Directed by Justin Groves Starring Justin Groves, Dean Kilbey, Jodyanne Richardson, David Wayman, Emma-Jane Hinds, Joel de la Motte Film Review by Sarah Smeaton Acceptance is a dark and incredibly moving short British film that beautifully explores several important topics; all in under ten minutes. Main character John (Justin Groves) is a troubled man, going through the motions of everyday, mundane working life in the wake of declaring his innermost feelings to his mother and father. What’s so refreshingly clever about Acceptance is that it deals only with the result of what John has ‘confessed’ to his parents. In essence, director Justin Groves is pointing to the fact that it’s perhaps not even important what John has revealed, more the reaction of his loved ones. For at the end of the day does it matter who we love, what we identify as, as long as we all have that acceptance we must surely all crave from our family? Justin Groves has taken on no easy task here. Not only the director and lead actor, he also co-wrote Acceptance with Emma-Jane Hinds. However, despite it so often being detrimental to film quality to take on too many roles in a small productions, Grove excels. If this film is anything to go by, Justin Groves is most certainly a talented actor, director and writer who we should all be watching with keen interest. Acceptance upholds its grace and poise from the opening scenes to the final credits. The sound quality is also spot on throughout, of which sound production artist Christodoulos Procopiou should be truly proud. The quick and repetitive successive shots of John’s mundane life are excellently accompanied by noises from the daily grind. The speed of which we move through these scenes quickly borders on irritating, further enhancing and reflecting the emotions that John is experiencing. As a viewer, we’re pushed to be able to identify with him as a character in turmoil much more easily. It is only too evident what John must do to finally feel peace. There is a beautifully stark scene about halfway through the short film where the mundane sounds of everyday life, such as phones ringing and the brushing of teeth, all cease to exist. What we’re left with is classical music and a black backdrop. At the centre, John is dressed in a striking, red evening dress, totally comfortable in the shoes of the woman he has become in this scene. This is the only point in the film where action is comfortably placid and peaceful. Although there are only chinks of positive light shining through in what otherwise appears to be a very bleak story, if you look closely enough there is a real positive message lying hidden here for anyone who is facing the incredibly terrifying experience of trying to seek acceptance from those most important. This is an important and stunning film. Take a look at more of our Short Film Reviews here. #Shortfilmreviews #SarahSmeaton #ShortFilms #filmreviews

Directed by Alex Rosling Starring James McKillop & Joe Barker Short film review by Andrew Young There is clear talent on display in writer-director Alex Rosling’s NATiVE, a sci-fi tinged thriller that is a well-made and well-performed effort, squeezing maximum effect from its small budget and short running time. Yet it ultimately lacks the big ideas, or perhaps the clarity and coherence in communicating them, to leave as long-lasting an impression as it could have done. The plot largely focuses on James McKillop’s Joel as he tries to protect himself from some nefarious entity whose identity and motivations are left unexplained, but whose ardent desire to see Joel dead is abundantly clear. On the one hand, it’s fun to guess what the hell is really going on, but the seeming lack of any grand design or social commentary makes it difficult to invest in the characters or remember them after the credits roll. Thankfully, Joel and fellow on-the-runner Max (Joe Barker) amount to more than two blokes running around a forest, because Joel’s clear desire to protect Max and flashbacks to a violent past combine with McKillop’s earnest central performance to give Joel a much-needed moral dimension. As the action-led narrative would suggest, there is little dialogue in Rosling’s script and when it does come it is on-the-nose and a tad clichéd; thankfully NATiVE has its greatest strengths away from its words. This is not the kind of film that sets out to please its audience with Sorkin-esque verbal patter, rather it uses its short running time to its advantage, establishing a clear visual style that arrests the viewer with immediate effect. The impressive use of light in the cinematography is crucial to Rosling achieving his goal. He shoots his characters in stark white light, meaning that the whole frame has the feel of an over-exposed photograph. This creates the impression of the characters’ violent actions being exposed, which ties in neatly with the moral thread running throughout. Rosling’s distinctive directorial decisions don’t end there however. In one scene the action repeatedly fades in and out to black, causing the viewer to feel like they are seeing a fractured version of the reality. This combines with a constantly moving camera to create a feeling of immersion in the film, as if we are active viewers, but falling in and out of consciousness and only seeing part of the story. This kind of immersion is aided by great use of sound too, with a swelling, breathing-style noise effectively disorientating the audience. This scene is a great example of how Rosling’s style of filmmaking is something to be experienced and felt rather than picked apart and thought about. As such, music is a key part of NATiVE’s more successful elements. A sense of danger and the subsequent thrill of violence in the score is integral to films like this and Adam Galloway’s composition duly provides it. Rosling also shows a visual wit beyond the action, the brightness of the woodland surroundings and the characters’ proximity to a suburban housing estate subvert cinematic worlds where bad things only seem to happen in dark and unfamiliar places. These little touches show that there is more to NATiVE and Rosling as a filmmaker than realistic, excellently performed action. That’s not to take anything away from Barker’s fight choreography and Rosling’s clear ability to handle an action scene however. Now, Rosling needs to set about finding a weightier story and will hopefully secure the budget and run-time to tell it. If he can do that, he could be very successful indeed. Read more short film reviews here. #Shortfilmreviews #filmreviews #Filmmaking #AndrewYoung #ShortFilms

★★★ Directed by Ricky Gervais Starring Ricky Gervais, Ben Bailey Smith and Jo Hartley Film Review by Owen Herman David Brent, star of BBC 2’s The Office, is back and making his big screen debut. After the events of the mockumentary, Brent (Ricky Gervais) is pursuing his dream of becoming a rock star, whilst enjoying the car parking benefits of being a sales rep. As a huge fan of The Office, I approached the film with some trepidation. It may not live up to the high standards of the TV show, but I am pleased to say Life on the Road is an enjoyable, if flawed, experience. The general feel of the film will be instantly recognisable to any fan of the TV show, to the extent that if you were not a fan of the show, this film will not be enough to convert you. This is the full, hard-to-watch, painfully recognisable and occasionally sad, cringe comedy. Bar a very Gareth like character who appears now and then, it feels reasonably fresh. All the jokes hit and the film provides consistent awkward laughs. The move from an office to touring with a band allows for new gags, but it also takes away from the fly on the wall feel of the original. Life on the Road feels very much like a standard, albeit high quality, mockumentary and lacks the convincing nature that made some people think The Office was real. The songs are very well written, with lyrics funny enough to make you laugh but serious enough to convince you David Brent might think they’re art. The band, “Foregone Conclusion”, and the rest of the supporting cast are solid new additions and Ben Bailey Smith’s Dom provides an interesting foil to Brent, but none of them have quite the impact of a Tim or even a Finchy. The film is surrounded by, and ends with, an air of slightly unbelievable positivity. There are still the sad moments you would expect, but not to the extent of the TV series. It leaves you feeling almost satisfied and happy, something which would be good in most circumstances, but with David Brent it just feels a bit wrong. Any fan of The Office will laugh and cringe their way through this entertaining film. However they’ll also recognise a lack of the subtlety and intelligence that made the TV show more than just entertaining. Life on the Road allows us to see the same David Brent we know and love, but isn’t the piece of comedy genius we really wanted. More Film Reviews this way. #filmreviews #OwenHerman #Comedy #TheatricalReleases #RickyGervais #BenBaileySmith #JoHartley

Directed by Raphael Biss Starring Endaf Eynon Davies, Graham Hill, Russell Walker, John Jenner & Steve Evans Short Film Review by Lorenzo Lombardi Scarlet With Shame begins with a warning: “This film contains strong language and violence”. It should also be said that the violence and strong language amounts to very little. This short film opens with two best friends as they partake in a few rounds of pool and drinking. This is a celebration of Ewan’s (Graham Hill) upcoming birthday. But on that same night, an event shapes one of them forever. Tackling heavy issues, Scarlet With Shame had admirable intentions. That aforementioned event is very disturbing and hard to watch. With its ideals in mind, the film had the potential to be poignant and timely. Alas, this is unfortunately not the way it emerged. Endaf Eynon Davies as Shane does his best with a shoddy, superfluously swear-ridden script and premise. He portrays a person dealing with the aftermath of a traumatic event with acceptability. Graham Hill as best friend Ewan is also decent. Their chemistry is natural, but these performances ultimately fall flat in the midst of the film’s many flaws, one of which especially being the lack of a good narrative. Some technical aspects are solid enough. Promising cinematography can be found through creative angles, but is let down by dull lighting. The sound production is thorough, but the sounds are not pleasant to hear. Directorial decisions from Raphael Biss are ill-conceived too. In an attempt to be clever, one frame includes a Fight Club-esque, blink-and-you’ll-miss-it image that foretells the short’s conclusion. And that is another thing - it ends abruptly and unconvincingly, while also turning its chance of conveyance into a hypocritical blur. Scarlet With Shame should feel shame in and of itself. It represents a serious issue and turns it into a mindless revenge drama that lacks any purpose in the end other than to shock and depress the viewer. Not to say that uneasy topics cannot be tackled meaningfully, but this just exploits it with thematically unjustified violence as horrifying as its subject matter. More Short Film Reviews this way. #Shortfilmreviews #LorenzoLombardi #ShortFilms #filmreviews

Directed by Patrick Ryder Starring Leila Kotori, Alex Phillips & Nadia Lamin Short Film Review by Chris Olson Everybody loves robots right? Who doesn’t like robots? If you don’t, you probably are one. That’s why so many films feature them as central characters or ideas, because our fascination with something resembling a human but that is man-made is so ingrained. Perhaps our craving for robot stories stems from a desire to guess the future and the way technology will shape it, or to spark debate about our own existence and the qualities that define “being human”. Patrick Ryder’s short film, Human, is a graceful and touching introspection of humanity. Set in a deserted factory, Anna (Leila Kotori) stumbles upon a remarkable being abandoned in the corner of the building. Amidst the rusting pipes and cold metalwork, a robot (Alex Phillips) stands immobile. Awakening him, Anna soon discovers that the tale behind this robot’s being, and his maker Mari (Nadia Lamin), is laden with hope, discovery and tragedy. Human is a short film that applies a gorgeous aesthetic and seamless filmmaking to a classic sci-fi fable about the definition of existence. Most importantly, the robot - named Allium - is one of the very best on-screen robots I have ever seen. Totally engaging and completely compelling, Phillips operates the suit with rigid believability whilst drawing you into his existential crisis. The look and feel of the suit is beautifully crafted and remained a complementary part of the film rather than a catwalk of crazy gadgets and childish mimicry. Both Kotori and Lamin are fine counterweights to the bot, offering up a relatively decent slice of emotional depth, but their scenes felt rather familiar in a film that could have just featured Allium. Ryder has proven on past short film outings that his tonal approach is impressive (see Flux or Coffee to Go), but Human is a masterclass in aesthetic filmmaking. The lighting is consistently in tune with the emotion of the scene (love the lens flares), the score and its delicate twinkling grounded the whole movie perfectly, and the use of soft editing captured the complete sense of wonderment which was being paralleled by Allium’s self-discovery. The story (co-written by Ryder and partner Christine Barber-Ryder), is far from anything groundbreaking but does include some lovely themes about loneliness and the evolution of the soul, which were particularly enjoyable. Some of the dialogue was quite clunky, especially in earlier scenes where Anna attempts to befriend Allium, but Mari’s solo scenes were enjoyable - especially once the scale and poignancy of Allium’s journey becomes apparent. Overall an impressive and remarkable short film for fans of robots (which is everyone), or fans of existential debate (which is most people), or those who adore a little touch of lens flare (which is most definitely me). More Film Reviews from humans this way. #Shortfilmreviews #ChrisOlson #filmreviews #Scifi #Filmmaking #PatrickRyder #ShortFilms

Film Feature Written by Alfie Shaw Suicide Squad is the worst film ever to include DC comics characters. Before the squad was even deployed on their mission I was mentally begging for Schwarzenegger to skate in and drop some ice puns or Halle Berry to rock up and start spewing cat puns. It is an awful mess of a film, inconsistent in both plot and characterisation. To highlight some of these problems, I will have to…well I’d say spoil the plot of the film for you, but that is not possible as it would imply that the film could engender in you any emotion but disappointment. If you haven’t seen it yet, here’s a fun little game for you to try. Go and watch all the trailers. Aren’t they good? Now write down the plot of the film in a paragraph or two, including the characters that they will kill off. Now go and endure Suicide Squad. You will probably have guessed the entire plot, if not written a better one. The film fails in almost every way save one, so let’s start there. Whoever does the casting for the DC films needs a raise. A big one. Like Batman Vs. Superman: Some Martha’s do ‘ave em, the film boasts a brilliant cast. Voila Davis’ Amanda Waller oozes the threat and control the same way her comic counterpart does from every panel. Margot Robbie as Harley Quinn, whilst not the scene stealer the trailers imply, manages to catch the underlying mania of Quinn. I know Will Smith as Deadshot has divided some, but Smith’s charisma helps to balm the grating inconsistencies in his character. I could go on, but by and large the cast do put in some solid performances. The standout characters are definitely Waller, Batman and the Flash. Both of the last two characters are cameo roles, the Flash being in only a single scene with a single line. They were the only part of this film that sparked any sense of excitement in me other than the credits. It's a shame the cast is good, as the characters are lousy. They fall into two categories, inconsistent and irrelevant. In the latter camp falls Katana, Slipknot, Killer Croc, the Enchantress and Incubus. The film could do without all of them. I can appreciate why these characters are included. They are on various incarnations of the squad in the comics after all. Croc is the least offensive of these, he just does nothing of note, but at least you can understand why he is there. Katana, however, just turns up. She’s not a villain that’s threatened with a bomb in her head, her justification for being there is to help keep the baddies in line. But why? We will never know. Katana adds nothing to the film as she is given only slightly more character development than the Flash (who again, only has one line and is in one scene). Slipknot is introduced entirely to kill off and prove that Waller’s threat is genuine. The only way they could have made it more obvious that he was going to die really quickly is if they’d put him in a red shirt. There have been points made outside the film that Slipknot is arrested for being a serial rapist, but since none of this makes it into the film, it can’t really be considered. We aren’t told why he’s there, why is he dangerous or why we should care when he dies. Antagonists Enchantress and Incubus motivation to destroy the world by the doing some magic or using a machine. It might be a machine made of magic or a magic machine. At one point she calls it a spell and later a machine. Whatever it is, she activates by doing a dance. As though David Ayer had gone “Yeah Cara, I like it, but this time can we have a bit more Macarena?” Her transformation is actually creepy, but other than that she and her brother are entirely forgettable. All of these characters should have been jettisoned. The former camp is just infuriating. Amanda Waller falls foul of being inconsistent only once, but in a crucial way. When Enchantress goes rogue, Waller stabs the heart of the enchantress a few times (the only thing that keeps the enchantress in line). She keeps the heart in a suitcase next to some explosive to exploit Enchantress. Waller is written, in both film and comic, to be an uncompromising individual who distrusts metahumans. She is not an idiot. As soon as Enchantress bolted, Waller would have blown the case, destroyed the heart and killed Enchantress. Whilst her character remains consistent otherwise, Enchantress’ escape is what causes the plot to move forward. Waller could have dealt with the situation before it had even started. The film needs a generic villain to fight and so she acts against character. Jai Courtney’s Captain Boomerang is another minor offender. He has some minor comic relief in the form of a unicorn fetish and if you wish to see that done properly, please go and watch Deadpool, the film it was directly lifted from. Near the end of film, Rick Flagg says the squad can go and Boomerang instantly legs it. Great gag. It’s consistent with the cowardly nature of Boomerang that has been established. However, he is back with the squad in the very next scene as they all walk off to fight the main baddie. No reason is given. The joke is ruined and it, once again, goes entirely against what has been established. Deadshot. Oh Deadshot. The character receives the most character development time save Harley Quinn. It starts well, he doesn’t miss and the only thing he loves more than money and killing is his family who he will do anything to protect. The problem is this is ignored completely when Waller offers him complete immunity for his daughter if he shoots Harley Quinn. He decides to miss. A hastily added explanation of not killing women and children is added after the fact, but it flies in the face of his character. From this point onwards, Deadshot isn’t painted as a villain at all, but as an anti-hero that is heavy on the hero with only a whiff of anti. No reason is given for this transformation. Not even mother’s name. It just happens and we’re told to accept it. The other character who is defined in one way, only to act against this at almost every turn is Robbie’s Harley Quinn. She is love sick for the Joker and will do anything to be with him. Right, fine. Not the nuanced character in the comics, but there’s a lot to set up in this film and it can’t spotlight all of her character aspects. it’s a simple through line to follow. Let’s run with it. Harley uses the mission to meet up with the Joker and run away with him. Good, excellent start. Joker dies, Harley cries for a little bit and is then basically fine. The psychologically damaged killer whose identity has been built around her lover has just watched said lover die. Does she go on a rampage to get revenge? Does she breakdown and try to work out how she will forge an identity for herself? No, she has a little cry and then moves straight back on to being with her new friends. When at the end, the Enchantress offers her the chance to be reunited with her lover – who I really must stress has become the centre of her existence – she rejects her to save the world and be all heroic. I’M SORRY, BUT WHAT?! I must also address the outfit which is used at every turn to highlight Robbie’s breasts and bottom. The first time she puts it on, the camera literally pans creepily up her body from bottom to breasts, just in case you missed the really subtle reason why she is dressed like this. The character is sexualised in every other frame and it does nothing but take away from the character. Her classic outfit (pictured here) is teased in the film, she wears it briefly in a tribute to the famous Alex Ross cover. When the team are given their gear, she is shown to be handling it only to discard it for the new, all revealing outfit. Jared Leto is also in this film. He plays a gangster who breaks out Harley Quinn. It doesn’t really matter as he’s not in the film all that much. I think they should give him the chance to play the Joker some point in the future, I think he’d do well at it. To every rule, there is an exception and in this case it is El Diablo (played by Jay Hernandez). His character is the only one that can be said to have a logical arc and his pacifist stance helps to distinguish him from everyone else constantly saying they’re the bad guys. His redemption in the finale is a nice payoff to his journey although his claims to be doing it for his “second family,” doesn’t sit with the tone of the film or the characters within it.  It’s not just its character arcs that Suicide Squad can’t really commit to. The title and concept suggest that anyone can and will at any time die. The film sticks to its premise about as well as Donald Trump does a coherent argument. In fact, a Trump speech is a good point of comparison for Suicide Squad. Both are illogical, stupid and really like guns. The film is incredibly predictable and the film’s lack of risks works heavily against it. The main problem Suicide Squad suffers, as I alluded to when talking about Diablo and Quinn, is that the characters become friends. Really quickly and for no given reason. They spend more time being friends than the heroes do in “The world’s thickest detective vs mopeyman: no dawns or justice feature”. It should feel like the characters can and will die at any point, that the team in no way get on but work together solely by the iron will of Amanda Waller. It lacks all of this. Everyone feels very safe, in particular Harley Quinn and Deadshot due to the fame of the actors that play them. The fact that they pull together doesn’t feel earned by the plot or in keeping with the tone that film presented in the marketing and it clearly intended to stride for. The film’s generic plot is aided by some truly generic villains. Not just the Enchantress and Incubus as I covered above, but also their foot soldiers. Their design is an almost direct copy of the villain from City of Death, a 1979 Tom Baker Doctor Who serial written by Douglas Adams that I recommend whole heartedly. For those who have seen Suicide Squad, I present said villain for to compare for yourself. The erratic character arcs and self-defeating generic plot aren’t aided by choppy editing and the soundtrack. Much has been made of the quality of the soundtrack and it was used to great effect in the film’s marketing. A friend of mine described it best when he said like it felt as though “someone left a playlist running over the top.” The songs are great, but when they fit the scene they accompany it feels more by chance than design. At worst, they run against the action given and drown out the dialogue. It was clear they were aiming for the use of music to be similar to a film like Guardians of the Galaxy, but instead of adding bombast and excitement it just adds to the mess. The whole film is just frustrating as there is a good film buried in there. One where the team aren’t sent after a generic threat, but the Joker who is actually doing something the Joker would do. One where Harley Quinn, in full original costume, is torn between being obsessed with the Joker and the bomb in her brain. Where Deadshot just loves his family and killing. Where the whole team doesn’t get on, the personalities clash and they don’t form a family. It’s only Waller that keeps them together and she really doesn’t compromise. A film where real risks are taken, like Deadshot or Harley Quinn being killed. An 18 rated, violent, tense, character driven piece like the comic it is based on. That film doesn’t exist and the fact that Warner Bros didn’t commit to it shows. Whilst Marvel has cracked the secret of popular superhero films (be true to the character and tone of the superhero), DC still seems to think the tone should direct the plot and characters. It’s why they have a Superman that doesn’t inspire hope, a Batman that is a cranky killer instead of the world’s greatest detective, a Suicide Squad that never once feels like they really are a suicide squad. All in all, the film is awful. It doesn’t just leave a sick taste in the mouth on its own merits, it adds an extra awful aftertaste as it’s trailers were great. It leaves me watching the trailers for Wonder Woman and Justice League with the voice at the back of my head going “Please don’t be awful. You look great and I really want a good DC film.” But, thanks to Suicide Squad, I just don’t feel like I can trust any of their advertising. I really wanted to like Suicide Squad, I’m a big comics fan. But I couldn’t help but hate it. Everyone I went with, all non-comic book aficionados, also thought it was a dire mess. So maybe give this one a miss and wait for the next one. Maybe, just maybe Wonder Woman will turn it all around. I pray that it does. #AlfieShaw #filmreviews #Superheroes #FilmFeature #DC #MargotRobbie #WillSmith #DavidAyer

Directed by Steven Alexander Russell Starring Damien Rochester, Wi-Mato Nyoka & Marisa Rambaron Short Film Review by Sarah Smeaton Tastes Like Medicine is a clever, psychological drama that will leave you begging for more. We meet main character Drew (Damien Rochester) at a crossroads in his life, where he is attending the baby shower of his ex-girlfriend, Allison, yet clearly has not moved on with his own life since her. It quickly becomes evident that the date he has brought with him is in actual fact a call girl (Wi-Mato Nyoka) that he has paid for. Even better, she has the unfortunate name of Kake. It is, therefore, immediately obvious that all is not as well in Drew’s world as he is trying to portray to ex-girlfriend, Allison (Marisa Rambaron). What is so enticing about this short film is that it is clear from the start there is more to this story than it immediately wants to let on. The opening lines set the tone for the rest of the plot; “You ever stare at something for so long that it changes before your very eyes?” This is said with such focus, it immediately captures your attention, generating both intrigue and interest. Drew is completely immerse in the devastation caused from his ex-girlfriend leaving him, and we watch on helplessly as it slowly takes control of him and rips him apart. Rochester plays this role excellently with a truly convincing performance of such a troubled and haunted man. Equally, the rest of the crew perform incredibly well in Tastes Like Medicine. All of the actors here are performing highly emotional scenes, yet none fall into the typical pitfall of over-acting and over-dramatising, providing just the right level of emotion to be believable. The cinematography of this short film is superb, so much so that you quickly forget you’re watching a budget film, which is a real credit to writer and director, Steven Alexander Russell. Being in black and white, the perfect tone is set for what is essentially a rather dark film, with an even darker centre. The audio does, however, fall short at times with dips in volume and quality. Every so often random drum beats take precedence over all sound, which does indeed heighten the suspense and tension, but the barbarity of the noise unfortunately just took this reviewer’s mind away from the action. Perhaps it was Russell’s intention to keep the audience off-guard and to play with our senses, but I found myself distanced from this, even it was intentional. All in all, this is an engaging and cunning short film, and if the dark nature at its heart had been explored more fully and openly, I think we would have had a truly fantastic film here. For more Film Reviews, click here. #filmreviews #Shortfilmreviews #SarahSmeaton #ShortFilms #BlackandWhite

Directed by Phil Peel Starring Garry Mannion & Melissa de Mol Short Film Review by Amaliah Marmon-Halm Late Request is an emotive little short film written, directed and edited by Phil Peel. Whilst driving late at night and feeling quite tired, Steven is left critically injured and trapped upside-down in a wrecked car. Paramedic Nicky battles to keep him conscious, whilst they wait for extra help to set him free. As they wait and he clings to life by a thread; Steven has one simple yet important last request for Nicky. What will she make of this? Garry Mannion and Melissa de Mol play the unfortunate Steven and the attentive Nicky respectively. This is very simple yet effective story, that in its limited running time and confined space, still does very well to touch the heart of anyone watching. With such a short film, if the story and the atmosphere isn't set right, there is a lot of room for failure. Especially if the audience do not connect emotionally with the characters. It’s safe to say that Peel has succeeded with this element, as we truly feel for Steven and his tragic situation. The ‘last request’ in question is not something you may expect and that’s what I think makes this such a compelling short. Suspense carries on throughout, as Steven drifts in and out, with only Nicky to bring him round. This film ends on a slight cliff-hanger, as Steven struggles for life. All the audience are left with is Nicky smiling down on him. Will he make it out alive or will he succumb to unconsciousness? We, the viewer, want to know! Late Request is well filmed, well produced and a well performed story and it is not surprising that the script won a Gold Award at the British Screenwriters Awards in 2015. There are a few sound issues, which if you do pay attention to them, can drag you out of story a little bit but luckily, this slight error doesn't take away from the overall effectiveness of the film. More short film reviews this way. #Shortfilmreviews #ShortFilms #amaliahsaramarmonhalm #filmreviews #shortfilm

Directed by Dan Sunley Starring Kristy Guest, Louise Willoughby, Kate Sandison & Clinton Curtis Hudson Short Film Review by Monica Jowett Short supernatural horror film Pieces is a wonderful movie written and directed by Dan Sunley. An engaging story with a carefully planned out, suspenseful plot, audiences will never guess what’s coming. It follows Isabella (Kristy Guest) who is clearing out her grandmother’s house after she has died. It is clear she was close to her grandmother and has no enjoyment in packing away her belongings. She discovers a favourite photograph of her grandmother as a jigsaw puzzle, and decides to put the pieces together. But it is not an ordinary puzzle. Guest portrays Isabella as a perceptive young woman. As she goes through the house bit by bit we can see she is organised and level headed, marking up boxes. But like anyone who is going through family heirlooms, she is intrigued by certain items. As the sole character on screen for much of the film, she carries it effortlessly, and you find yourself easily drawn to her. The story flows naturally, using lighting and flashbacks to show the passage of time. It also helps build up the supernatural elements of the short film, with only frequent hints before a bigger, final reveal. This helps keep the pace moving until the final act, and holds up the suspense. The cinematography is stunning in this short film. Clever techniques are used throughout, like pulling focus on Isabella as she nears the camera, and used with the quick editing, which really engage you with the on screen action. Each scene in Pieces is carefully lit to indicate time of day, and creates interesting shadows that add to the strangeness of the film. As Isabella goes up to the attic, the lighting comes from just a few singular sources, highlighting only the important items on screen and casting the rest into an eerie darkness, so we have no idea what might be coming up. The low level golden lighting creates an almost romantic feel, yet the falling and rising music and the quick cuts back to lighting with a grey tone immediately pulls you back into feeling something is not right. Pieces is an excellent piece of short filmmaking, combining great story and realistic characters with the wonderful cinematography and music. I am interested to see what other films and stories Sunley has up his sleeve. This way for more of your favourite Short Film Reviews. #Shortfilmreviews #filmreviews #ShortFilms #MonicaJowett #Filmmaking #Supernatural

Directed by Carl Mason Starring Toby Mace, Melanie Gray and Christopher Hughes Short Film Review by Owen Herman First Response begins with two police officers responding to a domestic violence call out. It then builds tension and fear as it slowly hints that everything is not what it seems. Carl Mason has made a superbly tense horror short film that will keep you on the edge of your seat, even if it is just for 5 minutes. Mason chose to film the entire short in one genuine take (no hidden cuts). This can be very difficult and frustrating, as is demonstrated in the behind the scenes footage, so it is impressive that it actually works. Long takes can often be slightly gimmicky, but here it allows tension to be felt in real time and adds a slow pace that lets this tension build toward the dramatic, and unexpected, conclusion. The use of mirrors is an impressive technical achievement; setting the short film inside a police car and then using the car’s mirrors was a great idea. The rear view mirror permits the camera to focus on a police officer but still allows for the perpetrator to be visible in the frame, creating an unnerving feeling that at any moment, something could happen. The tight, clever script helps to add mystery to every moment; you are constantly wanting to find out more information. The performances from all are flawless, helping to make every detail utterly convincing. The sound design also deserves a mention. On top of a pulse raising score, Mason has incorporated police sirens, radio chatter and 999 calls into the background sound which get quicker and louder as tensions rise. It is a brilliant, quite innovative use of real sounds to amplify the score and it works well. My only issue with First Response is that it is too dark. Not in content but, literally, too dark. I understand it needs to be set at night to work and there are some great shots with the contrasting interior car lights and the blue of the siren, but after watching the behind the scenes video I realised I had completely missed the impressive makeup effects because I couldn’t actually see them. This small problem is overshadowed by First Response’s merits, a tense short that really kept me engaged. Click here for more Short Film Reviews #Shortfilmreviews #ShortFilms #filmreviews #OwenHerman #shortfilm

Directed by Aaron Dunleavy Starring Jack Hartley, Kallum Trueman & Leo Halstead Short film review by Lorenzo Lombardi Following the devastatingly hard-hitting Throw Me to the Dogs, promising and visceral director Aaron Dunleavy blesses the short film scene with this equally realistic drama, The Truants. Alike his previous effort, The Truants is set in Blackburn. It instantly opens on two teenagers escaping from school, who then go on to gallivant around in industrial locales. They then come across an intellectually hapless man, whom is soon victimised. The cast is comprised of newcomers. Kallum Trueman and Leo Halstead give surprisingly solid performances as they commit to the film’s message in motion with superb adlibbing for their young age. A major factor of this film, though, is clearly evident in Jack Hartley’s notably believable performance as the outlet of these teens’ antisocialism. His vulnerability as a gullible, meek and mentally deficient young man is almost tangible when you see what he is subjected to. I mostly forgot that these were performances, and extra credit is due to Hartley’s layered improvisation. Dunleavy has perhaps solidified his style, for better or worse, but mostly better. Starting with the not-so-good, The Truants adheres to noticeably familiar narrative and themes to Throw Me to the Dogs. However, this can be rectified, as this filmic structure is memorable and well-made. With a stylistic sense that feels both neorealist and Shakespearean, we sense themes of antisocialism and neglect, followed by witnessing actions of bullying and finally tragedy. Malevolent actions and harshly delivered dialogue are mainly what paints the picture for this short. While this might sound like a hard watch, it is, in fact, what make The Truants great. A synopsis for the film includes “threatening industrial landscape that surrounds them”. Referring to the two teenagers, this acts as a juxtaposition to the events in the film. The way I interpret the film is - in this reality - the teens’ threatening environment has already accomplished its distasteful influence. They have now become the threat. That landscape has already shaped them into delinquency and violence, just like the “lads” in Throw me to the Dogs. And the lesser man is the target in this unforgiving world they inhabit. Its beautiful wide shots encompass the notion that harmful environments overtake people’s morality and development; its characters and their dialogue are believable enough to feel like you are watching a documentary; and the events of the film will make you occasionally want to look away. These are a couple of factors that makes The Truants a bleak but incredibly realistic and compelling study of antisocialism, neglect, delinquency and bullying. Watch it for uncompromising grittiness. More Short Film Reviews this way. #Shortfilmreviews #filmreviews #LorenzoLombardi #Drama #ShortFilms #BritishFilmmaking

Directed by Freddie Hall Starring Josh O'Connor, Ben Hall & Lizzy Watts Short film review by Chris Olson Life is made up of quintessential moments. Rites of passage are ingrained into our culture, and few events contain as many as a wedding. For the bride it could be being walked down the aisle by her father, throwing her bouquet to her closest friends, or a rip-roaring hen do that descends into anarchy and stomach-pumping. For guys, one of the most important rites of passage is choosing his Best Man. So, how does a groom-to-be make such a pivotal decision? Freddie Hall's short film, The Best Man, takes this concept to brilliant, hysterical and homicidal lengths in a little movie that is a lot of laughs. Set in a non-descript cafe, two friends enjoy a casual brunch. The atmosphere is light; pie and mash being served at the greasy-spoon counter, the patrons strewn sparsely among the tables and chairs, but in the epicentre of the room, Donald (Josh O'Connor) has a crucial question for his bezzie Patrick (Ben Hall). After a rather blunt account of his engagement to his bride-to-be Jean (Lizzy Watts) and asking Patrick to be his best man, Donald then poses the most indecent of proposals; to help him kill Jean using a bathtub and a hair dryer. With biting black comedy and razor sharp performances, The Best Man is a cut above your average short film. Ben Hall operates a well executed turn as the bewildered and befuddled buddy, whilst O'Connor's nuanced portrayal of the maniacal groom-to-be is simply brilliant to watch. As he offhandedly enlightens Patrick with his fiendish plans, there is a marvelous tension that builds between them. Once Watts appears, the trio give a masterclass in comedy timing that produced several belly laughs from this viewer. Romance and weddings often make for some fantastic material for movies. The ludicrous emotions, traditions and variations which occur serve as splendid ammo for a comedy script, something which The Best Man launches at the audience perfectly. There is a brilliant pacing to Freddie Hall's short film, and some fantastic cinematography from Tom Wade, which create a wonderful tone to accompany the performers. The jaunty music from composer Rob Lane is also a little treat. At times, The Best Man felt like a skit from a much bigger production and had a quality about it that transcended the genre. There is plenty for the audience to gorge on. Such as the subtle moments like when Donald eyes the waitress or the line about postponing a toilet trip because of the cleaner. This is beautifully inane attention to detail that only a dedicated craftsman would think of. This film review may sound a little heavy on the compliments, but it was genuinely a joy to watch and it’s a short that benefits from several viewings - the mark of a successful movie. Click here for more Short Film Reviews. #Shortfilmreviews #ChrisOlson #ShortFilms #Comedy #BlackComedy