Written & Directed by Andrew Lawton Starring Tali Custer, Daniel Stagliano, Susanne Layton, Andrew Lawton, Peter James, James C. Stewart, Kevin Gilmartin & Katie Sah Short Film Review by Chris Olson "The name's Tommo", "...and that's short for?" "Sebastian" Fewer funnier lines have been found in a short film this year, and none quite encapsulate the style of comedic tone found in Andrew Lawton's Down Under invasion movie Couch Surfer as fittingly. The movie is just over 20 minutes of tongue-in-cheek jokes, dispensed at everyone's expense, occasionally daring to jump headlong into racial stereotypes but mostly offering lighthearted jabs about drinking and dudes. Julia (Tali Custer) becomes the unfortunate victim of her sister's (Susanne Layton) generosity when she is pressured into reluctantly offering her apartment as a place for Aussie backpacker Stevo (Andrew Lawton) to stay for a few days. The inconveniences start mild, with Stevo sleeping on the couch for long periods. However the trouble literally multiplies once fellow backpackers arrive, and Julia's apartment starts to look like a Walkabout two hours after closing time. There is a delightful cheekiness to Lawton's story that is as endearing as it is humorous. Whilst the characters are meant to be slightly annoying, especially from the perspective of Julia, whom the audience will clearly identify with the most, an almost lovable charm emanates from these blokes who spend their time living the free life of a traveller. Whilst they do drink copious amounts of beer and refuse to wear many clothes, they also have a chipper attitude towards the world which is utterly enviable. As is needed in a comedy short film, Couch Surfer is peppered with solid gold lines in the script which are expertly funny and perfectly delivered by the cast. Such as the zinger at the beginning of this film review, the best ones tend to be the seemingly most innocuous lines. During the film Julia's work colleague Todd (James C. Stewart), a New Zealander, has some epic banter with Julia at work, and when he turns up at the apartment has an altercation with the Aussie contingent - where hilarity ensues for those agreeable to banter about stereotyping (which frankly I am). The performances are of a high standard, especially Lawton, whose life-loving backpacker with a heavy tendency to leech off of others is completely believable and achieves the aforementioned balance between irritation and affability. Kudos must be given to Custer as the film's lead, expertly portraying the put-out host, whose character arc is the most interesting to behold by the film's culmination. Lawton experiments with a genre shift halfway through the film, with the introduction of a priest (Kevin Gilmartin) brought in by Julia in order to "exorcise" this foreign pest from her place of living. This blend of horror with comedy works brilliantly, and complements the farcical nature of the story. The camerawork could have been more daring, it remains pretty solid throughout but never really tries anything difficult, aside from a running scene with Julia. However, much like its characters, Couch Surfer is happy exactly the way it is. Fans of Lawton's in your face style (see Have You Seen Calvin?) will be in their element with this charming and wickedly funny short about the dangers of ever befriending backpackers! Come this way for more Short Film Reviews. #ShortFilmReviews #ChrisOlson #ShortFilms #Comedy #AndrewLawton

★★★★ Directed by Jim Sheridan Written by Johnny Ferguson & Jim Sheridan Starring Rooney Mara, Eric Bana, Vanessa Redgrave, Jack Reynor, Theo James & Aidan Turner Film Review by Dean Pettipher Every avid cinema surfer has his or her own special list of movies that he or she adores but apparently everybody else despises. Conversely, each lover of storytelling in all its moving image guises could also easily recall those films that seemingly everyone except them loves but he or she alone just hates, or at least has feelings of total indifference in the wake of such overblown, unnecessary hype for the feature in focus. Somewhere upon the vast plains in between those two extremes is the following sentiment: Yes. The film had its problems. However, it really, really wasn’t that bad. The Secret Scripture (2016) is one of the London Film Festival’s hidden treasures, drifting like a fallen leaf in the chilly autumn wind, until it lands upon a pile of many other ostensibly identical leaves that have descended before it, eventually all but forgotten by once keen admirers for good. Yet, while that leaf was in full bloom, it was as beautiful as ever. The latest sporadic entry from the acclaimed director, Jim Sheridan, who is perhaps best known for In America (2002) and My Left Foot (1989), may not be the most valuable treasure in the collection that the 2016 BFI London Film Festival (LFF 2016) was comprised of, but the aesthetically familiar movie remains a trinket of great value nonetheless, more than worthy of both genuine curiosity and long-extended attention.  The Secret Scripture, a love story that flows to and fro between present-day Ireland and that same pretty part of the world during World War II, is based on the novel published under the same title by Irish author, Sebastian Barry. Not on too few occasions has the work of prose been declared a literary masterpiece. Sadly, where there is joy in the journey of film production, there is also at least some trace of tragedy not far behind. Unfortunately, in this instance, during the novel’s rebirth as a screenplay, one of the script writers tasked with adapting the novel, Johnny Ferguson, passed away in April 2013. Thus, he never got to see the final translation of his work from the page to the silver screen. He may be a little disappointed to hear that his movie was not brought to the attention of mainstream audiences for very long, or arguably not at all. However, he might still take comfort, and rightly so, in knowing that the artists who carried the picture forward towards its final fruition, right up until that last take, did so with shiver-signalling elegance and profoundly deep depths of the purest heart. The performances from Sheridan’s glitzy cast are all fantastic. Rooney Mara’s portrayal of the enviously innocent younger Roseanne McNulty bravely navigating the bitterly unkind landscape of Ireland at the height of the Second World War is the film’s brightest gem. Such acting is reminiscent of Saoirse Ronan as Eilis in Brooklyn (2015). Truthfully, Mara succeeds in bringing the protagonist to life, whose tremendously-felt emotions audiences often cannot help but feel as though they were their own. On the other hand, in the end, Ronan’s portrayal in the aforementioned surprise hit emerges, by a noteworthy margin, as the superior one. Even after such a conclusion, however, one would not fail to concede that the connection between Mara and the audience at times feels so intense, they find that the deepest depths of their chests are aquiver with pleasure, just as she so eloquently displays that same sensation herself, evident in her striking facial expressions, when the beautifully cruel world that she inhabits decides to show her mercy. Vanessa Redgrave also delivers a convincing performance, as the older Roseanne McNulty, recounting the delights and sorrows of her life. For her role in The Secret Scripture, Redgrave very likely draws heavily from her earlier experiences with films and television productions, such as Girl, Interrupted (1999) and Black Box (2014), which explore the same themes, most notably society’s gross negligence and great misunderstanding of mental illness. Whatever Redgrave did to prepare for the role, the result is a believable interpretation of mental illness and its implications, or, indeed, the effects of the unnoticed reality being the lack thereof, which people would inevitably suffer from. Eric Bana exceptionally plays the charming, sweet chief psychiatrist, Dr William Grene. One only wishes that Bana was more prominent upon the world cinema stage and within major movie discussions than he appears to be at present. Bana shows here, with his expert handling of the pronunciations, tones and cadences of the Irish accent, why someone with the power to do so needs to give him a chance to prove his clear worth to both the industry and his fans in relation to Oscar-calibre films. The fact that Bana has both been nominated for and won Best Actor awards from the Australian Film Institute is not simply a matter of misplaced national pride but a hint that Bana’s potential as an actor is, quite frankly, phenomenal. If those performances failed to suffice, Aidan Turner is in this. He humbly takes a more backseat but no less intriguing role here than the other world-renowned stars of the picture. Moreover, unfortunately for some passionate fans of Poldark (2015-Present), Turner does not take his shirt off. Fear not, for there remains some small amount of pleasure in and gratitude for his faint presence within The Secret Scripture in the end, which is never forgotten, even in a tale with an alluringly large number of becoming characters. The vastly overwhelming trouble that overshadows all of The Secret Scripture’s glowing exquisiteness is that just about everything about the film feels done before. Worse still, just about everything feels done better in previous movies, in virtually all respects. Aside from the charming and strong young Irish woman already hailed in Brooklyn as a standard that Sheridan, Mara and the team just about reach, the insights offered into how representatives from the Catholic Church in Ireland betrayed young mothers who gave birth out of wedlock have already been offered by the Oscar-nominated drama, Philomena (2013). Furthermore, the terrible notions concerning the origins of various mental illnesses and how to treat such conditions that ran rampant and unchecked throughout the twentieth century have been better depicted in both other film and television dramas like A Beautiful Mind (2001), Shutter Island (2010) and The Knick (2014-Present). The spectre of familiarity finds its way into the love story as well, for there are certainly, overall, more engaging and more concentrated tales of romantic love set during World War II, such as Atonement (2007). Essentially, while The Secret Scripture is a wonderful film, for many it struggles to express its own unique cinematic voice and so the movie often finds itself forced to stand beside giants that have come before it, barely able to leave a similarly long-lasting impression.  Additionally, The Secret Scripture, in spite of its endearing efforts to appear otherwise, often with impressive success, is ultimately very predictable. Even if the performances allow for the audience to maintain their sincerely-held beliefs in the distressing developments of some moments, as well as the heart-melting progressions of others, there are arguably too many coincidences for some to handle. Nonetheless, the abundantly clear presentation of truly sempiternal love saves the film from drifting into the immense abyss within audience minds filled by regret of wasted time, even in the wake of every flaw that seeks to keep it there. The Secret Scripture may do what has already been done before but those feats have still been pulled off really, really well, most notably concerning the historical period drama and the love story. Similar sentiments relating to employing seemingly exhausted formulas with at least some new, distinct flavours have been felt regarding films of all genres, such as Elysium (2013) and how it fits within the enormous library of science fiction flicks. Perhaps The Secret Scripture also tries to do too much, which was definitely the case with X-Men Origins: Wolverine (2009), for instance. However, on both occasions up for comparison, the film defiantly manages to tell a story worth sharing, even if only just with one person, which is, in the end, in a way a least, still good enough. If just one person, having watched The Secret Scripture, has felt entertained and possibly so much more, then Sheridan and the team have done themselves proud. Fortunately, though, in this event, many more than just one individual will walk out of the cinema, or the living room, or wherever, feeling like roughly two hours have been rightly spent. They will not just recall the remarkable performances but also the mesmerising imagery of the Irish coastline, the historically-accurate sets and costumes that create a real distinction between two time periods, or the very, very heavy use of symbolism, in a style that is as great as Slumdog Millionaire (2008), which most of time seems smart and captivating and once or twice heart-breaking. Sure, from another perspective, the symbolism infrequently feels a little contrived, but ultimately one cannot help but revel in the sometimes very thought-provoking biblical overtones that make them glow even in the darkest of settings. Research suggests that The Secret Scripture will not make it onto the mainstream circuits following its presentation earlier this month at the LFF 2016, which is a real shame, for worse, even more apparently derivative films are out there, released every month, taking up such fiercely competitive positions on cinema schedules. This movie may not be one’s highlight of the year, or even the month, but time spent with this film will not be time wasted. It’s a great story exploring love in two major guises that, while not as complex as it hopes to appear, is still a great, well-layered tale offering some interesting insight, particularly if one happens to have not heard or seen any yet, into numerous social predicaments. One might struggle to convince others to make great sacrifices in order to track down and see this movie. Research also suggests, in fact, that it is hard enough just finding a trailer. However, if one happens to win a free ticket from a lottery to The Secret Scripture, or be offered it as a gift of any other sort, they need not fear, for it just might be one of the best unexpected treats of the year. #FilmReviews #TheatricalReleases #DeanPettipher #BFILFF #LondonFilmFestival2016 #JimSheridan #RooneyMara #EricBana #VanessaRedgrave #JackReynor #TheoJames

Directed by Peter Lee Scott Starring Harry Jarvis, Makir Ahmed, George Somner Short Film Review by Evie Brudenall We are currently in the midst of a cinematic climate that predominantly portrays and celebrates a certain type of individual; the straight white male. Although there has been an improvement in terms of visibility over the years, people are rightfully crying out for more diversity in the films we watch, believing cinema holds a responsibility to reflect and mirror society and the contemporary times in which we live. If Hollywood won’t meet our demands – then Peter Lee Scott’s short film Colours will. Best friends Adam (Harry Jarvis) and Tom (Makir Ahmed) both play for the same football team, with their mutual friend Mike (George Somner) reigning over the team with his abrasive and unpredictable ways. When Adam and Mike discover that Tom is gay, Mike renders Tom an outcast and Adam faces a decision; follow Mike’s twisted ideologies or become a social outcast himself. Scott’s emotionally wrought and masterfully tense piece is enhanced exponentially by the stellar performances, with particular praise falling to George Somner as Mike. Despite the unflinching and homophobic epithets that pepper Somner’s dialogue, he delivers them with fierce commitment and makes his abusive tirades believable, and unfortunately commonplace. Meanwhile Jarvis is extremely effective at portraying Adam’s internal conflict; although his character is frustrating as he fails to confront Mike’s antagonism and defend his friend, we understand his reluctance. Sometimes the fear of not belonging and rejection is stronger than the pull to fulfil your moral duty. Colours resolutely highlights the ever present prejudice and homophobia that permeates society, and demonstrates that even the youth of today who are supposed to be the generation of acceptance can prove to be just as intolerable. It also attempts to make an interesting commentary on the dynamic between oppressor and the oppressed; while Tom is understandably apprehensive to reveal his sexuality to his friends, he is in fact more secure with himself than Mike or any of his detractors. The ease at which Mike is shaken by the upset of his ideal social group is alarming, and Colours does an incredible job at spotlighting the absurdity. The creative decision to have the conflict take place against the backdrop of football was a stroke of genius on Lee’s part. The sport of football and those who engage in it are typically considered to be your archetypal macho man, and the tribal mentality it cultivates is a perfect parallel to the atmosphere and warped mindset that Mike senselessly creates. Mike is also given a shiver-inducing audible motif as his blatant acts of bullying and intimidation are accompanied by shrill non-diegetic music that is instrumental in generating palpable tension and the possibility of real danger. An immersive but albeit sometimes hard-to-watch drama, Colours explores the story of discovered sexuality and subsequent homophobia with the utmost respect and determined honesty. But the message here is strong – hope always triumphs over fear. More Short Film Reviews. #ShortFilmReviews #ShortFilms #LGBT #EvieBrudenall #PeterLeeScott #ShortFilm

Directed by Rene Pannevis Starring Charley Palmer Rothwell & Thomas Turgoose Short Film Review by Chris Olson Following the seemingly jovial antics of two car thieves (Charley Palmer Rothwell and Thomas Turgoose), Jacked is a surprisingly alert if slightly disjointed short film from director Rene Pannevis, that delves into the victimhood of crime and its most pivotal players. As Russell and Waylen scour the urban streets for a vehicle to steal, their witty banter about liking James Blunt could almost be enough to endear you to their thuggish characters. However, after finding some personal tape recordings from a sick man in their boosted car, the two have a difference of opinion on where the moral line is, which reveals the true nature of their characters. A thoughtful and interesting short, Jacked is a contemporary study of crime and how it can affect so many people in a variety of ways. Bringing in the human element to this sometimes glorified aspect of society is certainly worth exploring, especially the perspective we are being offered by Pannevis. True these characters are morally flawed and unashamed when it comes to breaking the law, but the reality of their situation is as heartbreaking as the somber lives they stumble upon on those tapes, brought to a depressing culmination by the film's end. The two central performers are very good. Skipping the cartoonish depictions of villains audiences are so used to seeing, and instead depicting these thieves as complex human beings with different and difficult codes to uphold. The lines between right and wrong are not so simple as being determined by selfish gain, and instead a more complicated tangle of intertwining societal expectations and inner ethics. Usually told from the victim's point of view, Jacked approaches the mild crime element from a sensitive yet fierce perspective of the antagonists. But that only seems odd because audiences are so used to traditional storytelling methods. Really, all notions of right and wrong are a muddied puddle of grey area, and audiences are sure to bring their own prejudices to a viewing, allowing for an infinite, and equally potent, amount of viewpoints. Aside from a slightly wobbly ending, Jacked is a terrific and troubling film. More Short Film Reviews this way. #ShortFilmReviews #ShortFilms #ChrisOlson #RaindanceFilmFestival

★★★★ Written & Directed by Nicholas Connor Starring Rhys Cadman, Katie Quinn, & Megan Grady Indie Film Review by Chris Olson Coming-of-age stories are a popular genre for filmmakers. The glorious trappings of youth juxtaposed against the harsh realities of adulthood make for a threatening contrast which adds instant tension to a film. Whichever side of the line you fall there are often many things audiences can take from these fables, whether it be to appreciate the freedoms of being a child, to accept the inevitability of age, or to simply thank the deities that one does not have to endure puberty more than once in a lifetime! Indie film Northern Lights, from writer and director Nicholas Connor, however, offers a rather unique perspective on the subject, offering up a tale of woe whereby our hero seems consumed by the anxieties of someone much older whilst simultaneously coping with the fundamental issues which plague her peers - like boys and exams. Teenager Emma (Katie Quinn) is on the cusp of adulthood, at that oh-so-very pivotal stage in life where she is taking her exams. The stress of the process is undoubtedly unnerving her, especially when it seems to be sitting atop a mountain of pre-existing problems. Whilst she is able to find solace in her close friend Rob (Rhys Cadman), and mild distraction in her short-but-sharp-tongued younger sister Mia (Megan Grady), there seems to be a constant atmosphere of foreboding surrounding Emma that threatens to consume her at every turn. Rob suffers from his own troubles. With a hole in his heart (literally) and a yearning in his soul (emotionally - for Emma), his world is not that dissimilar Emma’s. He struggles to find the point to life, battling through an existential crisis that would probably be quickly solved by a kiss from his crush, Rob provides that much-needed friend-zone sparring partner for Emma to grapple with her own anxieties. The phrase Northern Lights is not used in this indie film to refer to the aurora borealis, but actually the simpler if electrified beauty found in the streetlights over some of the northern towns. These orange glows are to be replaced with LEDs, changing the visual landscape for these characters, perfectly representing the dramatic shift in their lives that approaches. This kind of symbolism is delicately presented by Connor, and a great example of why his film contains plenty for viewers to chew on. Another would be the wooden crate wrapped in chains that starkly punctuates the movie with its presence every so often. It is a visually intelligent film, utilising some fantastic methods to create interwoven themes and ideas whilst complementing the characterisation being presented in the story. For example, during one sequence where Emma gets stood up for a date, she walks away down the lonely road slowly out of focus, reminiscent of her hopes which have been dashed. It has to be said that the dialogue could be improved. Certain elongated scenes between the three main characters had a clunky feel to them, the performers seeming to stick to their lines too rigidly without allowing enough sense of chemistry to develop naturally. Considering the heavy emotional pull of the plot, it seemed a shame to be let down by some wooden delivery which jolted this viewer out of the moment. That being said, the performances are definitely commendable, especially during the final third of the film where everything came together fantastically for a really poignant and moving finale. Without spoiling it, there was one sequence using Emma, some brilliant music and a projector which was utterly dazzling. Quinn in particular was increasingly impressive during the film’s latter half. It is also worth mentioning the music from Some Kind of Illness, and Conor McCabe, which created a superb soundscape to the emotive story being presented. Aside from being a little light on plot in the earlier sections of the movie and some dialogue which could have benefitted from a less-is-more approach, Northern Lights is a beautiful piece of filmmaking that is as tonally rich as it is remarkably poignant. More Indie Film Reviews this way. #IndieFilmReviews #ChrisOlson #IndieFilms #BritishFilmmaking #NicholasConnor #KatieQuinn #RhysCadman

Directed by John McGovern Starring Tim Casey & Eileen Fennel Short Film Review by Lorenzo Lombardi Contemporary black and white shorts come and go. Their usage of this is generally because of atmospheres it can exude, but most of the time, filmmakers’ decisions to use the filter is typically superficial. Harry Stands Up, however, uses black and white perfectly by both creating crisp visuals, forming a dark atmosphere and giving an expression of the main character’s world. Harry Stands Up focuses on the titular character. He spends most of his days watching vintage cartoons. One day, a bird flies in, bringing light into the monotonous day. Harry then decides to stand up from his chair and attract the bird to his house. The short is made up of moments that can be pieced together by the audience. This is because of a premise that explains nothing about the story, characters and intentions. Viewers will question why Harry is in his isolated state, but some of these can be interpreted with a clever inclusion of another character - his offscreen mum, Mary (Eileen Fennel). Her dialogue hints at a bleak past that adds some depth to how the short unfolds. As mentioned earlier, the usage of black and white is realised. Maybe the colours parallel how engrossed Harry has become in the cartoons? The black and white also serves as a stark reminder of how eerie the short becomes. This is all accomplished even further by Peadar O’Briain’s well-shot cinematography. Focusing on certain objects makes you pay attention to the importance of them. Tim Casey delivers an effectively bizarre performance as the lead. He evokes different feelings about the character through uneasy facial expressions and a sense of innocence, all until the twisted ending. Director John McGovern has crafted a curiously fascinating and watchable short that does not sugar coat anything. It also contains a memorable performance that will both disturb and amuse. Best of all, Harry Stands Up leaves most of the ‘why’ to the wonder of its audience. More Short Film Reviews this way. Or why not Watch Short Films Online here. #ShortFilmReviews #LorenzoLombardi #ShortFilms #BlackandWhite

 ★★★★★ Directed by Mira Nair Written by William Wheeler Starring Madina Nalwanga, Lupita Nyong'o & David Oyelowo Film Review by Dean Pettipher The last time that one might recall observing Uganda propped up upon the world stage, to be viewed exclusively through the ostensibly story-driven but ultimately financially-motivated lenses of the Hollywood movie business, will most likely be Kevin Macdonald’s Oscar-winning drama entitled The Last King of Scotland (2006). For James Bond enthusiasts, memory may also drift towards the African nation’s equally brutal and depressing depiction, albeit this particular presentation was much briefer, in the BAFTA-wining 007 adventure, Casino Royale (2006). Add other incredible movies to the mix, such as Hotel Rwanda (2004), Tsotsi (2005), Blood Diamond (2006) and Zulu (also entitled City of Violence) (2013), which all take on the rarely-performed task of telling stories set within the African continent and while doing so choose to shed light predominantly on the chaos and despair that many African nations are perceived to be notorious for, at least according to the collective psyche of the world, then it seems hardly surprising that the Walt Disney Company were fairly reluctant to give the green light to financing its first ever live-action film to be set and shot, basically in its entirety, in Africa. In fact, the last and perhaps the only time that one might remember watching a truly feel-good picture set in that part of the world might be Africa United (2010), which, unfortunately, did not receive much media attention, in spite of being set against the backdrop and being released in the wake of the first FIFA World Cup to be held on the African continent. Thus, the family feature that was fundamentally about dreams coming true against the odds did not last very long in the mainstream cinema chains. With such knowledge in mind, could such a movie ever be truly capable of capturing that Disney magic, while also managing to achieve both critical and box office success? Queen of Katwe (2016) answers those queries with a well-deserved flamboyant and joyous ‘Yes.’ The magic has well and truly been re-captured, with all of its infectious splendour that remains as vital as ever for keeping dreams alive both on and beyond the silver screen, the best Disney picture of the year thus far. In truth, there was no need to ‘capture’ that magic at all, for director Mira Nair and the team have illustrated wonderfully that the magic was always there, even in Africa. William Wheeler has scribed an overwhelmingly poignant script based on two primary sources written by the same author, Tim Crothers. The first is an ESPN article and the latter is a book, about the same subject matter, entitled, The Queen of Katwe: A Story of Life, Chess, and One Extraordinary Girl's Dream of Becoming a Grandmaster (2012). Combining such creative aids with interviews between Wheeler and the real-life sports heroes, such as Phiona Mutesi, upon whom the film is based, has resulted in a script that gracefully dances from funny to sad and back again in consistently engaging circles, from start to finish, in a manner that Disney remains special for. Wheeler frequently employs chess as a metaphor for life in an always intriguing and relatable fashion. Moreover, Wheeler has given Nair and her cast the opportunity to allow each character’s distinct personality to shine, which is especially impressive in the scenes featuring the protagonist and her team of young chess players working their way up in the chess tournament universe. All loose ends are tied up handsomely and what follows the end of the story is a beautiful, never-before-seen take on the closing sequence that reminds audiences of the adapted screenplay’s real-life inspiration.  Wheeler’s script is brought to its highest possible state of sparkling life through Nair’s incredible direction. With her fellow artists, she confidently takes hold of every camera shot and its various accompaniments, so that all of the humour, all of the sadness, or even all of the sheer poignancy of each moment, is ceaselessly pitched to perfection. The result is a story that generates bounteous amounts of laughs, elongated thrills, sudden shocks and at least compelling urges to shed tears in the wake of the numerous struggles that many associate only with Africa, which Nair makes no effort to hide. Instead, Nair clearly points them out as just some of the countless difficulties, both within and without Phiona Mutesi’s home in the slum in Katwe. Nair also manages to present the game of chess in such a way that is far from tedious but rather a thrilling affair of mind against mind, marked often by tremendous levels of tension and suspense, even if only out of hope for the protagonist on the part of her audiences both on and beyond the silver screen. Such a display feels reminiscent of how enigma code-cracking during World War II was successfully presented as a heart-squeezing hedge-maze of thrills in The Imitation Game (2014). Thus, the film achieves a striking sincerity in its appeal to all dreamers to never, ever give up, no matter how frustrating and ostensibly life-determining their personal circumstances appear to be. While that message by now appears audaciously exhausted by Disney, ultimately, it is a message that will never, ever grow old. Watch the movie trailer for Queen of Katwe above. The performances of the leading actors and the child stars especially are phenomenal. David Oyelowo portrays the perfect husband, teacher and pastoral carer with so much bubbling energy and charm that one becomes utterly flabbergasted when requested to ascertain which of Oyelowo’s two performances showcased at the 2016 London Film Festival was the best. This supporting role as Phiona Mutesi’s mentor, Robert Katende, and his starring role as Seretse Khama in Amma Asante’s A United Kingdom (2016) are both nothing short of superb. Lupita Nyong'o may not be required in this movie to push herself here quite as far as she did for 12 Years a Slave (2013) but her performance as Phiona Mutesi’s mother is nevertheless as full of emotional charge as is necessary for a mother who evidently, above all things, loves her children with all of her heart and so much more. Madina Nalwanga, a newcomer Ugandan actress, delivers an impressive debut movie performance as the heroine battling against the odds to do what she loves. Nalwanga expertly showcases her character’s flaws as clearly as she does her more attractive qualities, in such a way that simply demands that audiences root for by the end of her first few scenes. Finally, honourable mentions in relation to the acting must be made for the other emerging young talents playing fellow chess enthusiasts whom Phiona Mutesi meets early on in her chess player endeavours. These mentions include, but are certainly not limited to, Ronald Ssemaganda, Nikita Waligwa, Ethan Nazario Lubega and Edgar Kanyike. Together, they have formed once of the most adorable young ensembles ever seen in a Disney movie.  The well-paced action is carried along by the original score of Alex Heffes, who, incidentally, also composed the music for the aforementioned picture, The Last King of Scotland. The sweet orchestral melodies often humbly give way to upbeat songs from a host of artists that include Young Cardamon & HAB, MC Galaxy, A Pass, Jose Chameleone and Alicia Keyes. The result is a movie soundtrack that compels one to get up and dance, if only such a thing was socially acceptable in a movie theatre. Alas, one might happily settle for shaking heads or tapping feet instead. Queen of Katwe will not win over those who are averse to what they perceive to be Disney’s shamelessly sugar-drenched, overly sweet-scented style of storytelling. However, even those audiences will conceded that the movie is an excellent example of how diversity in the film industry can work miracles, especially when done this well. Hopefully its success will extend to a financially lucrative aftermath following its release in cinemas. If that does not turn out to be the reality, then such a disappointment will never take away the already apparent reality that Queen of Katwe turned out to be a brilliant family adventure about the pursuit of dreams from humble beginnings. Nobody danced at the London Film Festival (LFF) Press Screening, but they definitely clapped. Chances are that they clapped for Uganda, for Africa, for dreamers living on the African continent and around the world, as well as for all of their friends and families who proudly support them until the end. At the very least, the frisson of excitement that carried LFF Press Delegates out of the early morning screening and throughout the rest of the day had one certain origin: an undeniably marvellous Disney movie that was undoubtedly worthy of that uniquely optimistic Disney magic. We have lots more Film Reviews this way. #FilmReviews #DeanPettipher #TheatricalReleases #LupitaNyong39o #DavidOyelowo #MadinaNalwanga #Disney #Familyfilm

Directed by Jesse Binger & Kaitlyn Johnston Starring Kaitlyn Johnston, Giordan Diaz, Susan Hedges, Tom Archi, & Bella Moscato Short Film Review by Chris Olson Grief is a bittersweet subject matter for stories, filmmakers who present them to audiences are often mindful of the pitfalls that are prevalent. Too much sadness and the audience may find it difficult to connect as emotionally as you need them to, keep it too light and it does not do justice to the subject matter. Jesse Binger and Kaitlyn Johnston's short film, Graveyard Girl, is a tonally balanced piece that approaches the subject matter in a graceful and intriguing way. Dahlia (Kaitlyn Johnston) is a teenager spending most of her time, as you may have guessed, in the local graveyard. Far from any gothic high school phase or death metal inclination, Dahlia frequents the graveyard due to a personal loss and seems to be struggling to move on. Sitting in front of a tombstone, our protagonist does sketches and idles the daylight hours away - much to the chagrin of her mother (Susan Hedges).One day Dahlia’s graveyard reverie is broken when she is interrupted by a mourner from a funeral taking place. Dennis (Giordan Diaz) at first seems like an overly bubbly and vibrant character, intrigued by Dahlia’s drawings and inclination to spend her free time in a graveyard. However, his own grieving process soon consumes him, allowing a self-reflective moment for Dahlia to occur that could be the closure she has been searching for. It would have been very easy to have a depressing aesthetic to match a story as potentially morbid as this. Graveyard Girl, though, is a film full of light and colour. Even the graveyard itself seems like a peaceful and pleasurable place to be. By keeping this tone of life, filmmakers Binger and Johnston allow their story to effervesce without any gloominess distracting the audience, becoming something more life affirming than tragic. Music is used to complement this tone, with a subtle score and acoustic feel - especially during the opening which was a fantastic way to set the mood. The performances, largely, are really great. Johnston in particular holds the film’s centre without any trouble. We empathise with her straight away and are drawn into her character’s anguish whilst intrigued by her predilection for her leisure time location. Hedges is a little on the nose at times, but is believable in her reaction to Dahlia’s behaviour. Diaz’s character was a little jarring to begin with, being introduced in a way that seemed to distract from the atmosphere the film had cultivated. He comes on very strong and his lines are delivered a bit woodenly. However, by the latter half of the short film, Diaz has more emotional depth to engage with in the script and delivers one of the most moving sequences. As a film to engage with, Graveyard Girl is sensitive and loaded with gravitas. It benefits from a visual beauty that is completely engaging and enjoyable, whilst tackling a story heavy with pathos and difficult themes. More Film Reviews for your reading pleasure. #ShortFilmReviews #ChrisOlson #ShortFilms #FilmReviews #JesseBinger #KaitlynJohnston

★★★★ Directed by Scott Derrickson Starring Benedict Cumberbatch, Chiwetel Ejiofor ,Tilda Swinton, Rachel McAdams, Mads Mikkelsen Film Review by Andy Furlong Doctor Strange the latest film set in the Marvel Cinematic Universe, is perhaps their least superhero orientated movie to date. This is Marvel’s version of The Matrix with magic to an extent. The capes seen in this film feel more suited to the wizards who occupy the halls of Hogwarts rather than to men wearing tights. The set designs and effects look amazing and very innovative - although clearly emulating Inception– which is no small feat. The film takes place amid a backdrop of multiverses and other dimensions that effortlessly blends together different environments in a very kaleidoscopic fashion that really reinvigorates what would otherwise be standard enough action scenes. I mentioned that Doctor Strange didn’t feel like a superhero movie – it feels much more like an Indiana Jones type adventure, full of ancient history and mythology that fills your head with possibilities – while managing to bring out the inner kid in you. For all the super powers characters have in other superhero movies, they really do a poor job of making you wish you had that power. In Doctor Strange, it made me wish I could do what he does, I would love to bend matter, easily travel through dimensions and practice some of the dark arts and enter different realities. Benedict Cumberbatch has always been an unlikeable screen presence to me. Don’t get me wrong, I do like him as an actor – but there’s an inherent arrogance about how he carries himself – that is used to great effect in a lot of his movies. And it’s really used to great effect here – in the earlier scenes – where he is a cocky, self–important surgeon, which makes it all the more pleasurable as his character evolves. The jokes in the movie, although pretty childish at times, really seemed to land on each occasion. Doctor Strange did a great job of being silly and serious, seemingly transitioning between the two, without taking away from the movie, another feat Marvel seldom achieves in my opinion. There’s also some great slapstick sequences in the movie – Doctor Strange’s cape – acts like a carpet in Aladdin at times and gives us some very amusing moments. The villain played by Mads Mikkelsen, actually has a proper motivation in the movie too! It is a conflicting motivation, that’s so complex when considering the human condition as a whole, that you wonder would you do the same as him given the opportunity. That’s a great question for any film to evoke, let alone in a fun adventure movie. This is pitch perfect for the type of friendly family fun vibe Marvel usually fails at while at the same time referencing such cinematic royalty as 2001: A Space Odyssey. The movie’s final act felt like a very fresh way of approaching a stale format, and tied in very well to Doctors Strange’s own personal journey. It left me genuinely excited to see what would come next, so much so – for the first time ever - I stayed to watch the post credit scene that has become synonymous with Marvel. It’s a shame this wasn’t released during the summer, Marvel would have had a massive blockbuster on their hands, a blockbuster even non Marvel fans can get behind. Doctor Strange is available to see now in IMAX 3D! More magical Film Reviews this way. #FilmReviews #TheatricalReleases #AndyFurlong #Superheroes #Marvel #BenedictCumberbatch #TildaSwinton #ScottDerrickson #RachelMcAdams #MadsMikkelsen #ChiwetelEjiofor

Directed by Ross Bolidai Starring Stevie Gold Short Documentary Film Review by Evie Brudenall Film has never shied away from depicting the sport of boxing (now there’s an understatement), and this passion and penchant for such storytelling has now bled into documentary with Coalville Gold. Coalville Gold follows Stevie Gold, a reformed criminal seeking absolution and positive recognition through bare – knuckle boxing. However, after breaking his hand, splitting up with his long-term girlfriend, and having to face a seasoned and more experienced fighter in his upcoming match, Stevie must challenge the support of his family and his perseverance to lead him to victory. Whilst the film may only be thirty minutes long, within the first three we witness extreme peaks and troughs in Stevie’s boxing career and personal life. Stevie has won his bare – knuckle boxing match. The crowd roars for his success. He calls his girlfriend to inform her of his victory and they effusively declare their love for one another; Steve is on top of the world. However, a short jump in time reveals that Stevie has suffered an injury and his girlfriend has since ended their relationship. In the events of the film’s first three minutes, our subject is already presented with conflict, resulting in the narrative feeling very fictional as it adheres to the classic three-act structure. The film also boasts fictional tones as it subverts the atypical non-fiction form: documentaries often account and give an insight into a subject’s past and personal history, whereas Coalville Gold is very much Stevie’s present. The cinematography and aesthetic decision also appeared as if they belonged in a fiction film, and I initially began to question whether Coalville Gold was indeed a documentary. Through the use of slow-motion to capture the most visceral of punches that are certain to make any audience wince, innovative placement of the camera and stunning shooting of the most unglamorous of locations, director Ross Balidai unites the perfect blend of truth and beauty to create images truly cinematic. As an audience, we are conditioned to empathise with Stevie as we root for his success in potentially his career’s most crucial fight. We learn that following a three-year stint in prison after several violent altercations, bare – knuckle fighting has become Stevie’s refuge. Ironically, an act that once used to cause our principal focus trouble and grievance has been honed into a skill as a means to pacify his aggression and past criminal behaviour. In spite of the fighting demeanour, Stevie is a sensitive soul as he explains how he is still hurting after his father’s infidelity and his need for reassurance from his (ex) girlfriend signals a youthful innocence – but also indicates that there is a lot of personal and professional growth to achieve. Deftly crafted and shaped by Bolidai, Coalville Gold will have you marvelling at its technical accomplishments and engaged in Stevie’s quest for triumphs and redemption. Read more Film Reviews this way. #DocumentaryFilmReviews #FilmReviews #EvieBrudenall #Documentaries #Boxing #Sportsmovies #RossBolidai

★★★★ Written & Directed by Andrea Arnold Starring Sasha Lane, Shia LaBeouf and Riley Keough Film Review by Dean Pettipher Just less than six decades have now passed since the novel entitled On the Road (1957) was first published. The literary work, written by the late John Kerouac (1922-1969), featured a distinctly spontaneous style of prose that allowed the author and this semi-autobiographical work in particular to play equally integral parts in defining both the Beat and the Counterculture generations. The winner of the Jury Prize at this year’s Cannes Film Festival, American Honey (2016) beautifully illustrates that the predominant sentiments of Kerouac’s Beat generation especially are more relevant and in fact more timeless than even the literary pioneer himself would ever imagine. One needs only to ponder for a moment over the following extract from the novel, which, like the movie in focus at present, recounts soul-searching and thrill-seeking travels of young people across the United States of America, to understand why: "I realized these were all the snapshots which our children would look at someday with wonder, thinking their parents had lived smooth, well-ordered, stabilized-within-the-photo lives and got up in the morning to walk proudly on the sidewalks of life, never dreaming the raggedy madness and riot of our actual lives, our actual night, the hell of it, the senseless nightmare road. All of it inside endless and beginningless emptiness. Pitiful forms of ignorance." - John Kerouac (1922-1969), On the Road (1957) Even though the novel is set against an older version of the same backdrop, the addictively gorgeous chaos depicted by Kerouac’s writing has been equally matched through the art of film by Andrea Arnold and her team of artists in American Honey, which is a relief, not least because the still fairly recent adaption of Kerouac’s book, released under the same name, On the Road (2012), was aesthetically stunning and commendably faithful to the source material, but ultimately severely lacked a fundamental emotional depth in the telling of Kerouac’s great story of characters who were desperate to make the most out of their lives and their fleeting youth in particular. By comparison, in spite of some painful frustrations that ostensibly seem deliberately caused by the filmmakers for the right reasons, but ultimately could have easily been avoided without harming the film’s overall impact in their absence, Arnold’s original screenplay depicting the current generation of young people features an astonishing level of authenticity in its bitterly truthful presentation of struggles faced by almost all millennials, which had, until now, never been quite so accurately caught on camera. Authenticity here results mainly from camera work that looks just as spontaneous as Kerouac’s prose, magnificently varied imagery of the American Midwest, as well as controlled and heartfelt performances from the entire cast. Thus, the similarities between the Beat culture and the culture of the present decade are clear, most notably a rejection of standard values, a spiritual quest, experimentation with mind-altering drugs and sexual liberation. At the heart of the adventure, presented as the tipping point prior to its beginning and the constant source of sweetness right up until its conclusion, are frustrations with broken political and social constructs that have finally reached and exceeded their limits. What follows is a fight against those long-entrenched class systems of behaviour and the search for something better in an American tale that could not be more relevant to the youth culture of today, especially in the USA, while the nation braces itself for the potentially earth-shattering consequences of what has become one of the most shocking presidential election battles to date. Arnold has previously shown through directing and penning the script for Fish Tank (2009) that she is able to highlight formerly unseen facets of often misunderstood factions of society and in the process create an admirable sense of warmth through vibrant and wide-ranging imagery in the otherwise fairly cold-hearted corners of the world that her characters inhabit. In the case of the aforementioned movie, which incidentally also won the Cannes Film Festival Jury Prize in 2009, Arnold presented a 15-year-old girl, Mia Williams, needing to embrace adulthood quickly in order to deal with various obstacles that she faced within her home environment, which was situated in a deprived area of Essex in the UK. Similarly, in American Honey, Arnold presents audiences with 18-year-old Star, who bravely fights against difficult circumstances stemming from her underprivileged home environment, in search of excitement following a sudden epiphany. On her travels, Star’s passing through poor and wealthy neighbourhoods situated in sometimes vastly different natural environments, which only America could host, is consistently presented in such a way that is beautiful but honest simultaneously. The imagery is accompanied by a soundtrack of popular rap, R & B, country and what some might call ‘classic’ modern dance songs, including the famous Rihanna tune known for its ability to inspire hopeless romantic optimism in spite of severe disillusionment with one’s deceptive reality. The result is a calling for audiences young and old to shamelessly escape into the joy of the present moment. Arnold’s employment of symbolism throughout the film is equally masterful, especially when talismans shared between the primary ensemble cast of the film are used to indicate key stages of character development, or when the Confederacy colours are utilized brilliantly in a scene that allures through guilty sensual pleasures while consciously not being coy about the dangers of blindly submitting to those particular desires. The symbolism on the whole is used in a manner that manages to seem perfectly rateable and it almost always avoids feeling blatantly contrived or too obvious.  The three leading actors of American Honey are all compelling in equal measure. Riley Keough, one of the most beautiful actresses working in Hollywood today, gracefully portrays the movie’s principle antagonist in the form of a stunning but ruthless Southern Belle. Having recently commanded the spotlight of television with her leading role in The Girlfriend Experience (2016-Present), Keough illustrates in her latest movie part that she is more than capable of taking on roles in the future that do not need to capitalize on her bountiful outer beauty, even if she suits such parts just as well. Shia LaBeouf, following on from his impressive supporting role in Fury (2014) has pulled off the admirable feat of keeping his career moving forward, even in the wake of his still fairly recent legal controversies. In spite of his character’s arrogant tendencies, he remains as charming and as charismatic now as he did when he occupied the movie world’s attention as the leading man of the Transformers series (2007-2011). Finally, Sasha Lane could be one to watch following what is an excellent film debut. American Honey could do for Lane what Star Wars: Episode VII - The Force Awakens (2015) has done for John Boyega and Daisy Ridley, even if the former film received a fraction of the publicity thrived upon by the latter production. Regardless, the energy that Lane brings to the bold but naïve protagonist of this American road trip suggests that she undoubtedly made the most of her big screen introduction. There are a few major irritations that for some could all but totally tarnish American Honey by the time the credits roll. First off, running for approximately two hours and forty-three minutes, the film is way, way too long. Moreover, the spontaneous quality of the story results in a strikingly repetitive plot structure, which was also a hindrance apparent with Kerouac’s previously-discussed literary work. At times, there is so much ‘small talk’ that one feels as though one is watching a documentary rather than the riotous storytelling advertised in the trailer. Lastly and most frustrating of all, even after the movie’s painfully long run-time, the ending is far from satisfying. The audience is abandoned right in the middle of the road trip when major character relationships are at their most interesting. Furthermore, so many questions are left unanswered regarding the life that the protagonist left behind for her new adventure. Questions that she appears only once to attempt to address, before becoming so consumed with the journey ahead that she seems content to leave those great voids open for debate. The ultimate consequences of all of these issues are a journey that feels aimless and a story that ostensibly feels pointless, although perhaps such an ending was deliberate on Arnold’s part to illustrate that point exactly. Either way, American Honey ultimately remains worth a watch. Whether one has been on the road trip across America or not, the principle ensemble cast are all so believable in their respective youthful roles that there will be at least one moment in the film for every member of the audience who has spent their younger years attempting to escape reality through a party of sorts, which, while rewarding him or her with a handful of happy memories, often amounts to an experience marred by bitter disappointment caused by ceaseless human realities. Every night out that was intended to be the ultimate celebration with one’s best friends but ended up being scarred by jealousy, boredom and excess might spring to mind. All of the house parties that began as peaceful exclusive gatherings of one’s immediate social circles but quickly turned into riotous spectacles because the world and its numerous relations showed up as well will bang on memory’s door. The temptation will be to insist that the ensemble of American Honey deserve no sympathy in the wake of their troubles and to assert that they, quite frankly, need to take responsibility for their lives. In the end, however, even the more bitter audiences will concede that they have all been where these characters presently stand, even if just for a few terrifying but equally exciting moments, desperately trying to make the most of their own fractured versions of the American Dream. Kerouac, Fitzgerald and every other dreamer that has followed them to this day would rightly be proud of the occasionally sticky but lusciously sweet movie that is American Honey. More Film Reviews this way. #FilmReviews #TheatricalReleases #DeanPettipher #BFILFF #AndreaArnold #SashaLane #ShiaLaBeouf #RileyKeough

Directed by Meg Skaff Starring Andrea Fares, Ashley Peoples, Susan Kirby, & Timothy J. Cox Short Film Review by Monica Jowett Linda LeThorn & the Music Box is a hypnotic short film from writer and director Meg Skaff. Bizarre and unique, it is difficult to pin down this piece of cinema, but the story and characters work together in an entertaining and compelling way. Linda LeThorn (Andrea Fares) is an interesting person; she sits all sorts of pets, and talks to her cat. Eccentric, introverted, she is forced to breaking point when she inherits some prized possessions from her Aunt Lucinda (Susan Kirby). Among the collection of items is a music box, which plays by itself and seems to possess Linda as it does so. What follows are a number of curious events. Linda begins to forget about the usual aspects of her day such as her cat and pet-sitting duties. Instead she dances to the music box, and is constantly reminded of her Aunt Linda. She even begins a ‘Skin Picking Club,’ for people who are interested in wanting to pick at their skin conditions. At the group Linda meats Geraldine (Ashley Peoples) who turns Linda’s strange relationship with the music box into a love triangle. Geraldine tries to improve Linda’s life, and could succeed but for the magical connection the music box has to Linda. The farcical life Linda leads as though she is in a dream is just one of the many surreal elements to the film. Writer and director of the short Meg Skaff has turned the film into an application of an eccentric, yet compelling piece only an indie film can be. Using elements of drama, comedy, even the supernatural, and at times simply the bizarre, the viewer is easily sucked into the weird and wonderful things that Linda experiences. A film that is definitely unforgettable, the taste might not be for everyone, and going in requires an open mind. Read more Short Film Reviews this way. #ShortFilmReviews #MonicaJowett #ShortFilms #TimothyJCox #Comedy