Interview by Chris Olson One of the actors who provided voices for the fabulous short animated film Ghostboy, Natalie Sexton, sat down with us to talk about Ghostboy, animation, and what she would say if she were a dolphin. Ghostboy was a really fantastic film. What attracted you to voicing the main character? Firstly, thank you! I'm glad you enjoyed it. All the team at United Magic have worked so hard on the piece. I've always loved this kind of animation, growing up in the days of Wallace and Gromit, so to be a part of a project like this seemed like a lot of fun! Have you had any experience with voice work before? I've done a little bit of voice work - I can be heard voicing some of the characters for the new Guitar Hero game, but this was the first time I'd played someone a completely different age and gender to myself! Are there any specific goals you have when approaching a role like this? Is the process much different than doing a live action character? I think the essence to approaching it is the same as you'd approach any role - after all you are playing a character, whether you yourself can be seen or not. There's a lot of facial expression and gestures going on when we record! As the voice is quite specific and needs to sound like an 8 year-old-boy, something which I am not(!), I would record myself and listen to it back to try and hear what sounded natural and what didn't. Jonathan [Brooks] was also great in being really clear with what he wanted. It was easy to make Alfie sound very young when actually 8 year old's don't speak like tiny kids - they're far too 'epic' for that (as Alfie would say!). Were there any other stop-motion or animated films you looked to for inspiration? Or any other influences for that matter? In terms of influences, I'm lucky as I work as an acting and vocal coach and teach a lot of children around the age of Alfie, so I really listened to the way they spoke to each other and their parents to help me with the way I interpreted the text. What do you have planned next for your career? I have just finished playing Wendy in Peter Pan is a small professional production in Brighton, and have been busy writing my own musical which comes to Brighton next May! Other than that, coaching a lot of talented youngsters in acting and singing. Do you have any advice for aspiring actors? Work hard, and be brave enough to try new things and push yourself. You can't get every job or audition you go for, but don't let it get you down because there will always be something else if you keep trying! What would you say if you were a dolphin? E-e-e-e-e!! Which is dolphin speak for go and watch Ghostboy and tell all your friends about it! With that in mind, why not head over to our Film Channel to watch short movies online for free! #Interview #ChrisOlson #Interviews #Stopmotion #Animation #JonathanBrooks #Acting #VoiceWork

★★★★ Directed by Ken Loach Starring Dave Jones, Hayley Squires, Natalie Ann Jamieson, & Colin Coombs, Harriet Ghost Film Review by Andy Furlong I, Daniel Blake is the latest Palme d’Or film directed by Ken Loach, one of my personal favourite Filmmakers. I am a big fan of Kes, Looking for Eric and The Wind That Shakes the Barley. As a director Loach is much more interested in telling a story, rather than capturing our attention with anything that could ever be considered cinematic flair. That’s probably intentional to allow us to focus solely on the characters and their stories. This style might be a problem for some cinephiles but to me, I think the almost documentarian approach to his filmmaking allows the voice of his protagonists and stories to resonate with a greater sense of profundity. Which is important when you consider whose voices Loach often seeks out. The voice of the poor, the voice of the vulnerable, and those marginalized and often forgotten by society. Voices, which are brought to life with great authenticity with the help of frequent collaborator Paul Laverty who penned the screenplay for I, Daniel Blake. When a movie like I, Daniel Blake comes along that essentially acts as a form of reaffirming my own ideologies, it becomes important to an extent to distance myself from that aspect of it and instead judge the work by the same standards I would any other film, and not solely as a political rallying call. Luckily I, Daniel Blake is good old fashioned storytelling in it’s own right. We follow the character of the same name played by Dave Jones. Who is a middle-aged carpenter who requires state benefit after suffering a massive heart attack before the film began. The Film opens with Daniel getting assessed by a “so-called” health expert appointed by a private company, who turns down his application for out-of-work sickness benefit Employment and support allowance. This despite his own doctor already deeming him unfit to work. The camera focusing on a flabbergasted Daniel as a faceless voice delivers the news that someone simply known as the decision maker will decide his whole future. I, Daniel Blake in that moment captures the true detached nature of iniquitous actions, as rules, regulations red tape, different departments and structures erode any sense of humanity or responsibility that someone would have to be held accountable for. We have all been reduced to numbers on a form and the sum of that information. In the same spirit of movies like Bicycle Thieves and A Better Life, I, Daniel Blake is built around a simple task. The whole movie is centred around the trials and tribulations of Daniel trying to get approved for sickness benefit and his dealings with the job centre. The movie almost plays like a tragic odyssey at times as Dan struggles with using computers, filling out form after form or kept on hold on the phone for hours on end. Now the film isn’t all doom and gloom, it’s often laugh out loud funny and the harrowing situations are often accompanied by biting whit. In the cinema I viewed I, Daniel Blake in, the audience were often in hysterics as I sat there in disgust at the all too familiar situations Daniel was subjected to. Don’t get me wrong they were still funny moments but I was too involved with Daniel’s plight by that point to hear laughter, and that’s to the film’s credit. There are other supporting characters as well that add to the complexities of the story. A single mother who moves up from London to escape a homeless hostel is played brilliantly by Hayley Squires. Now this is where a few of my minor issues with I, Daniel Blake started to emerge. Ken Loach is obviously a well-known political activist and of great moral principle, a principle I’m on board with like I mentioned. There is nothing wrong with having your message in your movies, that’s one of the things I love about Loach after all, that and he almost manages to do it without it feeling like a political broadcast, he exposes you to something rather than dictating to you how you should feel which is a bonus. However sometimes when you try and show too much of something, in too little of a time frame through a small spectrum of characters, it can blunt the impact and feel a bit like overkill. I’m not saying that these things didn’t all happen, I know for a fact that they do but narratively speaking when you try and compact it all into one character’s specific story it can make some elements feel very forced. This is felt particularly in the film’s later stages, which felt a bit forced. That aside I, Daniel Blake is still a must see slice of life movie that’s sure to stir some powerful emotions with it’s audiences. More Film Reviews this way. #FilmReviews #AndyFurlong #TheatricalReleases #Filmmaker #KenLoach #BritishFilmmaking #DaveJones #HayleySquires

Directed by Mark A. C. Brown and Frederic Fournier Written by Mark A.C. Brown Short Film Review by Hannah Sayer Starring David Whitney, Victoria Johnston, Matt Prendergast, John Terence, Chris Spyrides Corinthian is an eerily quiet and intense short film which follows a family who are caught up in the brutal world of illegal underground bare knuckle boxing. The title Corinthian is a term used to describe someone when they are showcasing the highest standards of amateur sportsmanship. When taking into account the illegal activity which is occurring in this underground club, it is almost ironic to suggest that these people are embodying the Corinthian spirit. The short film opens with a shot of the clock which signifies the time as being 3:06 when the boxing match begins. What follows is a story told in real time, as later the clock is shown again to reinforce that only three minutes have passed, both in the film and in real time. The significance of time in this short film allows for Brown and Fournier to create a pressurised situation where the viewer senses the time ticking by as much as the main character who is fighting for his family’s livelihood. The short film’s plot is ambiguous as it is unclear at first why these two men are fighting in this dark and dingy underground area. By not providing the viewer with a clear narrative direction from the opening, Brown and Fournier keep you guessing which intensifies the tension and keeps you engaged. As the fight comes to a close, the viewer learns that this fight was a deal of sorts for the couple to get some money to support their daughter. The scene of the fight is intensified by the atmospheric music scored by Max Perryment and Suzanne Smith’s cinematography. The dark and red tones intensify the unruly atmosphere of the underground fighting area. The majority of the film is silent with no dialogue which allows for the music and the aesthetic to tell the story. The intensity evoked through Corinthian’s striking music and cinematography, particularly in the boxing sequence, allows for this short film to leave a lasting impression. For such a quiet film Corinthian certainly packs a punch. More Short Film Reviews this way. #ShortFilmReviews #HannahSayer #ShortFilms #Sportsmovies #Boxing

Filmmaker Interview by Chris Olson The director behind the charming and brilliant stop motion film, Ghostboy, Jonathan Brooks took the tilme to catch up with us about his love of films and being a filmmaker in 2016. Can you tell us a little bit about your film background and how this led you to direct Ghostboy? In 2010 I set up my own production company specialising in corporate video so that I could continue my passion for filmmaking as a career. Since then I have directed 5 short films and worked with countless corporate clients. However animation is something I have always loved, during my college years I wrote a poem called ‘Ghostboy'. I always thought it could be adapted into a short film, so in 2014 I decided to make that a reality! I had also been introduced to a local stop-motion animator, Trevor Hardy, of Foolhardy Films whom had years of experience. Along with Neil James the third writer in our little trio, we began working on Ghostboy! How would you describe the story and characters of Ghostboy, and what sort of audience you want to reach? Even though Ghostboy is a stand alone short film, it is in fact a TV pilot. We are hoping to develop Ghostboy into a running series for kids aged 5-11. We would love to see that! The use of stop motion is amazing. Can you tell us about your experience with that kind of filmmaking? And how you feel it enhances storytelling? Our animator Trevor Hardy is incredibly experienced when it comes to stop motion, the process was smooth and enjoyable. The pre-production stage is probably more extensive as the storyboards and design has to be fixed before production can begin. However, I decided to animate the mouths of each character digitally so that animation could begin and allow the cast to add-lib lines. The result is really great. As an indie filmmaker, what do you feel is the hardest part of filmmaking in 2016? The most challenging part of filmmaking in my view is getting it seen, even with online platforms such as Youtube and Vimeo it is still very difficult to reach a large audience. I have however been using Filmfreeway to enter festivals and competitions which is by far the simplest and useful method to get your film seen across the world. Do you have any influences that you regularly look to? Filmmakers or films or other? I’m heavily influenced by Pixar, not just their films but their mantra and way of thinking during the production process. This is what has lead me towards making animated films. What's next for you? I am in the process of developing short Ghostboy episodes to explore the characters more. At the same time I am in pre-production for a new short film mixing live action and animation! What would say if you were a dolphin? “Don’t visit Japan…" Read our glowing Film Review for Ghostboy. Or visit the Ghostboy official website - http://www.ghostboy.tv/ #Interview #ChrisOlson #Stopmotion #JonathanBrooks #Animation #FilmmakerFeatures #Filmmaking #Filmmaker

Directed by Savannah Bloch Starring Alixzandra Dove Short Film Review by Andrew Young Lights Out teases us. It is never quite clear what category the film fits into, what its aims are or what is going on. This is no bad thing. It could be a criticism that the film doesn’t know what it wants to be but that isn’t the case here. It may well be the case that director Savannah Bloch and writer Kelly Lynn Peters knew exactly what they were doing when making this impressive short. Alixzandra Dove is excellent in the film’s only role. She plays a mother whose originally composed exterior gives way to the pent-up frustration and sadness beneath, brought on by her wailing son Joshy’s adamant refusal to turn out his light. At this point Bloch’s film works as an intense display of a woman feeling the strain of parenthood and all of life’s other struggles. Dove completely sells her emotional breakdown, appearing overwhelmed and defeated during her exasperated crying. It plays like a single scene from a wider picture, a snapshot of an emotional crisis where the cause is unknown. This is a clever tactic as it leaves us to guess at what could be going on and, because we may well have found ourselves in a similar position, we can fill in the blanks from our own experience, therefore making us more emotionally drawn to the drama. Yet this is all made in the style of the opening to a potential fright-fest. Lars Hempel’s tinkling score is oddly creepy and establishes a clear link between the child and any malevolent force that may be lurking. DoP Cooper Ulrich also does a suitably unnerving job, his camera smoothly following Dove from room to room like a calmly floating spirit. This effect is enhanced by a light going out in one room just as it comes on in another whilst the worn-down mother moves through her home, establishing the sense that the light is following her in a potentially nefarious manner. The potential of the supernatural is clear from the atmosphere Bloch creates and she is aided by Peters dropping a playful hint into her script – “the time for light is over”. This carefully created tension underscores the film without detracting from the human drama at its centre. Again Dove is crucial to this, adding a touch of fear to her emotional expressions. It is only in the crucial final shots that the chilling element of Lights Out comes to the fore. It could be argued this makes the film a simple trick, luring us in but producing no real substance, just a well-made scene from any horror film. Yet the fact it is only the last shot that changes the film means that it works on a different level too; until then Lights Out could simply be highlighting the aforementioned emotional turmoil. Nevertheless the ending is an entertaining pay-off-of-sorts that confirms the suspicions we had all along. But then again it might not. This could all be a sign of Dove’s fragile psyche, the persistence of the light a physical manifestation of her inability to put these feelings to bed. These multiple possibilities make the element of mystery the third level on which Bloch’s film succeeds. It is very difficult to review a film like Lights Out without simply writing your theory of events. But this difficulty should underline how well the film has been executed. We discuss the plot because there are no obvious flaws to pick at, whilst that we can discuss so much from the film’s mere four and a half minutes is a testament to its makers’ vision. More Short Film Reviews here. #ShortFilmReviews #AndrewYoung #ShortFilms

★★★ Directed by Peter Berg Starring: Mark Wahlberg, Kurt Russell, John Malkovich, Gina Rodriguez, & Dylan O'Brien Film Review by Kieran Freemantle With films like Friday Night Lights, Lone Survivor and the upcoming Patriots Day to his credit, Peter Berg has developed a reputation for adapting true stories that especially appeal to American audiences and Deepwater Horizon continues down that same route. On April 20, 2010 a blowout and series of explosions happen on the Deepwater Horizon rig in the middle of the Gulf of Mexico, leading to the death of 11 workers and one of the biggest environmental disasters in American history. The film adaptation looks at the mistakes and corporate pressures that led to the disaster and the heroism of Mike Williams (Mark Wahlberg) and Caleb Holloway (Dylan O'Brien) who put their own lives at risk to save others. Deepwater Horizon is a film of two halves: the first being the clash between Donald "Don" Vidrine (John Malkovich) who is representing BP and wants to rush exploration, while Jimmy "Mr. Jimmy" Harrell (Kurt Russell) is worried about the safety risks and does everything he can to ensure the executives do not cut corners. The second half is where the disaster actually happens and Wahlberg and O'Brien play a major role in rescuing people. Deepwater Horizon is similar to Tony Scott's final film Unstoppable - both are disaster films based on true stories (although Unstoppable was a loose adaptation) - focusing on smart blue-collar workers in the middle of an extraordinary situation and has a sub-plot with a negligent corporation. Both films are solid if workman-like movies and they even share an actor - My Name is Earl's Ethan Suplee - although Suplee's character in Deepwater Horizon is more competent. The film goes into immense detail regarding the drilling process and the background into what was going on: the previous crew rushed their part of the operation with BP applying pressure because they were 43 days behind schedule - thus affecting the bottom line. The film is meticulous with its breakdown of every decision - showing how the men (and women) on the ground were seeing the mistakes being made. When the characters explain what's happening and what went wrong it felt like you would need to be an oil rig worker to fully understand what they are saying. There is an authenticity as to how the men operate on the rig showing that they have been working together for years with all their jokes and banter. However, the screenwriters Matthew Michael Carnahan and Matthew Sand were too keen to use foreshadowing - like Williams' daughter doing a demonstration with a can of coke and Mr. Jimmy asking an executive going to the rig to take off his tie because the colour was bad luck - it's heavy handed for a story that most audience members would have at least some knowledge about. When the disaster does strike it turns Deepwater Horizon into Titanic – without the romance. This was when the workers had to fight against the gushing mud and oil that is so powerful that it forces workers into the walls and windows. The best part of the disaster is that there is no sanitising of the impact of the disaster. For a film that has a 12A rating it has some intense moments because of some of the injuries the workers suffered. However, the fire took place at night which caused logistical problems filming which the crew struggled to overcome because some of the scenes were shot in the dark with fire in the background. Mark Wahlberg produced Deepwater Horizon as well starring in the lead role. Like his role in Transformers: Age of Extinction, Wahlberg is playing a Southern character yet keeps his Boston accent. Wahlberg did not look much like the real life Mike Williams but despite these issues he is still able to play a hard-working Joe who was pushed to extremes. Russell was also notable as the grizzled head of safety and Malkovich is able to play a villain in his sleep - so convinces as the tight-fisted company man. Deepwater Horizon has an authentic air when showing the people working on the rig and their working relationships, but it is a story that is stretched thin - lacking characterisation and suffers from some ham-fisted writing: thus preventing it becoming a great true-life disaster film. This way for more Film Reviews. #FilmReviews #TheatricalReleases #KieranFreemantle #PeterBerg #MarkWahlberg #KurtRussell #JohnMalkovich #GinaRodriguez #DylanO39Brien

Directed by Steven Blatter & Lorenzo Valmontone Starring Wayne Paul Documentary Film Review by Evie Brudenall Fiction forms of filmmaking strive to create dramas that are rife with character complexities; rich backstories that account for the present actions of the protagonist, epiphanies during their journey and the quest for noticeable character development. However, the result often fails to delve beneath the shallow exterior, but documentary features frequently triumph and succeed. Case and point: Jumping the Shadows. At the heart of Jumping the Shadows is Wayne Paul, a man born and bred in East London. From childhood, he was fated for a life of drugs, crime and violence but eventually discovered a life of music and desire to ward others off of a bleak and avoidable destiny. Unflinchingly honest, Wayne and those closest to him chronicle his journey as the tough crooner, who despite his circumstances, retains his inner child and youthful energy. Initially, audiences are kept at a distance from Wayne, as he is predominantly talked about by those who know him as a widely respected member of the community. Cinematographer and co-director Steven Blatter contributes to the creation of the inferred enigmatic figure as Wayne is obscured or never fully revealed through carefully constructed camera angles. He is a mystery. A code to be cracked. But as the documentary progresses, Wayne becomes more vulnerable and open in his confessions. We begin to decipher him from anecdotes of his childhood, and the camera acts accordingly. For example, as Wayne recalls his abusive father and developing stutter, the camera offers extreme close-ups, as if we’re piercing the veneer and cool exterior. The access the filmmakers were granted into Wayne’s World (a good alternative title, don’t you think?) and the candour of the interviewees is instrumental in the intricate and contradictory depiction of Wayne: he encourages youth to expand their horizons and find a way out of their conditions, but he himself seems perfectly content to remain within the community. He is considered to be a pillar of strength and stoicism, but admits that he cries at Lassie and frequently goes to his mother’s for dinner. He warns others off of a path of destruction but laments that his past hostile behaviour could be triggered easily. The multiple dichotomies that encompass Paul are what make Jumping the Shadows a compelling character case study and give it an unanticipated reach. The reach seems even more extensive through Blatter and Valmontone’s seamless blending of poetically cinematic shots with simple interview footage that reinforces the verisimilitude that Jumping the Shadows so brilliantly achieves. The stylistic choice can be viewed upon as a commentary for the themes the documentary poses; although life can be beautiful, unpredictable and even at times filmic, every shred of it is authentic. As Wayne describes his troubled home and school life, he expresses, “It seemed like I was getting it from all sides of the globe” – and for a little over an hour, we are fully immersed in his reality, and in turn, are forced to reflect upon our own. This way for more Indie Film Reviews. #IndieFilmReviews #DocumentaryFilmReviews #Documentaries #EvieBrudenall #IndieFilms #Filmmaking

Directed by Molly Ratermann Starring Molly Ratermann, Kenna Wright, Valerie Weak, & Katherine Celio Short Film Review by Chris Olson An ode to teenage angst, Suicide, directed by Molly Ratermann, is not your typical coming-of-age short film. This is a comedy of quirkiness that pokes fun in all the right places whilst making some stark and intelligent jabs at the meaning of life. Set predominantly in the desert, two American teenagers journey across the sand dunes in search of the perfect place for one of them to commit the titular suicide. Carson (Molly Ratermann) is a troubled teenager, but not in the traditional emo sense, more in a light-hearted, bubbly kind of way; determined to kill herself but far from being particularly morose about it. Over the course of 28 minutes we learn about her attitude towards life’s pointlessness, that she attempted to kill herself six times over the last year, and that her suicidal tendencies are so ingrained in her lifestyle that nearly every decision she makes is with them in mind. After counselling from Dr. Wolf (Katherine Celio), and far from effective questioning from her mother (Valerie Weak), Carson manages to convince her BFF Franny (Kenna Wright) to join her on her desert death odyssey, much to the chagrin of all those around her. Whilst much of the script and themes of Ratermann’s film are bleak to the point of nihilism, the tone and aesthetic is the exact opposite. Lighthearted music accompanies the vibrant visuals, with the short film taking on a road-trip vibe, whilst the two main characters enjoy plenty of banter and social media references. This conflicting tone which runs at odds with the message of the story is a marvellous way of highlighting the seriousness of it. Grave stories about depression and suicide can often be a grim ordeal for viewers, and whilst compelling in their own right, a movie like Suicide dares to be glib and facetious about the subject matter which allows the story to not only be thought-provoking and compelling, but also entertaining. Carson is a fascinating character, brought to life by Ratermann’s enigmatic performance, as well as her writing, with a slightly Juno-esque contempt for the mundane. Her fickleness about small details makes her completely human and believable, and the journey she goes on literally and spiritually is the real core of the movie. There is a emotional depth which audiences may not be be suspecting, given the initial tone of the film. Wright offers a worthy portrayal as the desperate friend trying to convince Carson of her dangerous folly, adding a much needed grounding to the short to offset the more ludicrous elements. Some of the cinematography is beautiful, especially the desert landscapes which are breathtaking. The isolation of these sequences is the perfect complement to Carson’s character, whilst adding a heightened sense of threat. There was also a lovely moment when the two characters are walking towards the camera and the sun glare makes a perfect circle on the screen; a visually sumptuous moment that viewers should enjoy. Aside from a few throwaway lines of dialogue that failed to hit their comedic mark, Ratterman’s short film Suicide is a genuinely entertaining and funny story that is as bold as it is intelligent. More Film Reviews here. #ShortFilmReviews #ChrisOlson #FilmReviews #MollyRatermann

Directed by Filippos Vokotopoulos Starring Sean Cronin Short Film Review by Lorenzo Lombardi Unattended Item is a tale about getting yourself in way too deep emotionally and financially. It also involves loan sharks and illegal loans. If you are expecting a thrilling crime short, though, this is not for you. This is a quietly engaging piece that subtly reaches profound heights that go beyond its main plot. The story focuses on Andy (Sean Cronin), a man trapped in debt. This only piled maliciously atop his already downtrodden state of mind, as he is in mourning. To make matters even worse, one of the loan sharks he is in debt to wants in on his vintage shop. Andy is then forced to take action and settle things once and for all. Sean Cronin plays this character with such skill that his performance is one of the best aspects of Unattended Item. To a great extent, Cronin and the director make Andy a nuanced character by making some of the seemingly mundane events that happen to him actually clever allegories to how his character is feeling about his predicament (for example, Andy’s angry reaction to a neighbour placing a bin on his property represents his loss of control). Director Filippos Vokotopoulos skilfully takes techniques from a few great character-focused films and implements them to assured effects. The Coen Brothers seem to be a strong influence, with the reverse shot being used to convey surprisingly engaging conversations from one-to-one perspectives, as well as some amusing dark comedy for good measure. Speaking of which, Anais Lorié’s cinematography immediately stands out too. Her claustrophobic and unsettling angles highlight the protagonist’s inescapable situation as well as to create a sense of danger lurking around the corner. Themes also play a big part in what Unattended Item is trying to say. Sometimes the background/backdrop is a character, and this film embodies that by making its setting of Dalston a paralleling character of sorts to the characters of the story. Dalston, a district in London, has undergone plenty of gentrification and the original residents have been forced to deal with a financial uprise, just like the protagonist. This transforms the story and makes it have a meaningful voice, apart from its well-told and personal core premise. While it may have an abrupt ending that seemingly only served as an undeveloped reminder of the film’s title, alongside an odd choice of a pop song, Unattended Item is definitely a short film to remember. Its commentary on gentrification, change, loss and how the well-performed protagonist embodies all of these makes for a thought-provoking and interesting watch. If you love the Coen Brothers and a bit of This is England, check Unattended Item out. More Film Reviews this way. #ShortFilmReviews #FilmReviews #LorenzoLombardi #ShortFilms #CoenBrothers #FilipposVokotopoulos #SeanCronin

Directed by Alessandro Circiello Starring GSol Short Film Review by Chris Olson Rarely are we asked to write film reviews for music videos, a genre which probably exists more in the music industry than movies. Which is a shame, because the craft is still the same as more traditional, narrative-led shorts and very often the dynamic between the visuals and the audience is really intriguing because there is no dialogue to influence the way we think. Short film-cum-music video LillaLaylo from director Alessandro Circiello, is a soulful journey through effortlessness that captures beautiful visuals with a graceful approach. Set across the landscapes of San Francisco, LillaLaylo follows the restless musicians of group GSol as they take their tunes anywhere that will fit them. Like a bohemian odyssey, the viewer is treated to numerous locations where the band play, until a particular path seems to be sketched out, the destination of which is revealed in the final seconds of the film. The most striking aspect to Circiello's film is the roving nature of the camerawork. There is a fluidity to the movie that is in keeping with the tone of the band's journey, this is then furthered by almost frantic tracking shots and zooms in order to keep up with the musicians as they traverse the city. All creating a sense of natural energy to the proceedings. This, in turn, is then bolstered by fantastic use of light! From the opening shots, the use of natural light in many of LillaLaylo's sequences is breathtaking. One particular moment as they cross a field, utilising lense flare, is a really lovely moment. In terms of story and plot there is not a huge amount to go into. As mentioned there is a certain culmination by the short film's climax, one which audiences may not have been looking for. Some music videos inject more of a potent storyline into their film, but Circiello is telling his tale in a more subtle manner. The story is revealed through tone mostly and during the small moments of juxtaposition, such as the contrast between the aforementioned natural light and the scenes with neon signs and urban chaos. It's filmmaking that asks the viewer to feel rather than see. It would be senseless to not mention the sound in a music video, and GSol's track which overlays the film is a vibrant song loaded with layers and texture. Build ups of percussion get sprinkled with tuneful keys, there is a gentle acoustic undercurrent and the vocals depict a tone more than a story - much like the film. The music has a whimsical energy and works brilliantly with the journey structure of the film (although I'm sure the pairing was likely music first, film second). Fans of folk and indie will be in for a glimpse of nirvana should they undertake Circiello's LillaLaylo. It has a gorgeous aesthetic and wonderful tone that is intelligent, effortless and remarkable. More Short Film Reviews this way. #ShortFilmReviews #ChrisOlson #ShortFilms #MusicVideos #MusicFilms

Film Event Review by Chris Olson The cinematic hills are alive with the sound of magic. Yes the wizarding world of J. K. Rowling's creation is back, and everyone is losing their minds with excitement. How does UK Film Review know this? Well we attended the recent Fantastic Beasts Live event, a global link-up to celebrate the film's release whereby audiences were treated to a small glimpse of the film along with some special guests. In attendance were most of the movie's cast. In London fans were joined by Eddie Redmayne, Katherine Waterston, Alison Sudol & Dan Fogler . Whilst in the U.S. Jon Voight and Colin Farrell were on hand to offer some delightful banter. So what did we learn? The first thing which was evident from the uproarious crowd was that the appetite for the Fantastic Beasts and Where to Find Them film is larger than Hagrid sat atop Hogwarts...blown up like Aunt Petunia. Cinemas from across the globe were shown with packed audiences who screamed and waved like the kick-off of the Quidditch World Cup (if you are wondering if the Harry Potter Puns are going to stop, the answer is jog on muggle). When asked about the film and their characters, the cast were politely honest but guarded with their answers. Obviously reticent about revealing any sworn secrets under punishment of an Azkaban sentence, but also respecting the huge passion surrounding these stories and Rowling's source material. Redmayne in particular was disarmingly excitable about the film, the fans, and the "tremendous pressure" surrounding the role. His praise of the filmmakers, director David Yates and producer David Heyman (also in attendance), saying he was impressed how they made this "gigantic experience feel like an intimate movie". The actor, who plays the lead role of Newt Scamander, further went on to praise J. K. Rowling's script, when he said "which, for me, was the most astoundingly fully formed script I have ever read". Other players in the film were on hand to put in their comments about the movie's intimidating presence, but also how they felt completely overwhelmed by the enthusiastic audience. Katherine Waterson, fellow co-star, said she was surprised by the "level of involvement" they were allowed to have. Waterson went on to describe the exciting process of choosing her wand - something every wanna-be-wizard and witch has surely dreamt of. Colin Farrell, who plays Percival Graves, had a lot to say about his character's storyline. That it was "running parallel" to that of Redmayne's, saying that he "enjoyed the level of mystery" about Graves. The big reveal Whilst many of these "reveals" were eagerly scooped up by the audience, it wasn't until Yates started speaking about the future of the franchise, that we would next see Newt "in another capital city", and another chair was ceremoniously brought to the stage that the buzz grew into a palpable air. Especially when it became clear that the chair was for none other than Rowling herself. To rapturous applause the author greeted the London audience and the cast and crew on stage with unfaltering grace whilst obviously soaking up the atmosphere that must have been so reminiscent of the Potter films of yesteryear. Which brings us on to the biggest news of the Fantastic Beasts Live event. Rowling sheepishly revealed that "they always knew it would be more than one film, and that a trilogy was a placeholder" and that after working on all the story she was "pretty sure it's going to be five movies". The roof exploded like Xenophilius Lovegood's house when the Death Eaters blasted the crap out of it, and fans, many of whom had come dressed as wizarding characters, erupted into cheering and applause. So with that came the preview of the film which lasted all of about ten minutes. Not much more than a long trailer but still packed with an aesthetically pleasing period piece, with intriguing characters and the cheeky tone that will certainly appeal to young and old. Fantastic Beasts and Where to Find Them will certainly find a huge box office audience, but there is a degree of uncertainty still whether audiences will take to these new characters. We wait with baited breath...much like Hermione on the bottom of that lake (we regret none of these references). Want to read Film Reviews? Come this way. #FilmEvents #ChrisOlson #DavidYates #EddieRedmayne #ColinFarrell #JKRowling #KatherineWaterston #JonVoight #DanFogler #AlisonSudol #WarnerBrothers #HarryPotter

★★★ Directed by Jon Stanford Starring Tom Campion, Rebecca Birch, Simon Armstrong, France's Ruffelle, Paul Sadot, & Katherine Stevens Indie Film Review by Chris Olson The effect of war on cinema is well documented. Storytellers find an unlimited resource in the nature of conflict and its fallout, so much so that war as a genre has to be divided into its own subcategories. The "post-war assimilation" movie offers compelling and harrowing stories to be told about characters who embody identifiable traits that have long been staples of film; such as heroism, redemption, violence, and love. Tackling the subject matter of a post-war world should never be taken lightly, and indie film Long Forgotten Fields, debut feature by Jon Stanford, certainly approaches the material with enough compassion and determination, if veering into self-indulgence at times. The plot sees Sam (Tom Campion) return home from duty serving in Afghanistan, to his rural home town and partner Lily (Rebecca Birch). Military service has obviously left its scars on Sam, but as the couple attempt to rekindle their relationship, no one could predict the psychological damage which has been done and the collateral damage that would follow. PTSD is a fascinating subject matter for a film, offering the chance to present a character whose violent background gets accepted immediately by an audience and his subsequent actions are evaluated with an air of compassionate understanding, if not complete forgiveness. Sam is just such a character, delivered to the audience in a way that we immediately sympathise with him, and are able to look past some of his more aggressive displays of behaviour. Even when he pushes Lily up against the wall and covers her mouth, we are made to feel more intrigued about his affliction than worried for the safety of his girlfriend. What Stanford does really well, is to take this a step further. The indie film develops into a more harrowing and tense piece, where the boundaries of assimilation become blurred with the violent nature of someone's character. At times the film suffered from some wooden delivery, the emotional depth of the scene seeming to be too much for the players, and there were sequences that were just too elongated. Slow dissolves of leaves whilst we digest the impact of the preceding scene, or long takes of Sam washing his hands, all felt rather self-indulgent. There was a powerful punch to this film that got diluted by such tactics, afraid to commit to a more challenging pace. That all being said, there is a lot to like about Long Forgotten Fields. It's a film that truly develops its characters, and is not afraid to linger on uncomfortable scenes, which is where the emotional heart is found to a tale like this. The cinematography delivers some fantastic landscapes that are a delight to behold, alongside some intense wooded scenery which is overtly atmospheric and threatening. This natural conflict is a marvelous complement to the story. The music is also worthy of note, Chris Green tackling the heavy emotion of the story with a skillful score that emboldens the drama and picks out the poignancy excellently. Overall a promising outing from indie film director Stanford, that carries enough emotive weaponry to compel audiences, but lingers in the moment a little too long at times. More Indie Film Reviews this way. #IndieFilmReviews #FilmReviews #ChrisOlson #RaindanceFilmFestival #JonStanford #TomCampion #RebeccaBirch