Directed by Branko Tomovic Starring Branko Tomovic, Francesca Fowler & Dervla Kirwin Short Film Review by Amaliah S. Marmon-Halm RED is a short dark and edgy thriller set in the underground world of illegal organ smuggling, the so-called red market. Niklas (Branko Tomovic – lead, writer, director), a surgeon who lives a life of solitude and is tormented by self hatred, performs regular illegal surgeries for the red market. He works together with Mia (Francesca Fowler), a young prostitute who lures her clients in and drugs them. Niklas is looking for a way out of this dark world, but owes his life to their violent crime boss Ed (Dervla Kirwin), who would rather kill him then let him go. Right from the off, the audience is lulled in to a false sense of security as to the nature of the film. From the tone, the music, the way Niklas jolts awake, it’s easy to assume the storyline to be something different. We are introduced to his ritual, in order to drown out what he’s about to do from his mind, he uses the gentle music to aide him in his “work”. Niklas’ torment is very hard not to emphasise with, the feeling of being trapped with no way out of his current mess. Things come to a head for Niklas when, after he confides in Mia in his plans to escape his problems, their boss decides to pay an unfortunate visit. This doesn't end well as Niklas is faced with a choice: fulfil her cruel demands or one of them dies. In order to not spoil the ending, it’s best to watch this short film in all it’s gorey glory. It will leave you on the edge of your seat and that is when you know you have a well-constructed piece of filmmaking on your hands. This three-man cast is a small yet powerful set up. Tomovic, as writer, lead actor and director, does a fantastic role in not only constructing a story that drags the audience down to the seedy underbelly of a world not many of us would think still exits and then emotionally portraying the feeling of being stuck in that world. Fowler gives a performance reminiscent of Sarah Paulson’s role as Sally McKenna in season 5 of American Horror Story. Broken, lost and a little bit in denial. Kirwin is brilliantly dark and plays the role of an evil crime boss a little too well, not that that’s a bad thing. This is a thriller that leaves you with goosebumps and hoping for a non-existent happy ending. More Short Film Reviews this way. #ShortFilmReviews #ShortFilm #amaliahsaramarmonhalm #filmmaking #Thriller

Interview by Chris Olson Your work on big films like Babel and 21 Grams has been recognised in many big award shows. Your work on non-linear storylines is particularly fascinating. How would you describe your approach to this and audiences reactions to it? I was first a novelist. Writing novels I learned that each story has its own way to be told. It is the great lesson from masters like Faulkner, Rulfo, Vargas Llosa. So I tried to bring that approach to screenwriting. And also, we never tell stories linearly in real life. Never. We use extremely sophisticated narrative devices and structures. So why should cinema have to be condemned to only one way of storytelling? Yes, the three acts structure is great and the audience are subconsciously aware of it, but also audiences want to be challenged. What would you say is the hardest part of making films in 2016? Making people in this business understand that there is an audience for every story. That the audience is not limited to 15 year old kids that only want superhero films. Do you have any advice for filmmakers and screenwriters? Yes: rigor, rigor, rigor. What, apart from your own, are you favourite films from a screenwriting perspective? The Godfather I and II are for me the greatest films ever and much of it has to do with the brilliant screenwriting. What are you working on next? After five years of writing and rewriting, I finished a novel. I'm very happy with it. It will come out in Spanish next month. I put everything I had into it. What would you say if you were a dolphin? I would do anything to live on land. So I will try to figure out how to do it. Click Here for more Filmmaker Features. #Interviews #ChrisOlson #FilmmakerFeatures #FilmFestival #RaindanceFilmFestival #Filmmaking #Screenwriting

Directed by Phil Giordano Starring John Arcilla, Mercedes Cabral, Andrei Fajarito and Kinopi Malbas Short Film Review by Andrew Young In certain parts of the rural Philippines, boys are not circumcised at birth. Rather, they are circumcised when they are 10 years-old. The males in this community cannot truly become men until they have gone through this coming-of-age ritual. To go uncircumcised could see you ridiculed, disregarded and diminished in the eyes of your own family, such are the perils of being Supot. This the subject of Phil Giordano’s tightly focussed NYU Tisch thesis script, focussing on Rene-Boy (Andrei Fajarito), who isn’t too keen on having his rite-of-passage surgery, performed by his own father Itoy (John Arcilla), rock-sharpened knife in hand. Imbued with fearful reluctance by the excellent Fajarito, Rene-Boy runs away when it’s his turn, perhaps hoping everybody will take pity on him. No such luck. The shame he brings on his father and the aggressive “Supot!” cry of elder brother Kinopi see Rene-Boy eventually submit. This sounds like potentially harrowing material but it is handled with great simplicity and sensitivity by Giordano, understanding that this is not just a case of child cruelty, but a simple tradition. Traditions often last for a reason, but that does not mean they suit everyone. Cinematographer Malay Prakash makes excellent use of the gorgeous Magallanes location, his shots of the community’s lush surroundings combining effectively with scenes of a spider fight to remind us of the importance of nature and the discussion of what is natural and what is not. Giordano’s technique in the circumcision scenes is well-judged too, taking a Hitchcockian approach of using sound and reaction rather than full-on gore to make the audience wince. He combines this with Thomas Derenzo’s hauntingly atmospheric score to help build the tension. However, it is Giordano’s measured approach and lack of moral judgement that really leaves its mark. Supot lets the audience do the work and is perhaps all the better for it. Analysed beyond its deceptively simple narrative, Supot has rather a lot to say. Rene-Boy’s pain and torment is clear but the film’s quiet ending suggests that this event is not life-changing, it is just another of its many hardships. Itoy does not set out to violently mutilate his son, he just does what tradition demands and is annoyed when Rene-Boy fights against it. This theme of youth’s disdain for the importance placed on tradition and conformity is a well-worn path, but has rarely been shown in this way. It is not just tradition that ties Rene-Boy down – he is bombarded with this idea that he cannot “become a man” until he is circumcised, highlighting the masculinity at the film’s core. The whole film could be a metaphor for the general societal norms that men feel they must conform to in order to be seen as a “proper man”. Itoy says he is embarrassed by his son, ashamed of his apparent weakness or immaturity. Yet when the boys are told to strip, Rene-Boy shows an awareness of his own nakedness that, when considered with his ability to think for himself, showcases an ironic maturity that the other boys lack. It is worth asking why Rene-Boy is quite so reticent. Is it just a fear of the pain? Or is Rene-Boy just wanting to be different? Or is it because he doesn’t feel ready to become a man? A single expression can change one’s reading of a scene or even a whole film. Here, Rene-Boy has a look of blankness and minor confusion after he is circumcised. He is left disappointed at “becoming a man” because he does not really feel any different. It’s as if he is asking, “Is that it?” after being shamed, tormented and forced to go through physical pain for the sake of other people’s expectation of his character. Heavy stuff, but expertly handled. More Short Film Reviews here. #Shortfilmreviews #AndrewYoung #ShortFilms #filmreviews

Directed by Charline Odiot Written by Charline Odiot & Michael Sibay Starring Jessica Graham & Ross Crain Short Film Review by Chris Olson A frank and daring short film about the subtle manipulation which occurs during relationships of a certain level of intimacy, The Temptation Game, from director Charline Odiot, is as candid as it is thought provoking. Set entirely within the apartment of a couple, the man and woman sit half naked playfully chatting. The topic for discussion centres around whether the husband (Ross Crain) is a slave to his natural desires and urges, which his wife (Jessica Graham) teasingly attempts to evoke using an array of techniques. What starts as harmless fun becomes increasingly laden with poignancy, as the couple turn the competition into a sexual conflict. What is particularly striking about Odiot's short film is the subtlety which it is able to employ. Blink and you could miss a fantastic nuance, either through the flirty dialogue or the impressive performances. The roving camera angles and mixture of close up shots with distant angles is a telling combination, revealing the push and pull that these characters are engaging with - both physically and emotionally. All this battling is absorbed by the familiarity of the mise en scène, using plain white underwear as costumes for example, so much so that audiences will be incapable of not relating to it and engaging with the subject matter. The jaunty intro and outro music from sound designers Vincent Tennant & Eric Paulsen is another example of where The Temptation Game uses subtlety to lure the viewer in without them realising the high stakes of the story unfolding. By giving the audience the sense that this is a comedy, something to be taken all in fun, we leave ourselves more vulnerable to the film's darker inner core. There is a complex struggle going on between these two characters with dire implications. Both performers are great throughout, with Ross Crain delivering a fantastic portrayal of a man attempting to maintain his self control whilst delicately balancing the feelings of his spouse. Jessica Graham is quite simply superb as the unbalanced trickster, dealing with such a huge range of different motives and emotions is was reminiscent of the Kathy Bates character in Misery! However, her character deals with a degree of self doubt and anxiety about her own ability to completely satisfy her partner, which mutates during the story incredibly well. An excellent short film with powerful performances and a distressing yet compelling study of the nature of sexual intimacy. We have more Film Reviews. #ShortFilmReviews #ShortFilms #ChrisOlson #FilmReviews #Comedy

Film Feature by Amaliah S. Marmon-Halm Between the 21st of September and the 2nd of October, the centre of London will be transformed into a hub of celebration for film and creativity. As the largest independent film festival in Europe, this is a major highlight in the independent film calendar. The festival will include many world, international, European and UK premiers. This year, Raindance received a record-breaking number of submissions this from 98 countries and will be screening 90 feature films and 85 short films. All of these films have been chosen for the ability to make an impact and share their story. Judging these films will be a panel made up of esteemed international artists, industry members and film journalists, including Joanna Lumley (Absolutely Fabulous), Imelda Staunton (Vera Drake), Jodie Whittaker (Broadchurch), Anna Friel (Limitless), Jack Davenport (Pirates of the Caribbean) and Nicholas Pinnock (Top Boy).  From the Opening Gala and Party to the Closing Gala, Raindance is hosting 11 days of the best independent film has to offer. To fit everything in will be a full time job, but it will be so worth it. Additional features ‘In Competition’ include both narratives and documentaries vying for Best UK Film, Best Documentary and the coveted Discovery Award, which is given to Best Debut Film. Though screenings will be taking place every day, there will be a selection of special showcases, masterclasses and forums, so filmmakers can not only watch but brush up on their own skills. Special additions to this year’s schedule come in the form of the Raindance Lab – Future of film and a special masterclass with Guillermo Arriaga. The inaugural Virtual Reality Arcade and the fourth annual Web Series, which looks at alternative platforms for filmmaking and increasing attention these platforms are gaining internationally. The Virtual Reality Arcade, will feature 14 experiences, providing audience members with an immersive experience and the chance to experiment with new advances in storytelling technology. The VR programme includes powerful documentaries such as Witness 360: 7/7, a look at the 2005 London terrorist attacks; Easter Rising: Voice of a Rebel, which was produced by the BBC; 6X9: A Virtual Experience of Solitary Confinement, produced by the Guardian; and the World Premiere of RecoVR: Mosul, which was commissioned by the Economist and takes the viewer on a visit to a museum in Iraq which was destroyed by ISIS. RecoVR: Mosul The film festival’s unique Web Series will again provide filmmakers with the opportunity to tap into the online video industry. Web Series’ nominated films include Sol Rikweda’s Blood, Sweat & Chokes (UK), which follows three young fighters as they hustle to reach the Ultimate Fighting Championship; Rich Keeble Vanity Project (UK), an improvised mockumentary series about the real-life struggling comedic actor; and S-Band (UK), Hannah George’s series which follows the lives of the staff and students at Northwood High, a school for students with behavioural issues. For the second consecutive year, Oscar® and BAFTA award nominated Mexican screenwriter Guillermo Arriaga will be conducting a masterclass for budding screenwriters and filmmakers. Arriaga is best known for his collaborations with multi-award winning director Alejandro G. Inarritu on Amores Perros, Babel and 21 Grams. The masterclass is in collaboration with Mexico’s Mediacine. Tickets and passes Info! You can buy individual screening tickets can be bought from here - http://calendar.raindancefestival.org/ Day passes - £25. Single Admission to all screenings and events at Vue Piccadilly cinema for one day can be purchased here - https://raindance.ticketsolve.com/#/shows/873561421/events/127899679 http://raindancefestival.org/get-your-pass-here/ Piccadilly Pass - £125 Single admission to all screenings and events at VUE Piccadilly Cinema + gift bag Premium Pass - £250 Single Admission to the Gala Nights (Opening, Closing, Awards) + Single admission to all the screenings and events at Vue Piccadilly cinema + A VIP Raindance Film Festival 2016 gift bag including Festival T-shirt & Programme Book. #RaindanceFilmFestival

★★★★ Directed by Sharon Maguire Starring Renée Zellweger, Colin Firth, Patrick Dempsey, Emma Thompson, Gemma Jones & Jim Broadbent Film Review by Dean Pettipher In no small part is the world indebted to Bridget Jones, certainly one of film's most effervescent personalities, for making that much-needed time spent in solitude with Ben and Jerry's ice cream socially acceptable. Or at least forgivable. Jones also taught us that it is totally okay to not have your life together by the time you reach your twenties, or thirties, or even forties, assuming one defines the peak of that mountain as finding and settling down with a life partner in romantic love. The Bridget Jones series of movies to date (2001-2016) has consistently told stories that are prevalent with such themes in an expertly light-hearted manner that never fails to conjure up laughter and mournful sadness in more or less equal measure. The latest diary entry, a tale filled with serendipity justified principally by the sheer charisma of all of the major players, delivers just that, in a well-overdue comedy, which, like the James Bond series (1962-2015) or the Mission Impossible series (1996-2015), leaves one silently praying for more. Bridget Jones's Baby has a fantastic, carefully-selected soundtrack of chart hits, some oldish and some new, wonderfully accompanies an assortment of great jokes. Albeit they vary in originality and wit, almost all of them inspire laughter, courtesy of consistently flawless and evidently painstakingly earned comic timing in front of the camera. Audiences will aquiver in their entities with delight at the boundless levels of charm on display by all of the leading stars and their supporting cast alike. While Renée Zellweger shines as always at the forefront of the adventure, she is accompanied by two equally becoming love interests, each one a determined model of that knight in shining armour, both within and without, played with admirable eloquence by Colin Firth and Patrick Dempsey respectively. Moreover, Emma Thompson adds yet another spark to the already well-illuminated movie theatre as the Angel in the form of Bridget's doctor and confidant throughout her most recent unplanned but nonetheless beautiful mess at the heart of this latest instalment. Occasionally some characters serving as the antagonists seem like pantomime villains and are consequently at risk of growing two-dimensional. Thus, the gags related to them once or twice come across as cheesy. However, the humour, overall, thanks to the aforementioned terrific performances and superb comic timing, ultimately and clearly prevails. To top it all off, for those who can't contain themselves because just under one hundred days remain until the big day, granting them with the green light for party preparations, photo-shoot ambitions and at least a faint consideration of what memories might define their holiday season this year, there are gleeful, unashamed hints of Christmas. Noel's presentation is notable and necessary but fortunately not excessive, intended not to irritate but rather to serve the film's primary purpose of instilling as pure a joy as a film possibly could within the otherwise desperately turbulent journey of love. Hopefully, just hopefully, this journey won't end here. Come this way for more Film Reviews. #FilmReviews #TheatricalReleases #RomanticComedies #DeanPettipher #SharonMaguire #RenéeZellweger #ColinFirth #PatrickDempsey #EmmaThompson #GemmaJones #JimBroadbent

Interview by Chris Olson Short film Lookouts is a daring fantasy, with an outstanding visual aesthetic. We talk to the film's very talented composer about working on such a high-end movie, as well as indie filmmaking in 2016. Can you tell us a bit about how you came to be the Composer for Lookouts? My former manager read the synopsis for the casting call and really liked the story, so he contacted David & Kristin (Director and Executive Producer respectively). After a few months, they sent some stills from the movie that completely blew us away. They lured me in visually and I knew I wanted to take on the project with full force. What’s your history in the film industry? Oddly enough, I am a mechanical engineer from Imperial College by trade and was working as a consultant in London when I decided to change careers and come to the US to try my hand at composing for film. I refined a lot of my skills by getting a music degree and diving into the film scene in LA. Since then I have had the chance to work on some exciting projects: worldwide-released trailers, two feature films, as well as being very blessed to be involved in top-notch shorts such as Lookouts. David creates a strong aesthetic in his film, especially as DoP. How did you ensure you complemented his tone and vision? From the day I first saw the stills, I knew this was a very refined project and that we needed the music to match the high level of production. We recorded the strings with top session musicians in Hollywood, had two experienced engineers (Zavosh Rad and my business partner at LoudMono, Orlando Perez Rosso) mix the score in 5.1. This is not common procedure when scoring a short; nowadays all this is done in the box, given the technology and limited budgets. However, since I saw this short as a condensed feature film in terms of production value, I decided to go full board in production with the score. I believe that more than half of the effort I put into this score was put into achieving the precise sound I wanted as opposed to the actual notes I composed. Beyond that, a few things come to mind. The central force in the short is the basilisk, so it was essential for me to represent its power through sound, which I achieved by creating a two-note motif. The contrast of high-pitched and low-pitched sounds, together with the effect of surround sound in the cinema, makes the viewer feel the basilisk coming from all angles and really heightens the drama. I was very intentional about the role of music in Pehn’s self-transformation throughout the film, starting with the soft and sweet theme inside the hut that develops throughout and ends with strong heroic elements as he finally confronts the basilisk. I also wanted certain elements of the score to sound tribal, and to achieve that we used a lot of open strings and came up with the gritty riffs you hear throughout the chase scenes. Going off of that tribal inspiration in the fight scene, we actually incorporated sounds from an Indian dance called Dandiya, which uses sticks similar to those wielded by the lookouts. Finally, the key symbol of the cinderleaf, at the same time mysterious and beautiful and deadly, had its own theme in the score. Its melody as well as the “twinkling” effect in the surrounds brought to the symbol to life and turned the cinderleaf into a character rather than simple scenery. Were there any lessons that you learnt during the project? Since this was a short, I had limited space to develop the arc of the score, which posed a challenge. I learnt that the credits are an excellent place to further develop the score; moreover, it is a blank canvas where there is only music. This is where the idea of making a lullaby sung by Pehn’s mother, Kleia, came from. I combined all the themes from the movie and played them simultaneously. This idea is borrowed from the postlude/finale of operas, wherein all the character themes are played in tandem. Had I not been restricted by time due to the nature of the short film narrative, I do not believe I would have pushed the credits development as much. I’m glad it turned out this way. It is a lesson that I will take with me now for future projects to come. What, in your opinion, is the toughest aspect of filmmaking in 2016? Personally, I feel that within the industry it is hard to keep up to date with the burst of information available via social media and the internet in general. It is difficult to make a project reach people’s eyes and ears given the saturation of information and complete overload of channels and entertainment. I think that after fundraising, the biggest challenge for the filmmaker is to cut through that flood of information and reach an actual audience. Are there any tips you would give to newcomers to composing for films? Value your sound - it is as important as your music. Film composing, even though it uses the same orchestra and language, is not like composing for the concert world. Film scoring is a different beast, and to tame it you must be both a composer and a producer. Never settle until you have produced your best work both musically and sonically. That will push you and make you grow - good work breeds more good work. What is the next project you are working on? I am currently working on a feature, a comedy based on a treasure hunt filmed in Sardinia by director Luis Ventura, as well as emotional short by Manuel Trotta about an executive dealing with his father’s dementia. What would you say if you were a dolphin? “That singer is out of tun-a!” Followed by a maniacal dolphin laugh. For more Film Features click here. #Interviews #ShortFilms #FilmFeatures #FilmmakerFeatures #Filmmaking #Composing #Music

★★★★★ Directed by Marcus Flemmings Starring Adam J. Bernard, Phoebe Torrance and Santino Zicchi Indie Film Review by Owen Herman Set in the wake of the 2011 riots, Six Rounds explores the character of Stally (Adam J. Bernard) as he is dragged, by emotional blackmail and pride, into the past that he desperately needs to escape. The opening moments tell us it is going to be another film about boxing, but the monochrome look and the camera’s focus on almost nothing but Stally’s face for the first five minutes lets you know that this movie is going to move away from the clichéd constraints of the boxing genre. This first five minutes tells you so much about the film you are about to see, from director Marcus Flemmings’ vision to the themes it will explore. The text giving a brief description of the riots in London gives you the sense that this film has a lot of emotion behind its creation and a view to look into modern British society, particularly regarding race and class. The monochrome gives the film a dramatic and intense edge. It could be a bit of a gimmick to make a movie seem a bit ‘arty’ but Flemmings’ choice fits well with the overall tone. The way the camera reveals so little in the early moments gets you thinking right from the start. This is a film that doesn’t want to spoon feed you information, it wants to be thought provoking and ambiguous. Once the film gets going, it sets up an intriguing storyline ripe with insights into areas of British culture. Adam J. Bernard gives a stunning central performance as Stally, capturing a man caught between the different classes of society with subtlety, but also packing a punch in the more raw and powerful moments. Stally’s ambitious girlfriend (Phoebe Torrance) and foul mouthed old pal (the brilliantly convincing Santino Zicchi) are the personifications of the diverse and contrasting classes that offer Stally either an escape or a return to his past. A solid script offers great character moments and allows Stally room to develop. Flemmings uses the riots to create an emotional backbone to the story, but never relies on it cheaply. Shocking footage of the carnage is used intermittently and the director explores the idea that they were political protests at the same time as criticising those who used the riots for material gain. As well as the obvious comparison to Raging Bull, Flemmings has clearly been influenced by many great films and directors. My favourite was the way the director emulates Stanley Kubrick, with backgrounds that hide little details (all painstakingly arranged I imagine), as well clever shots that demand attention. There is real potential here and I would love to see what Flemmings could do with a full budget. The editing is also worth noting, from lingering shots to a clever moment where the dialogue is overlaid with characters’ reactions. Filmmakers that are heavily influenced by others often make something too derivative. Six Rounds flirts with this potential problem, but there are enough stylistic choices, such as short moments of colour and an interesting narrative structure, to keep it feeling fresh. With Six Rounds Marcus Flemmings has shown he is a talented and intelligent filmmaker who is really getting to grips with his own unique style. A powerful and touching film that gets everything right, from performance to editing, and leaves a lasting impression. More Indie Film Reviews this way. #Indiefilmreviews #OwenHerman #MarcusFlemmings #IndieFilms #IndieFilm #Boxing #Urban #BlackandWhite #StanleyKubrick

★★★★ Directed by David Mackenzie Starring Jeff Bridges, Chris Pine and Ben Foster Film Review by Owen Herman 2016 has been a pretty poor year for summer blockbusters. A soulless reboot here, a panned superhero movie there, it’s safe to say the general consensus is not great. However, just as summer is coming to a close (I saw this on the “last hot day” apparently), a real gem has emerged in the form of Hell or High Water. A western action thriller and the best film to feature an explosion, and there have been a lot, since Captain America back in April. The clever thing about Hell or High Water though, is that director David Mackenzie realises that explosions and gunplay do not make a great film, even if it is a thriller. Here the ‘action’ part of action thriller takes the back seat to great dialogue and fantastic character development. The film centres around two great pairings. Brothers Toby and Tanner (Chris Pine and Ben Foster) are bank robbers attempting to raise a certain amount for a noble reason. Hot on their heels are two Texas Rangers, near-retirement Marcus (Jeff Bridges) and his partner Alberto (Gil Birmingham). Both of these brilliant pairings are played to perfection, resulting in great chemistry and reasons to root for both parties, even if they are against each other. Jeff Bridges, in particular, is superb. Writer Taylor Sheridan’s previous work was the near perfect action thriller Sicario, so it is unsurprising that the script is strong. The dialogue is sharp, constantly witty and completely engages you with these characters. Unfortunately the film does lack the real thrills of Sicario; there are well constructed moments of slow tension and explosive action, but it lacks any truly great set piece moment. There is a slow pace to the film, allowing you to really sink your teeth into the characters and story. It actually reminded me a lot of Breaking Bad, something that will heavily influence TV and cinema for years to come. Despite not being the most obvious comparison, aside from the ‘noble reasons behind terrible crime’ theme, Hell or High Water has similar pacing and focus on characters but also the skill to engage those looking for less talk and more action. Hell or High Water is a fantastic example of a strong story, script and performances all coming together to provide the perfect film backbone. As the summer ends, David Mackenzie has made something that, although not phenomenal, is very well made and highly entertaining. Read more great Film Reviews. #FilmReviews #TheatricalReleases #OwenHerman #Western #DavidMackenzie #JeffBridges #ChrisPine #BenFoster

Directed by David Bousquet Starring Kelton Roney, Chris Cleveland & Stefanie Estes Short Film Review by Chris Olson Finding an audience for an original fantasy story can be very difficult. After cinemas have finished the production line of fairytale remakes of recent years (Snow White, Cinderella etc) they simply start up the conveyor belt of reboots and rehashes (The Jungle Book, Oz the Great and Powerful etc). Furthermore, unless your film has superheroes in, is backed by Disney or was written by Tolkien, it’s probably not going to be seen by many people. Now, this trend is not specific to fantasy, but seems far more tragic when a film like David Bousquet’s short Lookouts appears - which is bursting at the seams with fantastic characters and a tremendous visual quality, yet film fans are unlikely to find it. Based on the story by Jerry Holkins and Mike Krahulik, of Penny Arcade, Inc. fame, Lookouts is a wistful and daring tale of adventure and bravery involving some rather terrifying creatures - Basilisks. Having not heard the phrase Basilisk since the Harry Potter films of yesteryear, this film immediately spiked my attention and not in a good way. Very often, short films that venture into the world of fantastical creatures often leave disappointed with their efforts and audience reactions. However, it is my pleasure to report that Lookouts is an immensely entertaining and visually stunning piece of cinema. The plot follows Pehn (Kelton Roney), who is a scout hoping to become a fully-fledged Lookout, a term given to the Rangers who protect his village from the darker elements that surround their community. As Pehn comes face to face with the threats around him, he confronts his own demons. I will not go into the story any more than that, as audiences should enjoy this film themselves. What is apparent from the first frame to the last, is that Bousquet never stumbles in his delivery of a great film. There is a brisk pace to the movie, which he controls as Editor, that exudes confidence in the storytelling as well as a firmness to keeping the performances in line with the epic visuals being created (it is worth noting that Bousquet is also the DoP). The use of special effects and slow motion, instead of being jarring like in a lot of fantasy films, are sculpted with care and appear to be of the highest production values. The fog through the trees is a really nice touch and there is one moment where Pehn is stalked by a winged beast through the forest that is hugely enjoyable and thrilling. Absolute kudos to the three main performers. It is difficult to set up a story as quickly as they do, let alone add a solid level of emotional gravitas to the proceedings. But add it they do, especially child actor Roney, who delivers a noteworthy turn in a scene with his mother (Stefanie Estes) where he questions his fate and abilities. Roney’s interaction with Ranger (Chris Cleveland) also provides some of Lookouts’ best scenes. With any great fantasy film you need an epic score. The music from Pablo Croissier is as tense as it is rousing. The aforementioned chase scene through the woods is particularly immersive due to the foreboding tone of the music used. The costumes are brilliant, adding to film’s world-building rather than standing out like some homemade threads. Film fans who are not lovers of fantasy may struggle to thoroughly enjoy the aesthetic created in Lookouts, but not for any real fault in the filmmaking. However, if you are a lover of Lord of the Rings, Harry Potter, The Neverending Story and the like, then this film will likely enthrall you. There is a surety to Bousquet’s direction that feels comforting in a classic way, and my only real criticism of it was the run time - I seriously wanted a lot more viewing time. Feature film please guys. More Short Film Reviews over here. #Shortfilmreviews #ChrisOlson #ShortFilms #DavidBousquet #KristinBousquet #PabloCroissier #Fantasy #Filmmaking

Written and Directed by Taavi Peelo Starring Nathan Jackson, Marylina Vrontza, Blake Allan, Kris Sumer, Simon Quigley, Taavi Peelo Short Film Review by Hannah Sayer Taavi Peelo’s short film Element is a frightening and mysterious exploration of a surreal dreamscape with an ending which leaves you both puzzled and intrigued. Element opens with the poignant quotes “We are walking behind our own shadows” and “Defined by our broken mind”. Max, played by Nathan Jackson, wakes up in a world created by his own mind and shadows and the short film follows his attempts to escape. However, it proves difficult to escape from this world that he has created himself. As Max stumbles through this world, he comes across Shadowcatchers. These silent characters whose faces are covered in bandages evoke fear, as it seems that they are always looming. There is a sense of foreboding when Max comes across an unconscious drifter, played by the director Taavi Peelo, which hints at his own fate if he is unable to escape before it’s too late. The fragmentary quality of the narrative challenges the viewer to keep guessing as to what will happen next. The short film being in black and white is an effective technique in adding to the element of this world being part of an alternate reality that is harsh and bleak compared to the everyday. Many viewers will have experienced bold and vivid nightmares before where they are unable to escape from horrific and frightening situations. They will be aware of this sense of dread that the film evokes from their own worst nightmares, something which the director exploits well. At the end of Element’s short running time, there is a sense of dissatisfaction as it is unclear as to what will happen next and the realisation that it is likely that Max will never escape is quite frightening. However, this lack of resolution is likely to challenge expectations and proves Element is a bold vision from Peelo. Click here for more Short Film Reviews. #Shortfilmreviews #HannahSayer #ShortFilms #Surrealist #Dreamscape

★★★★ Directed by Antoine Fuqua Starring Denzel Washington, Haley Bennett, Peter Sarsgaard, Ethan Hawke, Chris Pratt, Vincent D'Onofrio, Film Review by Chris Olson The Western is a film genre ingrained with fantastic stories, many of which receive, and deserve, retelling. In a world with more reboots per month than you can point a six-shooter at, many will be thinking why do we need another version of The Magnificent Seven. The 1960 version is still a very watchable movie, and Seven Samurai, which was the original seed of this particular story, is a beloved classic that regularly tops film lists. So why? Well, the main reason is because this film, much like its characters, is as badass as they come. For those unfamiliar with the set up, the plot centres around a small rural community in a dusty American town who are besieged by a violent group of miners, led by a formidable Peter Sarsgaard. After a brutal skirmish with the hostile invaders, in which Haley Bennett’s husband is killed, she sets about acquiring the help of an ace-shooting bounty hunter (Denzel Washington) to help take back their town. Said bounty hunter goes on to assemble and unlikely bunch of gunslingers and hired help to form...you guessed it. The rest of the film is spent with the #Mag7 training up the town to prepare for the inevitable battle coming their way once Sarsgaard hears of the revolt. First off director Antoine Fuqua is the perfect choice for this film. Back in the saddle (ahem) with Washington and Ethan Hawke, who were both in Fuqua's 2001 bludgeoning Training Day, the revamp of The Magnificent Seven packs so much gritty punch, audiences will be spitting gravel for days. It is heavy on the realism and biting when it needs to be, with the right amount of comedy injected by Vincent D'Onofrio and Chris Pratt to keep it from sliding into a barrel of blood and bullets. There is a no nonsense to Fuqua's direction which stops it getting bogged down in demographic box ticking or "staying true" to the point of ruin. Be sure, this film is its own film. The music from Simon Franglen and James Horner is heartily direct, avoiding the softly strumming guitars and opting for a harsher tone which totally compliments the nature of the characters. The editing is snappy yet fair, allowing scenes to develop enough to engage you but never outstaying their welcome. As for the cinematography, I have personally seen better in films of this genre (The Revenant, True Grit etc), but it still nicely done adding a naturalistic contrast to the atrocities occurring. Shout out to Hawke's performance as the PTSD-riddled gunslinger whose anguished attempts to once again assimilate into violence is completely engrossing and his brotherly banter with knife-throwing artiste Byung-hun Lee serves up some of the nicest moments in the movie. Pratt is not the buffoonish cowboy you may be expecting, this is not Starlord-goes-West. His performance adds another notch to his already impressive list of mega movie outings. The comedy award for The Magnificent Seven actually goes to D'Onofrio, whose high pitched ramblings and shocking outbursts are as hilarious as they are endearing. Bennett does well to add some emotional gravitas to the fighting, but gets a little overlooked once the boys turn up. Washington and Sarsgaard steal the movie though. The former as a believable hero developed well throughout the film and the latter as a heinously awesome villain who is pitch-perfectly poisonous. Doing exactly what a remake should do, Fuqua’s film kicks up its own swirl of dust and by the time it settles you have forgotten why anyone would want to complain. For more Film Reviews come this way. #FilmReviews #ChrisOlson #TheatricalReleases #Western #Remake #AntoineFuqua #DenzelWashington #ChrisPratt #EthanHawke #PeterSarsgaard #HaleyBennett #VincentD39Onofrio