Directed by George Najdzien Starring Tom Diver and Tim C. Hudson Short film review by Lorenzo Lombardi Opus Dei, translated from Medieval Latin, literally means ‘work of God’. Priests carry out the work of god, but the priest protagonist of this short film takes it to the next level by taking matters into his own hands in this movie that boasts the ability to make a good story solely around compelling dialogue. To outline the plot would also end up ruining it, as the thriller is only around 7 minutes, discounting the credits. In this time, there are themes of redemption, vigilance, love and the obsessiveness it causes. Before the audience are shown anything, they see a blank screen with ominous music and creepy whispers by children reciting bible verses. This underplays the disturbing elements to come. The priest, played by Tom Diver, delivers lines with haunting intensity. A policeman, played by Tim C. Hudson, does well with a minor role. They perform in the middle of a blooming field in West Sussex, a beautiful and heavenly backdrop to an otherwise grim plot, brought to you by aptly named production company Suspiric Noir and distributor Terror Visions. Cinematographer Klayton Dean’s drawn-out and static takes of a single subject and the beautiful setting leave you to focus on the good writing and acting. What leaves the most impact, however, is the ending. It smartly contradicts the character’s beliefs and shows how lust can manifest itself and take over someone, exemplified again by powerful and analogical Corinthians verses. Audiences will be shocked but also left pondering. This is director George Najdzien’s first credit for any production, and I hope he directs and writes more. His ability to successfully make a story out of a small scenario like this and to turn the film’s perceived intentions on its head is an admirable result. Watch this and thank God your local priest is not like him. For more Short Film Reviews, come this way. #Shortfilmreviews #ShortFilms #LorenzoLombardi #Religion #Religious

★★★★ Directed by Pedro Almodovar Starring Adriana Ugarte, Rossy de Palma, Emma Suarez, Michelle Jenner, Inma Cuesta, Daniel Grao, Dario Grandetti, Adraina Martin, Priscilla Delgardo, Blanca Pares Film Review by Andrew Moore After 2013’s amusing yet ultimately disappointing I’m so Excited which clearly lacked the intellectual gravitas Pedro Almodovar’s filmmaking today is now capable of I’m more than happy to say that Julieta is a complete return to form imbued with the subtle and intelligent use of film language and visual story telling which Pedro Almodovar has become known for combined again with key themes of maternity. In fact the film almost comes across as an intelligently prescribed reaction to I’m So Excited. Loosely adapted from three interlinked short stories by celebrated Canadian writer Alice Monroe and relocated from Canada to Spain it’s an absolute pleasure to watch with its beautifully rich use of colour (especially red and blue), highly developed sense of mise-en-scene and its ability to provide the film’s key motifs in such a naturalistic yet stylish manner whilst slowly developing a simmering sense of intrigue. Additionally what could have had the potential to become a difficult, over complicated and somewhat convoluted adaptation from book to film in the hands of a lesser director is here achieved seamlessly. The flashbacks work effortlessly within the parameters of the story with a perfect sense of tempo that move the narrative along and draw the viewer into the story. Furthermore at no point does having two actresses playing the younger and older central protagonist (Adriana Ugarte and Emma Suarez respectively) become complicated, it works in every sense, is completely believable and finally merges beautifully in a towel scene with Julieta’s daughter Anita (Blanca Pares) revealing the older Julieta (Emma Suarez) in actual film-time. The film itself is very much about the effects of the daughter Anita’s disappearance on Julieta, how her character internalises the grief of it and eventually even buries it (living in a kind of emotional hiatus) and far less about why the daughter actually disappears. Emma Suarez’s Julieta hides this episode of her life from her present partner Lorenzo (Dario Grandinetti - a central character in 2002’s excellent Talk to Her) and her father too who himself has moved on to a new life after the death of Julieta’s mother. That the emotional rug is suddenly pulled away from her when she meets Anita’s childhood best friend Beatriz (played by Michelle Jenner at this point) who tells her she’s seen her daughter (now a mother with three children) at Lake Como thus begins our story and Juliet’s journey away from Lorenzo (at this point) and back to the apartment block in Madrid (where her daughter apparently still thinks she lives) as the past hypnotically resurfaces in a series of flashbacks. Meanwhile Julieta begins a dairy written to her daughter about the time she met her fisherman father Xoan (Daniel Grao) on an atmospheric Hitchcockian winter train journey after leaving her compartment when an lonely, older man attempts to engage her in conversation (which she uncomfortably declines). Xoan (also lonely) is already married (but to an invalid wife who eventually dies) and later that night they make love. This is after it’s revealed the old man in the carriage has committed suicide (much to Julieta’s guilt) - guilt is a key theme in the film. The sense of intrigue, suspense and hidden motivations in Julieta isn’t of course a first in an Almodovar film but often an ever present central theme. 1987’s Law of Desire is a classic example but there are many others. Missing here is the use of ambiguous sexuality or camp flippancy in the central characters or even any actual truly nefarious dealing, the story itself and its masterfully layered telling is where the intrigue lies. There’s a calm, intelligently prescribed tone throughout the film that gives it complete authenticity and the right to tell Julieta’s tale after the death of Xoan and the disappearance of Anita. We discover that Anita did blame her mother and the indiscretions of her father’s ex girlfriend Ava (Inma Cuesta) for the argument that led ultimately to her father’s decision to go out on his boat (and into an eventual fatal storm) but that she also blamed herself for being away at summer camp during this time (or it wouldn’t have happened). This is in spite of Anita and best friend Beatriz (who she met at this summer camp) pretty much becoming Julieta’s carers after the shock of Xoan’s untimely death. That said we’re given no real motivation for the later Anita’s brainwashing/conversion/sudden change that led to her disappearance from the spiritual camp in the Pyrenees other than needing some vague form of spiritual cleansing. When Anita departs for the Pyrenees there’s an initial awkwardness (how close is Julieta actually to her daughter), then a subtle poignancy but then perhaps only we (the viewer) are privy to this (after all, we already know more than the characters in this scene). That the adult Anita reveals the death of her own son in her final letter to Julieta is the litmus for her to communicate with her mother again, she understands the pain Julieta went through when she herself disappeared. Key moments in Anita’s and Julieta’s life have been dictated by death and guilt, and of course Anita was even conceived after a suicide but now we see the story’s circle is becoming completed. There’s a reference to surely one of the most filmic of crime writers Patricia Highsmith in Julieta by Lorenzo when he mentions following Julieta after she choose (upon hearing about her daughter’s re appearance) not to see him anymore, and I can’t help thinking how much I’d love to see Pedro Almodovar direct a full Patricia Highsmith adaptation. His style of rich visual communication combined with how he eloquently unravels his stories to reveal hidden truths and character motivations would lend itself perfectly to this. As ever in a Pedro Almodovar film the central performances are a hypnotically engaging tour de force and the direction, use of geographic location and visually arresting, textured cinematography a master class in all that is great about stylish quality filmmaking from one of Europe’s truly great auteur filmmakers. This is further augmented perfectly by the slow burning suspense of Alberto Iglesias’s film score. Some may take issue with the abrupt nature of the film’s ending but given that (as previously stated) I feel the film is a study about Julieta, her internalisation of guilt and the emotional immersion of her daughter’s disappearance (and not about why Anita left) I see no issue with it because as previously noted, the cycle of the film’s motivation is closing. There was of course talk of this being Almodovar’s first English language film but I for one am happy he choose to make it a quintessentially Almodovarian Spanish film. This is what Pedro Almodovar is to me and there’s absolutely no need to change what has made this director, from my early film student days watching his La Movida and post La Movida films and on to the accomplished award winning masterpieces, one of my favourite and one of the world’s most consistently celebrated and respected film makers. He deserves his place in the roll call of Cinema’s greatest directors and I’m glad to say this film has further cemented that process. This way for more Film Reviews. #TheatricalReleases #filmreviews #PedroAlmodovar #AdrianaUgarte #EmmaSuarez #AndrewMoore #WorldCinema

Directed by Matthew Wade Short film review by Andrew Young After accruing both buzz and awards on the festival circuit, Matthew Wade’s Plena Stellarum comes with the bar of expectation already highly placed. It doesn’t quite hit that bar, but it doesn’t really miss it either. Rather, it shifts it to the side, twists it around and does wholly unexpected things with it. As an illustrator, animator and musician as well as a filmmaker, Wade has brought his array of talents together here, acting as writer-director-producer-designer with only his wife/co-producer Sara Lynch and musical collaborator Jacob Kinch stopping him from being a true one-man band. Wordless and plotless, Plena Stellarum is a sort-of sci-fi, sort-of horror and sort-of generally unsettling thought-provoking oddity. The plot such as it is consists of some skulls and little red orbs floating about a generally deathly landscape, all animated in the style of a retro video-game, which combines with an eerie score and sound design to create the kind of tension expected before a horrific act that here never comes. There is nothing to be scared of as such, but that doesn’t halt a lingering sense that something sinister might be just round the corner from the first second to the last. Despite being a successful exercise in haunting atmospherics, there is a distinct aimlessness to Plena Stellarum that might infuriate some; yet if thought is given to the film’s deeper meanings, there are potential rewards to be had. It could be argued that a film should be judged entirely on its own terms, with the director’s own comments largely superfluous to an audience’s enjoyment of it. However here, Wade’s description of his short as “neon ghosts dreaming in dead landscapes” is vital to exploring any deeper meaning the film may have. Everything is designed to inspire a feeling of death; the floating skulls, the haunted house, the leafless, creaking trees, the bricks whose ghostly glow suggests that the very fabric of this world is touched by death. Perhaps Wade is asking, “Do ghosts dream of dead sheep?” Movies tend to show ghosts as “living” in our world, but Wade twists this supernatural convention so that the dead inhabit a world that is in fact dead. Everything we see of the world is filtered through our live minds, so is the world of the living-dead completely drained of life? Wade manages to ask such broad questions using just a tagline and his stylistic choices. The retro animation would have used a fraction of the budget needed to tell a “more realistic” tale, yet it always feels like a creative decision rather than a financial restriction. Less successful are the interludes with a more Tron-like aesthetic that are a bit too opaque in their meaning. Or perhaps that’s the point. Maybe the entire “dream” is meant to be without action or meaning like, well, our dreams. Wade might have been teasing us all along – there is no meaning, it doesn’t make sense, ghost dreams are really no more chilling or thrilling than ours. If this all sounds like ultimately frustrating artiness then that’s a matter of personal taste, but Wade must be applauded for seemingly achieving what he set out to. One of Plena Stellarum’s greatest strengths is that it is clearly a short film. The lack of dialogue and visual style could not be sustained, meaning it could only work as a short. This is not a reduced version of a feature Wade couldn’t afford to make, it is an interesting, original entry into an art form in its own right. More Short Film Reviews this way. #Shortfilmreviews #filmreviews #AndrewYoung #Animatedfilmreviews #Scifi #Animation #Filmmaker

★★★ Directed by Todd Phillips Starring Miles Teller, Jonah Hill, Film Review by Kieran Freemantle Based on a true story, War Dogs is the first serious film from The Hangover trilogy director Todd Phillips - his attempt at a Martin Scorsese style film. David Packouz (Miles Teller) is a 22-year-old college dropout who’s estranged from his family, working as a massage therapist for wealthy clinics. David is offered the chance to become the business partner with his old school friend Efraim Diveroli (Jonah Hill) - bidding on small military contracts, the crumbs the big companies ignore. Despite David's anti-war feelings he accepts the offer to support his growing family, leading to a meteoric rise and fall for the pair. When the trailers for War Dogs were released I personally thought it looked like the douchebag version of the Nicolas Cage film Lord of War and War Dogs does meet some of those expectations. Both films do touch on similar material, looking at people becoming arms dealers - committing bigger and bigger deals before they get found out. They even have a similar opening, Lord of War had the famous credit sequence of a bullet being made before being shot into someone's head, War Dogs showed the value of all the equipment on an American soldier. War Dogs is more like a gangster film, having the same rise and fall narrative like many movies in that genre. War Dogs makes many unsubtle references to Scarface; David and Efraim are big fans of the film, they have a big poster in their office and the film even has a similar plot trajectory; men in Miami quickly go up the ranks of an underhanded world, making bigger and bigger deals before their arrogance and crossing the wrong people leads to their downfall. War Dogs also copies a lot of Scorsesisms, particularly from Goodfellas, Casino and The Wolf of Wall Street. Like those Scorsese films, War Dogs starts with a scene that actually takes place in the middle of the film; it has a voiceover narration, shows men living a life of excess and as well as having a subplot involving the main character's troubled relationship. War Dogs shares many of Goodfellas' plot beats whilst like The Wolf of Wall Street shows people who become incredibly wealthy very quickly by doing amoral things and offers a critique on an aspect of American society - The Wolf of Wall Street was an indictment of the unvented capitalism whilst War Dogs takes aim against the Bush administration’s running of the military. Even the soundtrack had the air of Scorsese to it, using songs like 'The Passenger' and 'Behind Blue Eyes' during the run time. There were a number of rap and hip-hop tracks as well but the intention behind them was clear. The casting of Jonah Hill also forces comparisons with The Wolf of Wall Street. Both Efraim and Donnie Azoff are both drug addicted, prostitute users who would do anything for a quick buck. Efraim is even worst, he is rash and volatile and the lowest of the low. Hill is essentially the Joe Pesci type character in Goodfellas and Casino, a hothead who could only get away for so long regarding before his reckless behaviour would lead to their downfall. Teller as David was more sympathetic, just a stoner loser who has to shape up - but the real David Packouz has a cameo, so he probably wouldn't have wanted to get involved with a film that portrayed him so poorly. War Dogs also bares some similarities to The Big Short - both are made by directors who are known for making comedies and have decided to tackle a serious subject matter - The Big Short being about the financial crash. Since The Hangover, Phillips' films have had a darker turn and the critical reception for each of them was worse than the previous one. War Dogs is really a drama with comedic moments, and starts out like it was meant to be comedic. An early scene features a massage client deliberately dropping his towel yet it soon tempers to the occasional witty line and Hill’s obnoxious asshole act as the film progresses. The visual styles of Michael Bay films also make an appearance in War Dogs - mainly the use of colours and filters. Miami looks like it did in Bad Boys 2 and Pain and Gain - the use of saturated oranges in the Middle East were like the Transformers whilst Albania was filmed with a drab, grey look [how Hollywood generally sees Eastern Europe]. An action set-piece where David and Efraim try to smuggle guns into Iraq could have fitted in a Bay film if it had more explosions. Despite being marketed as a comedy War Dogs is much more serious than it was advertised. Phillips certainly wants to be seen as a more serious filmmaker, essentially making a Scorsese style story as if it was made by Michael Bay. More Film Reviews this way. #filmreviews #TheatricalReleases #KieranFreemantle #ToddPhillips #MilesTeller #JonahHill #WarFilms

★★★★ Directed by Chase Connor Starring Shane Fike, Heather Dodson, Brandon Alexander & Stephanie Mason-Teague Indie Film Review by Chris Olson There is a quiet paradox to war that has an immense human effect. Battle and conflict are platforms for frenetic chaos, violence and rage; places where the pace of life is so demandingly quick that the phrase life and death is never more apt anywhere else. Compare this with life outside of war, where veterans and survivors must adapt to a lifestyle they fought to protect but never to embrace, and therein lies the paradox. Director Chase Connor’s indie film Less Lost tells the tragic tale of one TBI (Traumatic Brain Injury) survivor, whose post-battle environment is at constant conflict with the scars of war. Shane Fike plays Luke, a veteran of the Iraq and Afghanistan wars, conflicts that left him a medically retired soldier ravaged with personal troubles, both physical and psychological. Attending veteran meetings and attempting to reconnect with his wife Jenn (Heather Dodson) and daughter Faith (Leisa DiGeorge), Luke is troubled with violent outbursts, a severe detachment from those around him, and flashbacks of the atrocities he has witnessed. One of the veterans he meets, Darien (Brandon Alexander), offers the hand of friendship and attempts to aid Luke in his recovery and readjustment. Filmed with an intensity, Less Lost does its troubling subject matter proud. This is not a light watch, but one most definitely worth having. From the powerhouse performance from Fike to the emotionally arresting sequences of warfare, Connor’s indie film is utterly gripping. Quick editing and handheld cameras are used to elicit the sense of uncontrollability that really drives the narrative, whilst the dialogue is sharp and direct to complement the rawness of the central characters. This is balanced with scenes in the veterans group (led by Stephanie Mason-Teague) where the soldier banter and joking offers a much-needed glimpse at the camaraderie that these fighters rely on to survive. This is also picked up in the sequences where Luke is in the army, smartly avoiding the politics of war and instead focusing on the brotherhood these guys find themselves in. Films depicting PTSD and the effects of war are numerous, and many films have documented the tragic nature of the War on Terror and how it has affected troops. The dialogue created by such films is totally benefitted by the voice of Connor and Fike - who co-wrote Less Lost. This story about the reintroduction of Luke into society taps into the brutality of the transition, there is such a ferocity to the film that the ulterior themes just leap off the screen. This is bolstered, as mentioned, by Fike’s phenomenal performance. Darkly intense, his portrayal of Luke is nuanced and sensitive, and completely believable. The shocking outbursts at some of the everyday assholes he comes across, are there to be measured against his attempts to see his daughter again. Alexander is also tremendous as the voice that gets through to Luke, with a reserved calm and embracing solemnity that is great to watch. The sound editing, which seems fluid and disjointed from the visuals, is a fantastic device used to portray the immersive nature of Luke’s affliction. Given the indie budget and the divisive nature of the story, the cast and crew involved with Connor’s film can sit happily with this important and engaging achievement; a noteworthy thread in the tapestry of violence that is the War on Terror genre. Click here for more Film Reviews. #Indiefilmreviews #IndieFilms #filmreviews #ChrisOlson #WaronTerror #WarFilms

★★★★ Directed by Quincy Rose Starring Quincy Rose, Jen McPherson, Zack Tiegan, Maggie Rowe & Toni Romano-Cohen Indie film review by Chris Olson Introspective and candid, like the best character study films, Quincy Rose's indie movie Miles to Go is a compelling journey through one man's complex issues with relationships. Miles (played by Rose) is a sharp-tongued cynic who battles with existential crises like they are going out of fashion. His curmudgeonly attitude towards human relationships, especially those with the opposite sex that seem doomed to failure, has seeped into his outlook causing him to look for an internal fix. Through counselling with a professional therapist Lucy (Maggie Rowe) and conversations with his friend Sydney (Zack Tiegan) and his sister Alexandra (Toni Romano-Cohen), Miles attempts to put himself under the microscope and connect in a substantially meaningful way. Seeking a solution with his recent ex-girlfriend Julia (Jen McPherson), Miles attempts to approach the relationship in a different way, hoping for a different outcome that transcends his own foibles and self-destructive behaviour. There is always a risk of indulgence when it comes to filmmakers being the star in their own show. Too often the one-man-band syndrome kicks in and it ends up just being chaotic horn-tooting and ego stroking. What's apparent in Miles to Go, is that Rose is prepared to bare all; literally, emotionally and philosophically. For every moment that makes his character look like a stud (the sporting sex or the witty banter) there is a balancing moment where he reveals his inadequacy or vulnerability. This is so important in a character study movie, where the anchor to keep audiences watching needs to be pulled in all directions in order to keep us interested. Cinematically, the film is superb. There is some incredibly clever filmmaking here that delivers on a level with the greats. Woody Allen is an obvious parallel, and the film did remind me of Frances Ha, from Noah Baumbach, for its simple yet hugely appealing urban aesthetic. The film captures the intensely personal with an aloof sense of critical analysis, which is a considerably feat. Scenes such as the couples dinner where topics like anal sex are discussed, are done with masterful craftsmanship to depict the detached yet highly curious nature of the dialogue. Given that the story of Miles to Go is partly biographical, and that Rose wears so many hats in its creation, there could have been a great deal of narcissism rife throughout. Luckily the supporting cast is fantastic and Rose does give them enough space to contribute decently, without removing the close inspection of Miles. Jen McPherson is wonderful, offering a fantastic counterweight to Miles's broken sense of self. The two intertwine like flame candles on screen, being at once both illuminatingly compelling and fatally vulnerable. It is their scenes that are the most enjoyable. Thematically the story is a real treat. There are huge amounts of discovery and poignancy when it comes to the way in which Miles is revealed on screen. Ideas of loneliness, compatibility, neuroses and fulfilment swim around like colours in an already vibrant story. Audiences will either love or hate Miles, but either way they will feel something! A thoughtful and intelligent film, Quincy Rose could be an important part of indie cinema to come. Read our EXCLUSIVE interview with Quincy Rose here. #IndieFilmReviews #IndieFilms #ChrisOlson #Filmmakers #WoodyAllen #QuincyRose #Comedy #BlackComedy

Directed by Raphael Biss Starring David Faure and Annaig Briand Film Review by Owen Herman Appel D’Urgence (or ‘Emergency Call’ in unromantic English) is a French short film from Unseen Motions and director Raphael Biss. It is a charming romantic tragicomedy that starts quite abruptly with our hero, Sebastien, driving off a cliff to his apparent death. The short film then begins to reveal why Sebastien, played by David Faure, went over the edge (both literally and metaphorically). Love, as is so often the case, lies at the heart of Sebastien’s problems. After months of loneliness he has fallen for Céline (Annaig Briand), the voice on the end of an emergency call he makes. It is a quirky-in-a-good-way love story fuelled by desperation and captured perfectly by the two leads. David Faure, although acting desperate, still provides the charm for Sebastien to come across as well-meaning instead of creepy. Annaig Briand, as Céline, is revealed slowly, as Sebastien discovers more about her. Both performances are engaging and there is chemistry that resonates through the conversations. There is something quite dreamlike to how Sebastien’s scenes are shot, from the faint glow of the sunlight to the odd singular phone box on the edge of a cliff. The way his story moves back and forth in time adds to this dreamy feel. In contrast Céline’s scenes feel much more real, with darker lighting and a general sense of the mundane. These two effects combine to show how each character feels about the situation with gentle music playing when Sebastien offers a meal out, only for the music to be suddenly cut off by Céline turning him down. This is not the only example of the music being used in a blunt, but dramatically effective, way. Biss plays with the score cleverly to show the thoughts and feelings of these oddball characters. The opening and closing tunes perfectly capture the mood of the short film. Every note in Appel D’Urgence hits, both romantic and comic. While not belly-laugh funny, its dark humour brings chuckles regularly as Sebastien stumbles through multiple attempts to ask Céline out. The romance works because it is believable with these two characters. Although they approach the situation very differently, they are very similar in their feelings of solitude. Appel D’Urgence is charming and sweet but also has clever moments of dark comedy woven into its gentle story. A short film that is hard not to like, rather like the desperate and lonely Sebastien. Click here for more Film Reviews. #filmreviews #OwenHerman #Shortfilmreviews #ShortFilms #FrenchCinema #WorldCinema

Directed by Kirill Proskura Starring Johnny Spurling, Jo Price, Antonia Reed & Peter Imms Short Film Review by Lorenzo Lombardi The film & TV trope of an everyman being the catalyst for saving humanity has been done countless times. This can result in a run-of-the-mill attempt that fails to stand out in the world of film. However, A Shadow of Dara should stand out in the Sci-fi short film scene, as it flips this trope on its head in ways you do not expect, and gives a healthy dose of steampunk aesthetics and Star Trek-esque action. A Shadow of Dara follows AJ (Jonny Spurling), a socially awkward office worker who is puzzled one day after his workers ask him weird questions about numbers. He then meets Nátaly (Jo Price), a leader of a rebellion who risks everything to save him from a bleak future: a world on fire, as the tagline implies. While Spurling plays his awkwardness too much at times, his character adds some humour and structural basis to the short. The supporting cast is decent too. Price is strong as the revolutionary leader, and her team comprised of hacker Daniel (Peter Imms) and survivor Maria (Antonia Reed) are also compelling to watch. It is no wonder the film is a winner of awards from established international short film circuits such as the Mexico, Nevada, Wordfest Huston Festivals. On a technical aspect, this short should be considered a proud feat. A Shadow of Dara’s visual effects are colourful and well-executed, not to mention its vibrant lighting. Its costume design is also a sight-to-behold, with a notable example pertaining to the “Shadows” (the antagonists of the story). They are both conceptually and visually creative and would not be out of place in a high budget Sci-Fi film. There is another massive positive - the lore. As a result, it feels like a well thought-out and entirely believable short. Characters discuss events occurring in both past and future, races, and their own history - all in the space of around 13 minutes. Heck, the official website even contains a “Behind the Scenes” section, which contains videos of the actors explaining each of their characters’ history. By the end, you feel like you know these characters and the history of this fictional universe. While it may ooze its influences too much (especially from The Matrix), A Shadow of Dara is a low-budget technical marvel that makes you crave a sequel after it wraps up with its open ending. This could maybe become the best short film sci-fi franchise ever. Make it happen, director Kirill Proskura. More Film Reviews for your pleasure. #Shortfilmreviews #LorenzoLombardi #Scifi #filmreviews #ShortFilms

Written and Directed by Cai O’Leary Produced by Amie Nash Starring Stephen Hoo, Cai O’Leary, Bruce Wang Cinematography by Kieran J Simpson Editing by Jonathan Fidler Action Co-Ordinated by Leo Au-Yeung Short film review by Euan Franklin Good, Evil. Yin, Yang. Heaven, Hell. Positive, Negative. How is it that opposite concepts, objects, and people find themselves sticking together? Opposites attract is a phrase derived from the actions of magnets, but could easily watermark Cai O’Leary’s magnificent Man is Beast. The first shot sweeps across a party of eager spectators in somebody’s back garden - chatting, laughing, dealing out cash. The camera ceases at a suited Chinese man, wearing no perceivable expression as he stares at two men preparing to fight. One’s Chinese, the other isn’t. The scene pulls us in with a simple premise, yet the film proves to be more ambiguous, more chilling, as it continues. The film cuts from a well-choreographed punch-up scene to some documentary footage showing interviews with the opponents before the fight. Fiction, Reality. Sun Hui (played by O’Leary) lives in a rough neighbourhood, kept inside a grotty room with his brother, Fang (Rory Finn) – the “runt of the litter”. Hei Xiong (Stephen Hoo) resides in a picturesque mansion with his Daddy (Bruce Wang) and his trainer (Clynton Henry). Rich, Poor. Both discuss their situations and their motivations for fighting, to a camera handled by an invisible operator. We soon realise that reality does not come simply, but through absurdity. The fight scene between Hei Xiong and Sun Hui was a brave and ambitious step for a short film to take. In action cinema, there are good fight scenes and there are bad ones. Good, Bad. There’s no grey area in the middle. Many action sequences in box-office blockbusters look terrible, so to attempt it in a short film has all the signs of a barmy idea. However, O’Leary and the action co-ordinator Leo Au-Yeung have made their fight pack a punch - not only on the fighters, but on the viewers as well. It’s not perfect, some shots aren’t correctly synched with the sound and the blood has the consistency of thin ketchup sauce. Nevertheless, the choreography was outstanding and works well with Kieran J Simpson’s kinetic cinematography – owing a great deal to O’Leary’s personal experience as a martial arts expert. The simplicity of the documentary sequences is matched perfectly with the ambiguous nature of the story, echoing Michael Haneke’s style in its soft, striking approach. However, this beautiful sense of uncertainty is short-changed with the explicit realisation invading the final shot. It pushes for an answer when it doesn’t need one. All the absurdity we’ve already embraced has been lost to reality. The audience can guess and interpret, but confirming it rips away the short’s initial attractions. The most enticing character isn’t either of the two leads, despite the fullness of their characters. The one who attracts the most questions is the suited Chinese man at the beginning, who turns out to be Hei Xiong’s “Daddy”. He says nothing and maintains an uncomfortable stare – one you can’t lock into without flinching away. This is more than a Terminator performance by Bruce Wang, because his stare is too full with meaning. There’s a backstory behind his eyes. A traumatic event. Notions of joy or sadness have long been abandoned. The film has its imperfections, yes, but there is something special about it. It lies, it confuses, it evokes sadness and hate, but it’s the humanity that throws us the most. We are told that man is beast, but the terrifying conclusion is that man both is and isn’t. Beast, Man. Man, Beast. Make of that what you will. More Film Reviews over here. #Shortfilmreviews #EuanFranklin #ShortFilms #filmreviews

Directed by Andrew Lawton Starring Ted Lewis, Jeremy Folmer & Sara Antkowiak Short Film Review by Chris Olson Family pets often make for some of the most heartwarming, poignant stories that translate to film fantastically. Not only do audiences connect with characters that resemble their own loved ones, but the perilous journeys which can ensue when a pet gets lost are regularly filled with all the ingredients of a great movie, such as: action, adventure and danger. Not to mention the satisfying feeling during the inevitable reuniting which, when done right, should shed a bucket load of tears (damn you Homeward Bound). Andrew Lawton’s comic short film, Have You Seen Calvin?, comes at this beloved genre with a rather unorthodox twist. Instead of a fluffy house cat or wise cracking dog, this family’s pet is an S&M gimp (yup, you read that right). At the beginning of Have You Seen Calvin? we are introduced to a family that look like a 2.4 version of The Brady Bunch stepping right out of the 50s. Their white picket lifestyle and idyllic homelife appears to be a poster of normality, if you needed one to promote the American Dream. The only sign of strangeness in this otherwise picture perfect family is their pet gimp Calvin (Ted Lewis), who crawls the house like a dog in a fetching leather outfit, complete with gimp ball and spanking paddles. When Calvin goes missing, the family are distraught, losing a cherished member of their homestead. Meanwhile, the eyes of Calvin the gimp are opened to a whole new world, as he tourists around the sights and explores The Big Apple. Viewers may initially write this off as simple gimmickry (or gimpickry if you will), thinking that throwing something as odd as a sadomasochist enthusiast into the role of a family pet is enough to make a film, but Lawton’s story does journey into an entertaining yarn that treads steady, if familiar, paths. Calvin is a genuinely interesting character that is delivered sympathetically, with Lewis making the most out of facial expressions and body movement. The father character, played terrifically by Jeremy Folmer, is also a bit of a scene stealer, serving up some well crafted lines about the perils Calvin faces in the real world. It seems an odd thing to have to mention the tone in a film starring a gimp as a pet, but there is a slightly jarring atmosphere to Lawton’s film which, ironically, is not due to the S&M character. It actually comes from the confusing mix of 50’s American family values with the modern elements of society. In the original cut of the film I saw, the complex mix between 50s and present day was completely confusing. It was difficult to immerse yourself into the film’s environment when you keep being given such conflicting tones. The newer cut explains the family is actually living in the present day. This felt disappointing still, as it was enough to have Calvin as a catalyst for the movie, and the whole thing could have existed as a period piece, rather than a cocktail of genres and aesthetic choices that only really existed to highlight the dramatic contrast. That being said, Lawton shows utter prowess when it comes to comic delivery. This film has a razor sharp script from Lawton himself that will tickle viewers like a feather on your undercarriage, and the timing of scenes is a perfect pace. In particular the editing of Calvin’s montage through the city, which delivers some brilliant laughs without overstaying its welcome. Short film comedies are difficult to thread a narrative into, and the final result can often resemble a sketch from a much larger piece. Fortunately, Have You Seen Calvin? operates with a naughty and nice balance, between jaw-dropping antics and an engaging plot. Like being spanked with a good book. More Short Film Reviews this way. #Shortfilmreviews #ChrisOlson #Comedy #ShortFilms

★ Written and directed by Liam Galvin Starring Robin Reid, Yvette Rowland, Jason Marriner & Jeff Stewart Indie Film Review by Hannah Sayer Liam Galvin’s vigilante drama Mob Handed is his second film after the controversial 2010 film Killer Bitch. The film garnered a great deal of publicity during filming as it was reported to contain graphic scenes of violence and extreme sexual content, which turned out to be exaggerated. Following on from this controversy, Galvin chooses to dismiss previous criticism for his work and makes Mob Handed: a rather dull and bland affair with moments of extreme vulgarity and violence which don’t drive you to carry on watching. Mob Handed follows the story of a female journalist who joins a vigilante group after her daughter is murdered. Yvette Rowland plays the mother who feels let down by the law and the justice system, so she chooses to join the gang to track down her daughter’s killer. There are only very minor and brief glimpses of anything promising in this production. If handled more expertly, there could have been greater significance placed on the film as a commentary on the press and how shocking crimes committed by paedophiles are good for ratings. However, this revenge tale feels stunted by weaknesses across all areas. The film opens with stating ‘welcome to madness’ and it is this that resonates throughout as you are witnessing the messy and far from enjoyable narrative unfold. The weak acting from each cast member contributes to the dull tone of the film as each scene never feels like anything more than the actors reading from a script causing the end result to feel lifeless. However, the actors don’t seem like they are given much to work with. The shots of the gritty, urban London setting are potentially the only attractive aspect of the production, but even these moments don’t seem to flow effortlessly within the rest of the narrative. There is no sense of resolution or reward for the viewer after sitting through over an hour and a half of mind numbing violence and tedious acting. Mob Handed will only likely to appeal to a select few as it’s far from accessible and it is hardly an indie film to rave about. More Indie Film Reviews this way. #Indiefilmreviews #HannahSayer #IndieFilms #Crime #Urban #London #filmreviews #1Star

Filmmaker Feature Interview by Chris Olson Who are you and what do you do? I am Quincy Rose and I am a New York-based filmmaker, originally from Los Angeles. I am the Writer, Producer & Director, as well as the editor, of Miles to Go; and, I also play the titular character, Miles. Tell us a bit about your film "Miles To Go" Miles to Go is a passion driven project, a character study in essence, about a writer from Los Angeles, who doesn’t believe that relationships can last, and is struggling to mend his most recent failed relationship, believing it may just be the key to his success and happiness in life. Miles is afraid to grow up and fully commit to someone who loves him, whom he loves; and, not because he is afraid of love, but because his neurosis keeps him from committing. He suffers from chronic dissatisfaction, quick to know what it is he doesn’t want, yet always uncertain as to what he does want. And anyone who can relate to that knows that that can be a blessing and a curse. Why did you want to make/tell this story in particular? And take on the lead role too? Truly independent filmmaking is such a tricky world. Many things you may eventually end up making might not get made in the order you intended, if you are lucky enough to make it at all, and so you have to be able to go with the flow. Before I wrote Miles to Go, I was actively trying to get funding to make a different film, something that at the time was called Cut & Paste (which since has been retitled Friends Effing Friends Effing Friends, has been made and is also getting ready to come out…more to come on that). I had made several short films at that point, had a webseries called Untreated, that I produced & directed, and was itching to make my first feature film. And, I only mention the shorts and the webseries, because it was by making those that I felt confident I could make a feature film on a shoestring budget. The trouble was just finding the shoestring. So for a couple years as I sought the cash for that other film, I just kept working on anything in my path, anything I could make happen. Eventually I hit a wall and begged my father, Mickey Rose, to help out. Having been a successful comedy writer for screen and television (Take the Money and Run, Banans, The Tonight Show Starring Johnny Carson), he empathized with my struggles, and agreed, but insisted the budget would need to be extremely minimal. Because of this, I knew that making Cut & Paste would be impossible; it was just a bigger story to tell than the budget I had to tell it with. So I started thinking to myself, asking myself, What could I make for the budget I had? What story would be interesting? I knew it would have to be a character study, something I could strip way down, controlling the amount of characters and locations necessary for telling the story in an adequate, yet interesting manner. At the time, I was single, and though I was dating here and there, nothing would last. And being in my thirties at the time, I had had several failed relationships of various lengths, including an impulsive marriage that lasted five years in my early twenties, and I couldn’t help but wonder if relationships could last for me; or anyone, for that matter. This question haunted me, and I started writing down details about a character that felt that way. As it goes, a lot of what came from Miles to Go, or went into it, was out of necessity. Meaning, a lot of decisions were made based on what was available. Having been an actor first, I knew I was going to take on the lead role. Not only was the character loosely based on me and my experiences, it would also save me money on an actor, and I would be able to shoot in my actual apartment that I was living in at the time, saving me a location fee. I already had my key crew, as we had been working together on many of the shorter projects, and everyone was eager to help me make this film. As soon as I figured out who the character was, sketched out all the details of his life, deciding who his family was, who were his friends, etc, I knew exactly what story I wanted to tell and the script came together in a very short amount of time. The story was very personal to me, and I felt it was extremely honest, and that was very enticing to me as a filmmaker and an artist, since I am always seeking a level of verisimilitude, that is often lacking in larger films. In any event, I knew I was going to make this and so we did. The themes of loneliness and introspection seem to feature heavily. And given that Miles To Go is a character study, were there any films or other stories that you drew particular influence from? So many films I had seen, and books I had read, influenced me over the years, or maybe I should say inspired me. One in particular, which I luckily stumbled across, is Bradley Rust Gray’s, The Exploding Girl; a beautifully shot, impeccably nuanced, and perfectly paced indie film starring Zoe Kazan. At first, I was simply taken aback by the sheer aesthetic and accomplishment of this film. I was also very impressed with the patience Gray displayed in telling his story. I became obsessed, and while watching The Exploding Girl for the tenth time, still frustrated from a lack of funds to make my film, the proverbial light bulb sprung up above my head. I knew exactly what I needed to do. Come up with a new, minimalistic, stripped down story, something deep and personal. This meant starting from scratch. But so many films have played a role in my inspiration. Everything from The Squid and the Whale to Annie Hall to Buffalo ’66 to Unmade Beds, and many, many more. As an indie film, tell us a little about the challenges you faced in the making of this movie? And whether you felt these were overcame. I feel like anytime a film is finalised, and there is a finished product available for the world to see, regardless of how it is received, it is a success. Making any film is incredibly difficult, let alone one with almost no money to do so. So a lot of the struggles we had to overcome were just time and space. Meaning, we didn’t have a lot of time to tell the story and we needed to limit our space. However, not wanting to keep the film locked inside Miles’s tiny apartment, I knew we were going to have to shoot guerrilla style, and steal as many locations as we could get away with. This meant a lot of preparing and them gambling on the execution. It also means that everyone had to wear several hats, which is how I ended up doing so many things on this project. But we all did. Everyone had to be on top of his or her game too. The longest day was a twenty-three hour day where we shot twenty-three pages of material in several set ups, within two different locations. This is not possible to do on a bigger budget film, and certainly not allowed on a unionized set. The only consideration I had to take into account was the actors, as we are all SAG members, and there are legal limits to allotted time worked. One other totally crazy problem that occurred is that I lost my voice entirely on the third day. This was potentially disastrous as my character, Miles, is in every single frame, just about, and there is no way to shoot around him. Typically, if something like this happened, you would shoot everything else that you could shoot without this character, but in this case that was impossible. So we had to wait a day and a half until I had any voice at all, and then I had to save my voice for only my lines of dialogue, which limited the amount of vocal communications I could share with my crew as the director. Eventually I got my voice back, but it was touch and go for a few days. Ultimately, I feel like we made an honest film about a difficult subject and told it in an interesting and, at times, entertaining manner. So I do feel that it was a success. But as I said, anytime any film is finished, it is a success in itself. The film is made up of a talented team. How was it working with everyone? I love these guys! This is my original crew. These are the people I started out with and have learned so much from. Amza Moglan is an incredible DP, so talented, with such a grip on the aesthetic I was going for, that I had no doubt we would achieve the look I wanted. Aaron Lee Lopez, my co-producer, who also was the UPM, is a knight in shining armour. Not only is he great on any sized set, with any budget, he is a wizard on micro-budget indie sets, totally capable of performing pretty much every job there is, from accounting and budgeting, to scheduling, to lighting, shooting and directing; and he is also an excellent editor. And it would have been impossible without my First AD/co-producer Alex Rinks. Being in the film and directing it, I needed eyes on everything, and it had to be someone whom I trusted. Alex is incredible in so many aspects of filmmaking that he was a blessing to have. And everyone else on the crew too. Many of the actors I already knew (Zack Tiegen, Kim Argetsinger, Drew Bell, Maggie Rowe, Emily Arlook, Alex Moglan) and had written the parts for, some of my closest friends in the world, and the few that we had to cast (Jen McPherson, Toni Romano-Cohen, Amelia Morck), we got so lucky with the level of talent and commitment we found in these awesome actors. Just an all around great experience, something I will never forget, nor take for granted. Actually, I couldn’t forget it even if I wanted to, as I even got a real tattoo in one of the scenes, and my favorite tattoo artist, someone who is a great friend of mine, Luis Favela, even played himself and was amazingly natural! It was a really special shoot and we all bonded greatly. Where did you find the music? Music is another department in which I feel very fortunate to be friends with so many talented musicians. The majority of the music came from one of my closest friends, Jason Hiller. He wrote & produced most songs in the film, performing several. Some of the songs he just produced. My co-producer Alex Rinks found some of the other music. And we found some of the other music through the actress Emily Arlook, whose brother is a musician and we were able to use some of his band’s songs, and each of the members’ individual music as well. What has the feedback been so far? As with anything you put out into the world, not everyone is going to love what you made. That said, we have been fortunate to receive lots of great and positive feedback, from some wonderful publications. Here’s a few key ones worth mentioning: “One of the 12 indie films to watch on VOD…” – IndieWIRE (May 2015) “If Woody Allen and Albert Brooks had a baby, this film would be it.” – The Hollywood Reporter “Excellent micro-budget indie…incredibly personal and nuanced material.” – The Huffington Post. Where can people watch Miles to Go? We are very excited for Miles to Go to finally premiere in the U.K. on Saturday, August 27, 2016 on a new, awesome, indie platform, Flix Premiere (www.flixpremiere.co.uk/film/miles-to-go). I feel like it may resonate quite well with British film fans' sensibilities. And for anyone else in other parts of the planet trying to find it, it is available on most VOD platforms, including iTunes, Amazon Prime, FandangoNOW, YouTube, Vudu, X-Box, Google Play and even Vimeo on Demand (with French Subtitles). All links can be found on my website: www.QuincyRoseFilms.com. What is next for you in filmmaking? As for what is next, the film I mentioned earlier, Friends Effing Friends Effing Friends, has been screening in several festivals, and we are getting ready to announce our release details for our North American distribution. This is the film that was originally called Cut & Paste, which I could not find the right budget for, but eventually did. I am very excited for this film to come out, and so soon on the heels of Miles to Go. For more information on FEFEF, trailer, press and release info people can check out, www.FriendsEffingFriendsEffingFriendsMovie.com We are also on Facebook, Instagram, Twitter and the rest… What would you say if you were a dolphin? I’d say (in a thick Brooklyn accent, think Goodfellas), “Hey, hey you guys… Look at me! I’m a dolphin and I’m talking! … Hey! … Hey!... GUYS!!! You’re not looking at me! How come none of yous is listening to what I am saying?! I said, I’m a dolphin and I am talking! What do I gotta do to impress all of y’all?! Jeez… It’s like, nothing’s enough for you guys… You know, fuggettabout yous guys… I’m outta here!” Miles to Go is distributed by Indie Rights Movies (http://www.indierights.com) #Interview #ChrisOlson #IndieFilms #Filmmaking #FilmmakerFeatures #QuincyRose