★★ Directed by Ron Howard Starring Tom Hanks, Felicity Jones, Ben Foster, Omar Sy, Irrfan Khan, Ana Ularu, & Sidse Babett Knudsen Film Review by Chris Olson Given that the last film from the Dan Brown franchise came out in 2009, with the flawed but watchable Angels & Demons, you would think that Ron Howard's latest addition would be something of a progression, if only through necessity with keeping up with others in the thriller genre. Otherwise why bother? The title suggests a fiery film full of fun frolics with finding stuff and fighting fanatics, regrettably the reality is something that cannot even stand should to shoulder with its predecessors (The Da Vinci Code being the first instalment). Historian-cum-Travel-Guide-cum-Action-Hero, Robert Langdon (Tom Hanks), awakes in a sterile hospital room, beaded with the cold sweat of night terrors. Atop his head is a ghastly gash, his breathing is short, and flashing imagery of hell on Earth plagues his mind. So it is fair to say our hero is going through some sh*t. However, he doesn't have long to find out the who, what, where and why's, because a Ana Ularu dressed as an Italian policewoman has just shot one of his nurses and is now coming for him. Luckily enough, one of his other nurses (Felicity Jones) is on hand to help him escape from the scene. Therein lies the set up and the rest of the film, if you have seen any of other DB movies this will come as no shock, is full of clues, secrets and conspiracy. It's like an uncomfortable crossover between a walking tour of Italy full of secret passageways, and a Jason Bourne chase 'em, with the baddies being always one piazza behind. Having never read the series of books (although I have read some other Brown novels) I will review this simply as a Ron Howard movie, and the verdict is middling at best. Plagued by a script that is chewing itself with exposition, Inferno never manages to elevate itself above a simplistic caper told in the most convoluted manners. If you removed the startling imagery and few moments of blood, this film has more in common with National Treasure than anything else. It constantly explains what's happening as it is happening, treating the audience like a moron simply because the premise has some vague connection to Dante, which must be too cultured for our primitive eyes and ears. The characters are presented like a who's who of rejects from action films of yesteryear, delivering banal statements about they went this way or they're going that way. No real attention is paid to the surrounding cast, they simply serve as glaring road signs in uniforms. Oh and then the goodies become baddies and vice versa, but that's not a spoiler because you would see that coming like a giant basilica up the ass. Howard tries to create an air of sophistication and intelligence to the film which simply isn't there. The storytelling is clumsy and grating, and the majority of the movie is spent in pointless clarification. That being said, Hanks is...ok. Perhaps a little too autumn to be chased through the streets of Florence. In one scene the audience has to wait several moments whilst he attempts to get down some stairs that Jones has already completed several seconds earlier. It was as if Howard thought he was directing Matt Damon in a Bourne film! There is always a charisma to Hanks' performance but even that goes drowned out by the cacophony being delivered by the visuals. The breakneck speed that Inferno tries to attain and maintain is driven by Hans Zimmer's earth-shattering score and the frenetic editing. Then the dialogue just chokes it up with bungled lines telling everyone what is going on whilst it happens. This could have been either a solid thriller or an intelligent mystery, but ended up being a haphazard adventure film with violent imagery mixed in with caricatures doing a 100mph...apart from Hanks who trails behind trying to slow the movie down enough to make it comprehensible, but failing. Aside from the beautiful city of Florence and a decent turn from Irrfan Khan as a private security mogul, there is not much to enjoy about Inferno. Consumed by it's own pretentiousness, audiences will likely be begging for the seventh circle of hell by the time they reach the final third. More Film Reviews this way. #FilmReviews #ChrisOlson #TheatricalReleases #RonHoward #TomHanks #FelicityJones #AnaUlaru #IrrfanKhan #BenFoster

★★★★ Directed by Craig Leeson Producers: Jo Ruxton and Adam Leipzig Film Review by Andrew Moore Showing at the 24th London Raindance Film Festival, Journalist and Filmmaker Craig Leeson, free diver and environmental activist Tanja Streeter and a collection of colleagues, researchers and notable scientists reveal in A Plastic Ocean the shocking truth about the levels of pollution in our oceans and the equally alarming wider ramifications of this. What starts as an idyllic oceanic nature documentary representing a paradise blissfully unlost and experienced in the stunning underwater footage of Tanja Streeter free diving with blue whales turns rapidly into something else as the underwater camera pans upward to reveal an oil slicked, rubbish strewn ocean surface. Four years in the making, and with appearances from Sir David Attenborough and Ben Fogle amongst others, this is what drove the team behind A Plastic Ocean to make this film, their shock at the scale of what they encountered (and sadly that just gets worse) as we’re informed that waste plastic is the ocean’s perfect enemy and we’re creating 300 million tons of it per year (8 million of which ends up in our ocean) – and stays there. As the Documentary progresses the already shocking footage is juxtaposed with a series of statistics and future projections flashed upon the screen to thus augment its call to action and sense of urgency. Shown at intervals, one particularly effective method is the rapidly rising numerical counter that reveals in actual viewing time how much plastic waste has been generated by the U.S. and it’s truly horrendous. Further examples of shocking statistics are the predicted 2:1 plastic/fish weight ratio in our oceans by 2050 or the current 2:1 plastic/plankton ratio in many areas of the ocean. Even in what appears to be healthy ocean environments the myth is soon dispelled with fairly rudimentary equipment, revealing seas actually brimming with micro-plastics. Further wake up calls for change are presented when marine biologists examine dead sea birds (many still in infancy) revealing stomachs in many birds full of nearly 300 different pieces of plastic in all shapes, colours and sizes. I’ll stop here with the examples but suffice to say there are many, many more (and they’re all equally shocking). The Documentary itself navigates the globe shooting from multiple locations to give us a sense of the all-encompassing immensity of this marine catastrophe, this is after all not a localised issue but a world crisis and its indeed pointed out to the viewer that the oceanic currents covering the globe reinforce this fact – thus we don’t actually have oceans but one big Ocean covering the majority of our planet (and life depends on it). The documentaries human element comes in the back stories of the documentarists, Craig Leeson’s childhood relationship with the ocean in Tasmania and life as a journalist, Tanja Streeter’s visit to Tuvalu (noted as a perfect microcosm of the Earth) to see the destruction to environment and people’s health alike, meetings (her new born in tow) with scientists discussing the abundance of micro-plastic particles in our food-chain and the future we want for our children as parents, combined with further features such as children living and working next to (and on) refuse filled seas in the Philippines. The prescient points are not hard to see. Perhaps the people involved in this Documentary didn’t have the resources to create the gloss of a BBC Nature-style production for example but what they do present here is a more direct, frontline call into action against the hard and shocking facts. Of course the challenge (and aim) of a documentary like A Plastic Ocean is not just to lift the veneer and enlighten us to the urgency of the situation but to also engage and install a notion of hope (and not hopeless futility) in the face of such distressing imagery. An endless 90-minute stream of depressing images, science, facts and statistics should but sadly probably wouldn’t motivate people to act, we need to know we can make a difference and in fact I felt sometimes more positive images of sea life in its natural environment wouldn’t have detracted from the gravity of the Documentaries message but actually have given motivation towards an example of an equilibrium that we can strive to re-establish, a goal to aim for and also have taken a little flatness out that surfaced occasionally in the Documentary. After all, the message needs to engage for it to work, and to be fair positives are shown to us such as examples of drives to re-use and recycle plastic in Germany that are actually working and in Rwanda where plastic bags aren’t even used at all, or in Hong Kong were the public came out en masse to clear up their own beaches after a spillage from sea containers due to a heavy storm. The galvanisation of communities is what creates change on a local level, and in the internet age the hope of course is that this translates onto the global community’s combined responsibilities at large. The trump card in engaging a response in A Plastic Ocean is perhaps that fish is mankind’s largest source of protein, the broken down plastic particles (which attract toxins) are active in the all sea life, they eat it and we eat them – it’s in us too, fact. Choose to ignore the fate of sea life at your ignorance, choose to ignore the fate of the seafood on your plate at your peril. This message hopefully breaches the notion of distance we have from what’s happening because its only potential is to get worse if ignored. As the director points out, you just need look around your home or workplace and you’ll see the very products responsible for this problem in the first place, plastic is omnipresent but it wasn’t always the case. What became the solution to all our domestic needs in the last century has become the perfect environmental disaster in this one. In the documentary we witness Craig Leeson food shopping and thus revealing just how hard it is to avoid plastic, be it take away or domestic food shopping – in fact it seems nigh on impossible. As a piece of documentary cinema A Plastic Ocean demands not an abstract, intellectual engagement or response but a very real, front-line call to arms to intrinsically change our modes of lifestyle, to take our cue from the sea and thus create our own tidal shift, to get our daily lives back in sync with the rhythm of the planet and to be prepared to do this on even the smallest level, to traverse the notion of separation, to give serious thought to even that plastic cover on the top of your next flat-white. Being a Documentary with a mission means being part of a wider project and to that effect A Plastic Ocean already has schools programmes up and running, a website (plasticoceans.org), a UK based charity Plastic Oceans Foundation and inroads towards positive relationships are also being created with companies responsible for the production of plastic products. Brunel University of London are also running a survey in conjunction with the documentary. A Plastic Ocean will be on general release in January 2017 but the Documentary’s trailer is already out there, let’s hope it goes viral and that change begins here. More Film Reviews. #FilmReviews #DocumentaryFilmReviews #Documentaries #AndrewMoore #RaindanceFilmFestival #Environmental #FilmFestival

Directed by Toby Fell-Holden Starring Charlotte Beaumont & Genevieve Dunne Short Film Review by Chris Olson Cross-cultural urban drama Balcony has a huge amount of gritty prowess and fearless filmmaking. Seen as part of the Raindance Film Festival's UK Shorts Programme, it is was a standout film and something which leaves a startling aftertaste. Told on a London council estate, teenager Tina (Charlotte Beaumont) seems fascinated with Dana (Genevieve Dunne), an Afghani girl who lives upon a higher flat and is normally only seen via her balcony. Tina manages to ingratiate herself into Dana's life, after standing up for her against some bullies. As the two become increasingly intimate friends, the violent and damaged background of one of the girls threatens to tear this blossoming friendship asunder. Brutally gripping from start to finish, filmmaker Toby Fell-Holden proves himself to be daring and bold. This is uncompromising drama that not only represents some fantastic outsiders, but also in way that is fresh, current, and moving. The themes of this short are too many to list them all, and given the 17-minute running time, most would assume that Fell-Holden would barely scratch the surface. The reality is a coalescing short film that presents a believable and relatable story with so many elements that all compliment each other, rendering the audience inert against its powerful punch. Look out for the very impressive performances, in particular the two leads; Beaumont and Dunne. The emotional complexity that both performers deliver is commendable. This is a tough piece to get right, especially given the harrowing subject matter, but both actors do it justice through grounded and subtle turns. Audiences will be presented with an array of socio-economic viewpoints, and then challenged on their own morality and judgement system. It is kitchen sink at its most compelling. Fell-Holden utilises some fantastic camerawork, in particular a sequence involving Dana's father and an angry crowd, where the camera settles on Tina's face. This was a glorious moment that revealed the often lost morality when mob mentality takes over, and the growing difficulty to make sense of an increasingly tense situation when the momentum is so violent and enraged. Arguably my favourite short in the programme, I will certainly be looking out for more from Fell-Holden as well as the brilliant performers. More Short Film Reviews here. #ShortFilmsReviews #ChrisOlson #ShortFilms #RaindanceFilmFestival #TobyFellHolden #CharlotteBeaumont #GenevieveDunne #BritishFilmmaking

★★★★ Directed by Ryan Gregory Phillips Starring Juanita Ringeling, Cristobal Tapia Montt, & Kyle Davis Indie Film Review by Chris Olson Psychological thriller, Shortwave, is a particularly strong example of aesthetic filmmaking, with a lot in common with a towering movie like Ex Machina. Fans of that genre, containment horror, will thoroughly enjoy the uncensored violence and intrigue, which is balanced with a good deal of emotional depth. Isabel (Juanita Ringeling) and her husband Josh (Cristobal Tapia Montt) suffer a crippling event when their daughter is abducted. Two years on and Isabelle is still struggling to move on, seemingly lost in the sea of her distress. She pops pills and maintains a reclusive lifestyle, all under the watchful yet compassionate eye of her husband. A scientific discovery that Josh makes, could be the bold discovery to change the path for these troubled spouses...or it could open the door to a sinister evil that will wreak havoc on their lives. Visually, Phillips delivers in a big way. There is a strong confidence emanating from the cinematography throughout that even with limited locations (and budget) this film can proudly stand shoulder to shoulder with the aforementioned Ex Machina. Sequences of breathtaking landscapes and subtle scenery are startlingly jabbed with disturbing flashes of nightmarish figures. This traumatic viewing experience is reflective of the heavy burdens which the characters carry with them, and there is an impending doom about the journey they will go on. A few stretches in the middle section seemed to feel a little sluggish, as if paying their dues to character development before they could unleash the beast if you will, but that is something many horrors fall victim to. Few would begrudge a little extra time with Ringeling, whose performance is thoughtfully engaging and painfully nuanced. Taken as a duo with Tapia Montt, and the acting side of Shortwave is faultless. A promising indie feature from Phillips, he has a knack for shock tactics and graphic violence, without falling into bland melodramatics. Everything stays very intelligent, dramatic, and thrilling which is all you can ask. Indie Film Reviews. #IndieFilmReviews #ChrisOlson #RaindanceFilmFestival #RyanGregoryPhillips #JuanitaRingeling #CristobalTapiaMontt #KyleDavis #Horror #PsychologicalThriller

Directed by Oliver S. Milburn Starring Sarah Parish & Robert Emms Short Film Review by Chris Olson Dark comedy Dunroamin is an offbeat and well written piece about a young man called Steven (Robert Emms) attending a house viewing that seems to get weirder and weirder as the seller, Joanna (Sarah Parish) is subjected to increasingly baffling and intimate questions. Opening with a rather splendid use of Canon,director Oliver S. Milburn's film is a movie full of quirky contrasts. The man who approaches the house could by no means be described as threatening or sinister - dressed in homey clothing and adopting the politest of demeanours. However, his behaviour is anything but polite. From the moment he enters the country house, he breaks with all accepted codes of conduct; venturing into rooms uninvited, asking incredibly personal questions, and making rather worrying comments about there being no phone signal or whether the doors can lock from the outside. This is well executed comedy filmmaking. Aside from the very funny script, Milburn makes use of some fantastic high angled sweeping shots during the opening to pull the audience in with rural tranquility before letting the internal shots of the house, which become increasingly uncomfortable, to take over. Much like Joanna, the audience has no idea of what strangeness is on its way. This is just one of the clever devices used, to give more away would spoil any potential viewing. Dunroamin could have benefitted from a stronger ending, it leaves on a bit of a whimper after showing such potential. That being said, there is a lot to enjoy here and it was a nice addition to the Raindance Film Festival UK Shorts Programme, which was heavily laden with dramas. The laughs are genuine and perfectly dark, whilst the performers are engaging throughout, in particular Emms who shines as the woolly weirdo. More Film Reviews can be found here. #ShortFilmReviews #ChrisOlson #ShortFilms #Comedy #BlackComedy #RaindanceFilmFestival #OliverSMilburn #SarahParish #RobertEmms

Directed by Paul Adams Starring Steve Richmond Short Film Review by Evie Brudenall The tourist and sight-seeing enthusiast Ken in In Bruges. Small-town stoner Mike in American Ultra. Yes, film has often depicted the unassuming but highly effective assassin in its time. However, the creative team behind the short film How to be a Killer decide to chronicle the journey of an aspiring killer who demonstrates a gross incompetence for the act – something I’m sure has never been seen on screen before. Lured by the desire to regain a sense of importance and confidence within his life, an unnamed male protagonist (Steve Richmond) chooses to become a killer. The process to achieve such a status, though, is not for the faint-hearted, and the character blunders through several tribulations under the guidance of an unidentified instructor via voiceover. As soon as we are introduced to How to be a Killer, we are confronted with contradictions through the choice of visuals and audio; the peaceful and serene balletic music that conjures up such beautiful imagery is mismatched with the melancholic black and white cinematography. Pairing that with an intricate (and briefly disorientating) tracking shot, one thing’s for sure – we’re in for a peculiar time. Influences have clearly been drawn from several sources and writer/director Paul Adams infuses a number of conventions from a wealth of genres. For example, the black and white aesthetic combined with the mute actors and sequences of slapstick/physical comedy hark back to the silent era of filmmaking, but it’s been given its own dark and twisted flourish. As aforementioned, the central protagonist and supporting characters are entirely mute throughout, so the audience are reliant upon the music cues, visuals and performances to convey the appropriate emotions. And this is where the black comedy elements are reinforced so successfully. The frequent shift in the genre of music correlates to the mood and emotional state of the determined chief character, whether it be invigorated by the hope of success or dejected after an inevitable failure. Additionally, the amalgamation of soothing voiceover that guides our anti-hero on his quest for homicide and Richmond’s childlike expressions evoke the feeling that you’ve tuned into a very dark and not-so kid friendly CBeebies programme, resulting in assured amusement. Unfortunately, some of the creative decisions made are to the detriment of How to be a Killer. The black and white visuals occasionally swallow images that are crucial to the plot in its dark tones and the plethora of music changes are infrequently distracting and jarring. In terms of the plot and storyline, by the wannabe murderer’s third attempt at offing an unsuspecting victim, the gage becomes a little tiresome and you can comfortable predict the forthcoming events. The character’s motivation also proves to be a little inconsistent in the piece; during the film’s first scene, the ominous voiceover promises the downtrodden protagonist that murder is the ultimate and most rewarding revenge against those who have wronged him in order to convince him to join the callous cause. Does he target such individuals? No. Instead he preys upon the wholly innocent who have in no way caused him grievance. Dark stuff, indeed – or is it apathy and insensitivity on Adams’ behalf? Although How to be a Killer is at points a victim of its own darkness (both literal and metaphorical), its originality prevails, and the great twist at the denouement boasts the age-old message: be careful what you wish for. More Short Film Reviews this way. #ShortFilmReviews #EvieBrudenall #PaulAdams #ShortFilms #BlackandWhite #Filmmaking

Directed by Rob Savage Starring Julie McLellan, Michelle Donnelly & Ben Tavassoli Short Film Review by Chris Olson All is not as it seems in this emotionally gripping drama from director Rob Savage, who delivers a harrowing and haunting tale of revenge set in the highlands. Julie McLellan and Ben Tavassoli play a young couple on a road trip to Scotland with a seemingly disturbing purpose. Stopping for petrol along the way, the intimacies of this relationship seem dubious to say the least, and when the pair arrive at their destination it becomes clear that their plan is most definitely a chilling one. A sublime attention to detail in this atmospheric piece, Healey's House is as affecting as it is tragic. These characters are fascinating, especially McLellan's character, whose motivation and behaviour during the short film becomes increasingly compelling. The tone never shifts from being darkly intriguing, but the nuances in the script suggest a particularly troubling outcome which perfectly reveals itself. Fantastic storytelling with a heightened sense of impending doom. What is really great to see is the parallel focus; on the deed the couple plan to commit, and their own flawed relationship. The two things have more in common than it first seems, and the audience is taken on an unpredictable and thrilling journey. Each side of the film's plot is equally enthralling but taken as a whole, it becomes something rather special. Michelle Donnelly is also worthy of mention, putting in a balanced and engaging performance, but I won't give anything away about her character as that may spoil the enjoyment. Savage proves himself more than capable of handling the heavy themes and technical intricacies needed to deliver a film of this depth, bolstered by two fantastic performances. Even though the film has a few country locales, it feels more urban in its delivery. The gritty interiors of the car sequences and the depressing, deserted areas they find themselves stopping in, reflecting the poignancy of woes that surround this tale. The was another film in the Raindance Film Festival UK Shorts Programme, and was a great entry. It was a fantastic selection of some of the best filmmakers in the UK right now, and Savage most definitely fits that bill. Healey's House ended up winning Best UK Short, a well-deserved win from an incredibly competitive category. More Short Film Reviews can be found here. #ShortFilmReviews #ShortFilms #ChrisOlson #RaindanceFilmFestival #BritishFilmmaking #Drama #RobSavage

Directed by Matt Porter Starring Max Azulay, Timothy J. Cox, & Dan Azulay Short Film Review by Sarah Smeaton This laugh-out-loud comedy is simple, and in its simplicity is its true charm. We meet Max at the doctors while he’s waiting on test results. The dry comedy surrounding his sexual health in the conversation between him and his doctor opens this short film up in a cracking way. Immediately it is clear what type of humour we’re getting, and if you love the likes of Ben Stiller and his wry humour, then you’re sure to love Gunderson’s as well. Timoth J. Cox and Max Azulay Max, who is excellently played by Max Azulay, discovers that he has contracted a rare venereal STD called Gunderson’s. As his not-so-professional doctor (played by Dan Azulay) puts it, he has ‘the newest STD on the market’. Max is, however, reassured that it’s not too serious, and that the only symptom of the disease is in fact bodily twitching. Twitching that occurs when he is either stressed, aroused or hungry. Cue a great succession of hilarious scenes that play on Max suffering from these twitches at inappropriate times, including seeing two attractive girls and nearly crashing his car. The punchlines are simple, but the actors carry them off brilliantly. As if having this rare STD, albeit a hilarious one, wasn’t problem enough, Max is due to start teaching a new health class to innocent year seven students. The result making Gunderson’s essentially School of Rock with the music class replaced with health class. This does, of course, allow for even more dry wit and hilarious inappropriateness. For example Max ends up sharing a lot of his sexual history with the class in a rather awkwardly comedic way. It would have been nice to have seen more exploration of the themes here, and I’m sure such an original idea could have been pushed even further. Having said that getting towards the end of the short film, it does feel as if we’re getting to the end of the jokes. With a talented pool of writers (Phil Primason, Mark Azulay, Mallory Westfall and Matt Porter) there’s a real eclectic mix of humour, which at least in the first two thirds keeps your laughing out loud. If you can take this short film for what it is; a funny, dry-witted film that doesn’t take itself too seriously then you’re sure to enjoy Gunderson’s. Director Matt Porter cleverly puts Max at the heart of every scene, turning him into an ordinary character that we can all identify with on some level. He’s portrayed as a real average Joe; a young guy who’s found himself with this extraordinary disease. It’s Max’s ordinariness that not only makes him identifiable, but also makes the comedy elements that bit more hilarious, as we can all imagine it truly happening. This is a brilliant short film that is sure to cheer you up no matter the day you’ve had...if for nothing more than the knowledge that you at least don’t have Gunderson’s! More Short Film Reviews this way. #ShortFilmReviews #ShortFilms #SarahSmeaton #TimothyJCox #Mattporter #Comedy

★★★★ Directed by Marco Bellocchio Written by Marco Bellocchio, Valia Santella, Edoardo Albinati, Starring Valerio Mastandrea, Bérénice Bejo, Nicolò Cabras, Barbara Ronchi and Guido Caprino Film Review by Dean Pettipher Few would fail to recall at least a handful of fragments from the poetic works scribed by Alfred, Lord Tennyson, most notably his assertion that it is “better to have loved and lost than to have never loved at all.” However, the aforementioned extract has been used so often in the context of romantic love’s more tragic tendencies that its origin at times seems all but forgotten. Tennyson was, in fact, inspired to write that particular extract of verse in the wake of the untimely death of one of his closest friends. Romantic love ostensibly takes such precedence both within real life and cinematic storytelling that love in other guises, certainly by immediate comparison, appears to have been heavily neglected. Marco Bellocchio’s heartfelt adaptation of Massimo Gramellini’s popular autobiographical novel, entitled Sweet Dreams, Little One, raises an at once gleeful and then sombre glass in celebration and examination of a mother’s love for her child. Specifically, the tale explores the sheer depths of the emotional trauma within the child, brought about by the devastating fracture incurred as a result of a cruel separation from his guardian angel. While audiences follow the protagonist from childhood into adulthood and back again in his internal struggle for internal peace through achieving clarity in the outside world, Sweet Dreams (2016) does not quite match the sobering poignancy of Cinema Paradiso, or the unsettling bluntness of the philosophical debates surrounding the purpose of life experienced with The Great Beauty (2013). Nevertheless, there remains a fine painting in motion that gives rise to the value of mothers and their bond with their children, the crucial maintenance of which Bellocchio and his ensemble of artists masterfully present as being a duty and a gift simultaneously for both parties. Sweet Dreams is a dish topped with enough delicious delicacies to satisfy various shades of audience sensibilities. For starters, Valerio Mastandrea portrays Massimo’s definitive adult phase of life in a clearly calm and composed manner, which, in combination with his brooding appearance, results in a striking resemblance to the great works of Michael Fassbender. Indeed, Valerio’s ability to present the mostly woebegone behaviour of Massimo, employ a vocals with whispering and growl-like qualities, as well as release some unpredictable outbursts of energy, all recall to mind Fassbender’s bold performance as the equally distant protagonist, Brandon, in Shame (2011). Even if Massimo’s own methods of coping with his broken heart and insecure attachments to others are far less shocking than Brandon’s, they appear more than once to be no less desperate, in such a way that ultimately demands genuine sympathy and binding empathy, rather than shallow pity and arrogant frustration in the wake Massimo’s personal struggles. Mastandrea’s memorable moments in front of the camera are propelled forward by the added treats that include the presence of Bérénice Bejo, best known for The Artist (2011) and The Past (2013). Here, in this more present picture, she adopts the less prevalent but no less crucial role of Elisa, serving as one of Massimo’s much-needed emotional remedies, while he seeks in vain to fill the void in his life left by the absent maternal figure. In spite of so much to warrant an eternal slumber of sweetness, at times the dream begins to fade too soon. With Massimo spending a good degree of time in multiple locations across and beyond Italy, much more variety could have been captured and proudly displayed throughout Massimo’s journey. The cinematography is, without a doubt, fantastic, elegantly capturing the often frightening but always beautiful imagery of internal settings, such as the inside of apartments, stages of war and venues for celebration. All of that time spent pondering within the comfort of the indoors comes at a price, however, for the audience have hardly any opportunities to marvel at the outside world. Gorgeous scenery, magnificent architecture or turbulent weather, for instance, used cautiously of course, might have added yet more depth to the exploration of Massimo’s relationship with, not only his mother, but also every other character who came to play a significant part in his life. In the end, just enough colours are relished by filmmakers in the pivotal interior settings of the story to prevent the thought of a world that is dark and eerie in its entirety and thus inspire hope for Massimo’s discovery of the light in all of its positive forms. In truth, like many dreams, this commendable collaboration between France and Italy will most likely become so blurred with other dreams, which will take on the forms of much more highly-anticipated features being released later in the year, only essential images and concepts from each one will ultimately remain drifting back and forth across the vast halls of the mind. Yet, while Sweet Dreams might not provide the loudest recurring thoughts for audiences as they have left the movie theatre, one notion, illustrated wonderfully by the film’s insightful exploration into the mother-child relationship, will sing a uniquely mellifluous tune in the vast spaces of those minds that are willing to listen. That notion echoes the sentiment of a famous Italian proverb – “Count your nights by stars, not shadows; count your life with smiles, not tears.” 60TH BFI London Film Festival show times: Thursday 6th October at 20:30 at Curzon Mayfair and Sunday 9th October at 12:15 at Haymarket Cinema More Film Reviews here. #FilmReviews #DeanPettipher #IndieFilmReview #BFILFF #LondonFilmFestival2016 #MarcoBellocchio

Directed by Naqqash Khalid Starring Chance Gabriel, Patricia McGuinn, & Dylan C. Digel Short Film Review by Jack Bottomley "Casting with a catch" Ask any independent filmmaker, budding writer or struggling artist and they will tell you that you have to give a lot of yourself before you even begin to make money or a difference with your chosen art form. Be it on an instrument or on the screen, page, or canvas, so many people work tirelessly to create something and so many more understandably have to abandon their dreams to get by. It is this very idea of giving a piece of yourself for your art that is the understated core concept of this impressive short film from director Naqqash Khalid, who recently won an award for Best Young Filmmaker at the Starburst International Film Festival. Parts is an interesting film, which chooses restraint over viscera to get its point across. The film sees a young man (Chance Gabriel) auditioning for a role, only to once again find himself wanting, until his agent (Patricia McGuinn) comes up with an idea. At just 4 ½ minutes time is really of the essence in this short feature, which has ideas ripe for being explored in a longer work, especially as it leaves things on a rather ominous note. Centred around what it is to find work as an actor, the film’s message really can be applied to any artist, as can some of the statements Khalid makes. Opening in an interview scene, Khalid’s film suggests just how superficial the business has become, with notions of ‘character’ being deemed something only befitting certain acting jobs and the idea of a role making a difference being a role in a Drama. These statements are made with such passing flippancy that it is rather scary just how right they are and how accepted. Chance Gabriel is believable at the core of the film and his awkward opening scene with Dylan C. Digel’s brilliantly smarmy advertiser (again a believable portrayal) is a situation that will feel familiar to many, as will the almost factory like nature (in, out, repeat) of how people are treated in this industry (and others) during interviews. Taylor Noble also plays a fellow aspiring actor but is seemingly more in the clear as to the industry, in part informing our lead of the way it all works. As a minor gripe, her unnamed (as are all the characters here – possibly to the effect of the film’s ideology of how actors are treated and perceived as just things) character does feel to be here simply to spur on the final leg of the short film but I can see why development was hard, considering the length. Really it is in the final scene, just after a brief visual signifier well placed in a short scene beforehand, that we understand the double meaning of this film. As Stephen Richardson’s atmospheric composing leads us to the resolution, the core concept of the film becomes clear. Parts obviously refers to the mechanized business of auditioning for “parts” but it also comes to have a grisly connotation as this film closes. I enjoyed this short and think that as a slightly longer story, it could have benefited all the more, as these rich ideas could be developed, as could certain brief but powerful aspects that never really flourish here as much as they could. The story could actually be expanded into a Horror, Comedy or Dramatic environment and its chameleonship is to its credit. Khalid’s intimate direction and determination to instil the short with comments on an industry he is witnessing/breaking into, makes for a thoroughly intriguing viewing and suggests an equally enticing future. More Short Film Reviews this way. #Shortfilmreviews #FilmReviews #JackBottomley #ShortFilms

★★★★ Directed by Tim Burton Starring Eva Green, Asa Butterfield, Terrence Stamp, Samuel L. Jackson, Chris O'Dowd, Rupert Everett & Judi Dench Film Review by Jack Bottomley Tim Burton is a director with a huge fanbase, which stems from his influential early work, to even his more polarizing modern output. Of late the bushy haired auteur has continued to release a string of pictures but with Alice in Wonderland hitting the box office but drawing mixed reviews, Dark Shadows struggling to engross an audience and Big Eyes going rather unnoticed, Burton’s body of work has been labeled “hit and miss” nowadays. Although this reviewer feels many unfairly chastise Burton as “having lost his touch” (as 2012’s Frankenweenie was an underrated gem). Nevertheless, Burton’s newest film, based on the well-received bestseller by Ransom Riggs, is right up the street of the gothically inclined filmmaker. So is Miss Peregrine’s Home For Peculiar Children worth a visit, or does it need to be shut down immediately? This young adult fantasy focuses on the 16-year-old Jake (Asa Butterfield) as he tries to deal with the mysterious death of his grandfather Abraham (Terence Stamp), to do so he travels with his dad (Chris O’Dowd) to a Welsh island that houses a children’s home where Abraham once lived. For years Abraham told Jake fantastical stories of this home and its “peculiar” child inhabitants and their carer Miss Peregrine (Eva Green), who all had incredible (some might say impossible) abilities. Naturally Jake has grown to be sceptical of such tales but he will soon discover the world is a lot more unique (and dangerous) than he ever realised. One might say this material was perfect for a director like Burton, who naturally imbues the film with visual polish and his trademark Gothicism and outsider touch but also delivers something a little different from the usual. Despite being promoted as a kind of a posh X-Men, Miss Peregrine’s Home For Peculiar Children has more in common with a ghost train or carnival ride, especially come its splendid climatic stretch, which is set and shot on Blackpool pier (a set-piece that also tips its hat to Ray Harryhausen). Jane Goldman’s screenplay is filled with many ideas (in fact this is often a problem, as there are so many ideas vying for your attention at once) and the plot’s time loop qualities do mean the story gets a bit untidy in places. However the film never descends into incoherency and in spite of the odd plot hole, it all does flow entertainingly along. Burton’s directorial flair and Goldman’s wit does ensure a rather fun time at the cinema and there are some worthwhile (if passing) themes of post war ideas of real evil inspiring fantasy stories, carried over from the source material. The visuals look wonderful with some truly dark moments (those tentacled Hollowgasts and some very Horror movie inspired opening credits) that may prove too intense for really young kids (mind you it is a 12A). Coleen Atwood’s costumes, Bruno Delbonnel’s cinematography and a great score by Mike Higham & Matthew Margeson, all combine to ensure an interesting and unusual populist piece of entertainment. After all when was the last time you saw a group of baddies gobbling kids eyeballs in a mainstream young person aimed film? To that point the acting and characters are one of the film’s best qualities, as Eva Green steals many scenes as the stern but caring (and yes odd) Miss Peregrine and Asa Butterfield makes a great lead as Jake. There is also an enjoyably pantomime like villainous turn by Samuel L. Jackson as the genuinely spooky Mr. Barron, who some may find a bit over the top but I felt fit in neatly with the film’s carnie-like qualities. The group of youngsters that make up “the peculiars” are also all on good form, with some getting more screen time (and more to do plot wise) than others but all feeling distinctive and a welcome ensemble onscreen – with Ella Purnell’s air light teen Emma being the biggest supporting standout. Burton has gathered a great cast here and they compliment an entertaining motion picture. Miss Peregrine’s Home For Peculiar Children does not see Burton return to his Edward Scissorhands spellbinding form but does see the much loved movie maker having fun. Fans will be very entertained, and regular cinemagoers ought to have some fun too with this thoroughly enjoyable movie that boasts unique settings, characters and a story that is not always neat but makes for a constantly enjoyable movie. More Film Reviews this way. #FilmReviews #TheatricalReleases #JackBottomley #TimBurton #EvaGreen #AsaButterfield #TerrenceStamp #SamuelLJackson #ChrisO39Dowd #RupertEverett #JudiDench

Directed by Carl Mackenzie Starring Cristian Solimeno, Eva Pope, & Ellie Paskell Short Film Review by Lorenzo Lombardi Child abduction is a tough subject to tackle but it often serves as disturbing and compelling stories for film. The Interrogation of Olivia Donovan is inexplicably no exception. It blends intense dialogue, a haunting score, and an engaging backdrop to create a drama you will not soon forget. The short film instantly immerses the viewer in on the situation --- a news broadcast is reporting the latest on an abducted little girl. Subsequently, the main suspect, Bradley Donovan, is arrested. Following the arrest, the police are led to his wife to find out if she knows the whereabouts of the missing child. DI Watkins (Cristian Solimeno) and psychologist Sarah Hardy (Eva Pope) are sent to interrogate Olivia Donovan (Ellie Paskell). What is most striking from first glance is the cinematography. The audience is treated to an opening credit sequence that is shot to sheer flair in the form of an establishing shot and is consistently visually pleasing throughout; not to mention the fantastic score by Derek Kirkup, which consists of empowering strings that add effective eeriness to the film. These aspects underplay the film’s tone with great atmosphere, conveying a sense of hopelessness as to where the girl is. At least, that is what the film is initially focusing on. However, this story is about the well-written and suspenseful interrogation as well as the character Olivia. The audience is introduced to her skilfully and with dramatic irony, adding another layer to the titular sequence as it plays out. As it turns out, it is more of a cat-and-mouse game, with revelations being revealed in various creative ways. Solimeno and Pope have good chemistry together as a team, all the while being very different to each other in the way that makes for some dynamic dialogue in the interrogation scene, with Pope particularly standing out with her restrained and completely realistic portrayal. Paskell, being the main character, has the most screen time to show off her acting prowess. She plays a young woman with conflicted emotions that the audience will also share throughout and after --- when the film concludes with its superbly shocking ending. To discuss this further would be to spoil the film. Another aspect to really admire is the use of sound and plot devices to drive the film forward. Most objects focused on, such as photos of the missing girl, play a big part in the development of the plot. This can be also said when the music increases its tone during particular actions of characters, especially within the interrogation scene when the earlier mentioned revelations are revealed. The audience will have to pay attention to what is being said and done to appreciate the piece as a whole, but thankfully not to a superfluous extent, which makes the viewing experience all the more satisfying. By the time this short had finished, I wanted more. Thankfully, a 4-part mini-series called ‘See What We’ve Become’ may be created, which explores the characters and consequences even further. And with material like this, I would not expect less, as director Carl Mackenzie’s The Interrogation of Olivia Donovan is an emotional, dense, and suspenseful showcase of simply solid drama. More Short Film Reviews. #ShortFilmReviews #ShortFilms #LorenzoLombardi #CarlMackenzie #Drama #EvaPope #CristianSolimeno