seemingly effortless body movements and facial expressions, Taylor-Johnson fuels the tension, the suspense and the chaos in a manner not seen to such an astonishing extent since Heath Ledger’s interpretation of The Joker in The Dark Knight (2008). Consequently, he too illustrates his versatile nature, especially when his latest performance is considered in relation to his parts in productions like Anna Karenina (2012) and Albert Nobbs (2011). If just one performance from Nocturnal Animals should earn an Oscar nomination, few would argue against Taylor-Johnson being put forward for the honour. Nocturnal Animals does not avoid a cause for audience frustration, for its conclusion, while certainly demanding to “stay with you”, wraps up in such a way that leaves one almost criminally thirsty for more. Moreover, in what might perhaps be deemed an over-analysing of the plot structure, one might argue that, in the grand scheme of things, chiefly in the wake of the denouement, the stakes are not as high as is so often implied, resulting in an anti-climax for those who feel they were misled by the trailers and other marketing ploys towards a different flavour of intensity. However, such thoughts are only prompted with irritating urgency by the last shot of the movie, until which point the journey has without question consistently felt like a fresh, aesthetically-spoiling thriller from the very beginning. Thus, the ending was clearly no accident, or a result of last-minute haste, in spite of its apparent abruptness. One might find it odd that Nocturnal Animals was not likened in the publicity efforts with Gone Girl (2014), since the cynical sensibilities that thrive on exposing the exaggerated and overrated value placed upon entrenched social constructions like marriage as definitive sources of eternal happiness scream just as fervently. However, the comparison with the thriller helmed by David Fincher proved to be more of the curse than a gift for The Girl on the Train (2016), which appeared to be ruthlessly compared with the 2015 Oscar season drama, since the constant attempts to indulge in such hype often resulted in one declaring the film to be a flop at worst and a plain distraction at best, simply because it was not the other, in the sense that one movie failed to instil the same exhilarating mood inspired by another similar film. Good examples of the phenomenon are Ridley Scott’s historical period dramas: Exodus: Gods and Kings (2014), Robin Hood (2010) and Kingdom of Heaven (2005). One cannot help but wonder if at least part of the sometimes harsh criticisms of such films resulted from their constant comparison, made principally by the most influential voices in the world of cinema, with Scott’s millennium masterpiece, Gladiator (2000). While all of the films that followed the award-winning commercial hit of course had their flaws, they were all in the end perfectly decent epics, which were all tragically doomed to at least some small amount of disdain because they were not exactly like Gladiator. For avid film fans, the feeling may at least in part resemble the futile attempts to re-capture the connection of a lost love in exactly the same guise of adoration with a new one. It is a magic that cannot be re-created in exactly the same fashion but there are many spells capable of creating magic of another, equally-compelling sort, just waiting to be discovered through patience and dedication. Fortunately, Nocturnal Animals appears safe, for the most part, from such comparisons to former production greats within its genre, achieving victory in being recognized as an excellent cinematic work in its own right. Nevertheless, regarding the future, in order to push himself further, Ford must consider writing an original screenplay for his next feature, since each of his two films have been based on books. He must never abandon the search for superb stories hidden within the pages of good novels, for one does not mean to imply that an adapted screenplay is easier to scribe or ceaselessly carries more emotional weight than an original script, especially when bearing in mind the late director, Anthony Minghella, who after feeling with all but absolute certainty that he would never again undertake the task of adapting a novel into a movie after helming the gold standard of such endeavours that was The English Patient (1996), for whatever reason, he would go on to direct one film after another based on famed literature, such as The Talented Mr Ripley (1999) and Cold Mountain (2003). However, Ford shows much potential in his latest movie for his own more innovative ideas to flourish, if they are done right, as well as if they are blessed by the support of the good fortune known to tease those who work hard and with admirable bravery in search of the unknown. In the meantime, Nocturnal Animals has succeeded in bringing a feast for thought to the silver screen that must not be missed. More Film Reviews like this, over here. Or watch short film trailers here. #FilmReviews #DeanPettipher #TheatricalReleases #FilmFestival #LondonFilmFestival2016 #BFILFF #TomFord #AmyAdams #JakeGyllenhaal #MichaelShannon #AaronTaylorJohnson #IslaFisher #EllieBamber #ArmieHammer