Directed by Giacomo Mantovani Starring Dean Roberts, Olivia Marei & Michael Hanratty Short film review by Sarah Smeaton Stand Up is a short British film that attempts to liberate the viewer into standing up for what they believe in. The opening shots are very bleak as we join a young couple who have been kidnapped and are being tortured by a psychotic policeman. Director, Giacomo Mantovani, has created great amounts of intrigue with the order of events in Stand Up, and that is most certainly to his credit. As a viewer, entering blindly into a storyline where two people are so obviously being punished for some past misdemeanour, will not only have you questioning what events have occurred beforehand to lead to this point, but also have you second-guessing who the real enemy is. As the plot unfolds, it becomes evident that this is not gang-related crime; it is simply an act of inhumanity against two average citizens, students in fact. Dean Roberts naturally settles into the role of policeman Damien, and provides a very convincing performance throughout. It did, however, feel that Olivia Marei (Sara) and Michael Hanratty (Eric) took a while to get into their roles. It was only in the final scene where I truly started to believe the desperation, anger and drive of these two characters. To have seen this earlier would have created a much more effective piece of work. There are some really emotive scenes early on in this short film. In particular where Eric has to sit idly by while the psychotic cop, Damien, beats his girlfriend in front of him. The scriptwriting appeared to be explicit enough, it’s just a shame this wasn’t brought to life as well as it perhaps could have been in the acting. What is brilliant about this short film is that it provides a fantastic exploration into how far things could go in a nanny state, where everything is unquestionably controlled by the powers that be. This is a moving story of how two ordinary, everyday people are willing to do whatever it takes to fight for what they believe in. At no stage is it ever referenced as to what these two people are rebelling against or fighting for, which on the one hand provides some great anonymity, meaning you can apply the scenes here to many scenarios in fitting with reality. But on the other hand, knowing no real basis for why these two are so willing to stand up for what they believe in reduces the empathy. Without knowing any background, it’s very hard to identify with any character, and I’m afraid I just didn’t buy into the passion that was trying to be portrayed here. More passion, more background and more plot exploration and I think we have the workings of would could have been a very engaging short film here. #Shortfilmreviews #ShortFilms #SarahSmeaton #ShortFilm

★★★★★ Directed by David Ayer Starring Viola Davis, Will Smith, Margot Robbie, Jared Leto, Adewale Akinnuoye-Agbaje, Joel Kinnaman, Karen Fukuhar & Cara Delevingne Film Review by Jack Bottomley "That's Gangsta" There comes a time in every reviewers life when they will go against the general consensus, in the most extreme way. For the late great Roger Ebert, that happened many times, a relevant example in this case would be his 4/4 praising of the film Spawn (1997), a maligned dark antihero film, adapted from the Image Comics character, that has actually gone on to enjoy a cult following. Point is, I am no Ebert but whether you write for the big wigs, the small publications or, achieve the accolade of being a part of house UK Film Review - Lannister ain’t got nothing on us - you will come across a film, or many films that you read one way and seemingly everyone else reads another. And in this longer than usual review, a reviessay if you will, I want to give an insight into my readings of this fascinating, flawed, frenzied, fragmented and fabulous viewing experience. After Batman v. Superman: Dawn of Justice (2016) and Man of Steel (2013), it would be fair to say that the DC Cinematic Universe has certainly had a rough start. Zack Snyder’s aforementioned films were to be a platform for what is to come, and have been but their responses have been far less than satisfactory for the comic book company that birthed the Batman, flaunted Flash and showcased Superman. Man of Steel had a fantastic hype behind it, with even non-Superman fans salivating at the visually engaging and epically scaled trailers and it was thought that DC Comics would literally be able to hit the ground running with their own Cinematic Universe after some false starts (Batman aside, as in my opinion, Christopher Nolan’s The Dark Knight Trilogy is a magnum opus of this genre), alongside their biggest competitor Marvel - who by this point were in full swing of Phase 2 of their own universe, with Iron Man 3 in cinemas at that stage (the quality of that particular offering is another story). Long story short, Man of Steel was far from a clunker but was met with very mixed responses and was the source of feverish debates, with the moralistic aspect of Henry Cavill’s version of Krypton’s favourite son being brought into question. Still the box office and enthusiasm kept the ball rolling, as Snyder next helmed the long awaited big screen battle of the World’s Finest in this year’s Batman v. Superman: Dawn of Justice. Again, the promotion painted a grand picture and while audiences were less in awe, they still turned out in big numbers, before sour film reviews (from critics and audiences) scared them off after a strong start. Still, in spite of DC and Warner Brothers waiting for their breakout, Ben Affleck’s Batman was a big success at least and the future was bright with Wonder Woman, Aquaman and Justice League incoming. First however, it was time to get a little…crazy. Suicide Squad is based on the lesser-known comic book series, originally created by Robert Kanigher and Ross Andru, and is a great risk for the studio. Smaller characters placed front and centre and some inspired casting decisions, as well as David Ayer taking the directorial reigns, painted a picture of a potentially very different comic book film from the offset. From the first Comic Con footage onwards, the trailers showcased a feisty, attitudinal offering that oozed style and fun - an aspect that Batman v. Superman was accused of lacking. With the Bohemian Rhapsody backed trailers and a long overdue first live action outing for Harley Quinn (The Joker’s girlfriend), the hype was great with this one. And then, film reviews landed. Reviewers have blasted Suicide Squad as “ugly”, “sexist”, “plotless” and “incoherent”, with editing/tone issues and direction being highly torn apart. Throughout its production, the stories of on-set antics were big headline grabbers, from the cast tattooing one another to Jared Leto’s method acting - as the brand new Joker - taking weird gift giving turns. And after the film was reviewed, the stories have only grown in number, with reports of Warner Brothers losing their nerve and reshooting and cutting the film to ribbons. As well as the pressures director David Ayer faced throughout production but with Ayer defiantly quoting Emiliano Zapata and calling the film “his cut”, it seems that we won’t be getting the “Ultimate Edition” we did with Batman v. Superman on DVD. So, here it is, Suicide Squad, the movie that needs to be a hit for DC and one of the riskiest projects in the genre, since Marvel aimed to put together the Avengers. Some have called Suicide Squad a disaster of Catwoman, Fantastic 4 or Elektra proportions, but the brilliant advertising has done its job thus far as, at time of writing, the film has broken the August opening weekend record, held previously by Marvel’s (some might say) similarly themed Guardians of the Galaxy. Anyway, after all this background, is it really that bad? Suicide Squad sees ruthless government agent Amanda Waller (Viola Davis) try to get her Task Force X initiative approved. This task force would ambitiously assemble some of the world’s deadliest villains, control them and use them as problem solvers for the fights that the ordinary military are “unequipped” (or too sane) to handle. Needless to say one of those very problems soon arrives (quelle surprise) and this “Suicide Squad” is sent in to ensure victory, or, to die because they are just “the bad guys”. There is no denying that villains truly do steal many a show, so the concept of this film is a tantalizing one for sure. And, after all the critical scorn, there is no doubt about it, a perfect film this is not but what is? And for something to stand out, it doesn’t have to be perfect, it does however have to be interesting…and that is one of many words to describe this! Like Guillermo del Toro’s Pacific Rim, this blockbuster supervillain ensemble caper is a film with core flaws but imbued with passions and a love of the source material. Suicide Squad is an interesting point in the ever-increasing ranks of the superhero genre and in many ways is an amalgamation of the music video generation, narrativised advertising and comic book mythology. In this day and age audiences are ever changing and in its uncaring approach to being neat and tidy, this frantic feature is the epitome of punk rock. Its aesthetic is grungy, dark, neon-lit, gangsta and takes the flash of the genres’ mainstream output and drags it into a hellish mosh pit. From the opening moments of the film, replete with instances of problematic edits and an unhinged tone, Suicide Squad should not work and yet it does, in fact it’s skittish studio interference has only added to the wacked out vibe of this well advertised, badly reviewed, dizzying, spectacle. Studio meddling is not to be advised (see 2015’s awful Fantastic 4) but even with the film’s seeming descent into formula, Suicide Squad never loses the feeling that you are watching something unique. The narrative is actually pretty damn straightforward but complicated by the barrage of sequences and flashbacks, which each add a deranged highlight to proceedings. Even as the film’s main antagonists seem to go all Avengers Assemble on us and the third act syndrome looks to be rearing its ugly head, the intercutting scenes of these villainous characters’ aspirations and the strength of the character chemistry, ensures the charisma catches like wild fire and stamps out those flaws. True the movie’s real antagonists, while imposing and pushing the main collective to the brink many times, could be accused of being atypical all powerful foes, were it not for the fact that this feature is literally a villainous potpourri…so you are spoiled for choice when it comes to bad characters. Critics have chastised the structure of the film but rarely has an adaptation ever felt so much like a comic book. The first quarter is practically a show reel of character introductions, pop-up bios, and back-stories, with such a fast pace and anarchic style that you genuinely feel as though you are flicking through the pages of art and speech bubbles. And, as the film progresses, what other critics called tonally confused I saw as artistic unnuanced statement, as the punkish identity remained expressive in Kate Hawley’s brilliant costumes and the massive array of make-up and hair stylists work, but was amplified by heavy influence from B-Movie cinema. In fact you might say Ayer’s film is a $175 million B-Movie take on the genre, with heavy influence from ‘80s action cinema (Escape From New York serves as inspiration for the film’s central plot and the dialogue feels like a product of a macho actioner of that era) and prison movie classic The Great Escape. However just as (if not bizarrely more) integral to this rulebook burning motion picture, is the soundtrack. Like Guardians of the Galaxy, the film is full of popular music but that is really where the links end, as this eclectic gathering of AC/DC, Queen, Eminem, Twenty One Pilots and Skrillex & Rick Ross thunders into action often and is accompanied by a great retro score by Gravity’s Steven Price. Suicide Squad uses its music to enhance its simplistic story and just to get the blood pumping, as the film really defies the laws of narrative cinema, often stringing sequences together. Make no bones about it, this is no masterpiece but it is a stirring piece of work that tells a story in unusual ways and provokes an abnormally strong response, especially when it comes to its ideology. Professor Geoffrey Cocks, in the mind blowing Rodney Ascher documentary Room 237 (2012), said, “we all know from postmodern film criticism that author intent is only part of the story of any work of art. Those meanings are there regardless of whether the creator of the work was conscious of them”. Whether David Ayer intended to lace his film with some of the themes I took from it is debatable but there are many to indulge in. Self professed intentions to make the film “for the fans” means there are many DC Comics based Easter eggs to enjoy. In addition to this however, Suicide Squad has much to say about rightist politics in the climate it presents, as well as the early scenes of prison guards ill-treating inmates commenting on institutional abuses of power and the fact that Waller, in many senses, is the movie’s true villain, creating an all too apt angle of government corruption to the story and depicting the dissention of moral fibre in contemporary corporations. Then there is the much publicized issues of sex, as Margot Robbie’s Harley Quinn has been labeled fetishized by critics and the abuses of women in the film have been brought to question but strangely feel less of an issue considering Viola Davis’ screen stealing presence as Amanda Waller. Davis is a bigger badass than any of the macho team, and her Waller is no nonsense, successful and a ferocious professional, who in the face of failure is as defiant and aggressive, as she is in the face of victory and Davis plays it beautifully. In fact this is one thing that Suicide Squad does very well indeed, with no quibbles: the characters. As previously mentioned, this feels like a living, breathing comic book and with the bullet fraying action scenes and dark and explosive set pieces, it sometimes has a feeling of a rave in hell. And the characters that take up the dance floor are so good at being bad. Some have suggested this crew of assassins, psychopaths, sociopaths and monsters are not nasty enough, only in the next breath to complain about the abusive relationship between Joker and Harley Quinn. As one IMAX friendly life and death flashback involving a chemical bath denotes, this is a bad romance and one that has always been built on torture, erratic psychology and Stockholm syndrome like symptoms in the source material, and is visually spot on in bringing such controversial aspects to the big screen. Trust me, there is plenty of evil here (especially in Mister J himself), as Harley also embraces her malicious deeds and Deadshot - despite a very human and well placed back-story – still aspires to shoot Batman in the mush. Whatta guy! The film is full of manic characters and the cast goes at it with such rampant energy it is impossible to resist the film, even as its plot appears to be following the genre guidelines later on. Will Smith has not been this compelling in years, at least not since I Am Legend (2007) – a film not actually successful overall but boosted by Smith’s poignant performance – and as Deadshot lends this film a swagger. Meanwhile Margot Robbie commits the biggest robbery of the entire cast (and I don’t mean when she steals a purse from a store window), as she steals the entire film, being perfect as Harley Quinn. She is so exceptional, funny and bat swingingly mental as Quinn that a standalone movie is a most stirring prospect and Robbie nails ever essence of the character, a fact Quinn’s creators agree on. This is evident by her excellent interactions with Jared Leto’s smaller, drip-fed, introduction as our new Joker. Leto’s portrayal of one of comic book’s greatest creations is potentially polarizing but his blending of Mark Hamill and Heath Ledger’s incarnations of the character with Ziggy Stardust and Marilyn Manson, make the scenes with his gangland, tattooed arachnid mannerismed madman most effective. See one particular flashback chase sequence with Joker and Quinn pursued by Ben Affleck’s Batman, which was a car chase sequence that felt like a pure homage to Batman: The Animated Series, and sent me hurtling back to my childhood. And then there is the supporting players, who likewise offer many moments of fun, in an undeniably crowded film (cameos, references, a big ensemble) but one that gives the crew something interesting to do. Jai Courtney is actually fun (shock horror) as Captain Boomerang with a heavy accent and Hobo with a Shotgun fashion sense and mentality; Jay Hernandez is very understated and enjoys his own emotive arc as the New 52 influenced El Diablo, while Killer Croc (Adewale Akinnuoye-Agbaje) and Katana (Karen Fukuhara) are mostly silent presences (save for the odd back-story hint for the latter and jokey dialogue in the case of the former); and Joel Kinnaman strikes a very interesting element to the film as Rick Flag, the “do as instructed” military man with a romantic connection to the Enchantress’s human counterpart Dr. June Moore (Cara Delevingne). And while there are some issues in her construction, the split personality witch The Enchantress is effective in raising a point about mankind’s shift in allegiances from faith in god to worship of Samsung! Adam Beach also appears as ace grappling baddie Slipknot (no relation to the masked metal gods - though they would be very at home in this mad, mad world), who is another bad to the bone character (who originally was penned to be a rapist). These characters highlight just how much of a f**k this film doesn’t give when it comes to the rules – both in terms of the genre and in terms of what makes perceived great filmmaking. Someone said the other day, this was “the worst film I have ever loved”, and that could be a sentiment felt by many, as this demented epic is playing with audiences far better than Batman v. Superman did. Sure there are flaws in the editing and structure but in this warped work, these issues are like another buckle on the straight jacket, and adds to this joyride through pop culture and comic book lore. David Ayer’s film is less cult more cult of personality and like the music genre it is most evocative of - punk rock - its initial bad reception could well be alleviated when the film is re-evaluated in some years time. Suicide Squad is refreshingly different, with stakes onscreen and off and a real erratic unpredictability to it and while many will hate it, there is mountains of material here on which to discuss further, in a film that reflects a shift in narrative cinema of late, from professional to stylish and a possible change of pace for cinema in general, as music video culture and the world of the comics become our new fairytales. Purists will weep but cinema is an always-changing beast and one wonders if there will be a societal kick back from the film’s style and approach, with people taking the film’s Hot Topic esque dressings to heart. DC Comics and Warner Brothers may not be matching Marvel’s efficiency in constructing their long term plans but with Suicide Squad they get tongues wagging and interpretations raging in a ballroom blitz I can’t wait to attend again. If you read and enjoyed that, more Film Reviews for you here. #filmreviews #JackBottomley #TheatricalReleases #5StarFilm #DavidAyer #ViolaDavis #WillSmith #MargotRobbie #JaredLeto #JoelKinnamen #JoelKinnaman #CaraDelevingne #Superheroes #DC #Marvel

★★★★ Directed by Andrew Stanton & Angus MacLane Starring Ellen DeGeneres, Albert Brooks, Ed O'Neill, Hayden Rolence, Idris Elba, & Sigourney Weaver Film Review by Chris Olson If audiences were going to trust any studio to do a long-time-coming sequel to a beloved classic it is going to be Pixar. Cars 2 aside, the animation studio has frequently proven itself as a fervent deliverer of fantastic stories even if audiences already know the characters. Whilst they are one of the biggest profiteers from merchandise and repeat marketing, their films cannot be accused of "cashing in" when they take 5 years to make and involve such huge levels of commitment and investment (see the never-ending credits). Given the huge success of Toy Story and Monsters Inc, both of which had popular sequels, it's unsurprising that Pixar would continue the franchise for everyone's favourite fish - Nemo. Finding Nemo had such a rich world of characters and depth, not to mention massive global popularity, that a new storyline would not have been difficult to conjure. So...is Finding Dory the strong swimmer sequel? Or the bottom-dwelling bungle? As the title suggests, Pixar are throwing their weight behind everyone's favourite forgetful fish Dory (Ellen DeGeneres) for this outing, which was both a bold and safe move - her zany antics as a side character being very popular with audiences, but could it withstand a full film? Unlike the disappointing Minions dilemma, Finding Dory manages to extend the shallow appeal of Dory's character into something far more fulfilling and enriching. Her backstory and arc are fleshed out with plenty of emotional gravitas, whilst keeping the familiar, perilous style of storytelling that made the first film such a hit. This movie tells the story of Dory searching for her parents, whom she lost when she was young and ventured off into the vast ocean. Remembering only snippets of her youth, Dory struggles not only to remember her parents but also with her own guilt about her affliction and how it affects others. This leads her on an adventure which involves a rescue centre for fishes and plenty of dangerous escapades, whilst Nemo (Hayden Rolence) and his dad Marlin (Albert Brooks) attempt to keep up with Dory, and bring her back to safety. Beautifully crafted and visually stunning, this animated movie is another impressive outing from Pixar, that serves up endless frames of gorgeous scenery and vibrant characters. But far from being a pretty screensaver, Finding Dory is created from a palette of super characters, a witty script and touching, emotive themes. The movie is layered with so much detail and artistry that audiences can take as little or as much as they like, and still feel as satisfied as a sea lion on a rock on a hot day (Idris Elba performing this role amply). The only real fault with the film is a slight tendency to get carried away. There are a few scenes where the believability levels are too tested, and the exhaustive nature of the opening section could put some viewers off if they are not overdosing on sugary treats. That being said, the film quickly settles into a steady rhythm and Dory's chaotic nature is toned down considerably. In a summer of reboots, sequels and comic capers, the Pixar guys and gals have stepped up as one of the most reliable deliverers, a worthy achievement considering the expectations of a film like this. Families will be pleased with the continued spirit from Nemo's adventure and the added plot for Dory was a worthwhile endeavour done with charm and care. A third film, whilst probable, would need to deviate more so from the familiar structure, but with the right story and same love and attention it would surely be another hit. More Film Reviews this way. #filmreviews #ChrisOlson #TheatricalReleases #Animation #Animatedfilmreviews #Pixar #EllenDeGeneres #AlbertBrooks #IdrisElba #SigourneyWeaver #Disney

Directed by Thomas Pickering Written by James Pickering Produced by Lauren Bartles Starring Aaron Cobham, Sam Gannon, Nadine Mulkerrin, and Abigail Uttley Cinematography by Christoph Gelep Short film review by Euan Franklin Within a naked, alabaster apartment sit two men deliberating about their approaches to splitting from their current spouses. Jack (Sam Gannon) is nervous and jittery, likely to fall at the flick of a finger, and Tony (Aaron Cobham) is a self-deluded chauvinist intent on soaring through as many women as possible. There are always those awkward moments in comedy movies and television shows where disappointment lands in place of the joke, but in professional productions (recent Judd Apatow movies excluded) the editing and cinematography adheres to the comic pacing of the scene. This allows a certain degree of forgiveness from the audience. The most surprising aspect of The Break Ups is that Thomas Pickering is able to maintain humour as well as timing, which is exemplary considering their low budget. Every shot in Christopher Gelep’s cinematography is meticulous, demonstrating as much attention to the conventional shot/reverse shot as those that are innovatively crafted for the comedy. An awkward shot with Jack trying to break up with Marie (Nadine Mulkerrin), with his head between her legs, is a compositional highlight. Pickering’s editing should also be admired, considering the complexity involved in cross-cutting between characters at three different times in three different locations. This succeeds in heightening the humour instead of confusing the audience, which this method could’ve easily done. Some of the jokes, however, suffer from the error of confusion. One such example is when Tony, passively prompted by Jack to rap, proceeds to stand and dance like a crab on cocaine. I will honestly confess my inexperience within the hip-hop arena, but I’m sure the said artists fight with their voices and not their elbows. The subsequent result is a punchline without a context. Or maybe it was an inside joke shared by the cast and crew, inaccessible to the audience they’re trying to amuse. Either way, the joke was as opaque as the alabaster wall behind them. Most of the comedy relies on Aaron Cobham and Sam Gannon, who convey their characters with near-perfect clarity – overshadowing their amateur counterparts (Mulkerrin and Abigail Uttley). In spite of the minor imperfections, The Break Ups has been constructed with enough strength and confidence to pass for a professional skit. I’m only disappointed that there isn’t more to come. Click here for more Film Reviews. #Shortfilmreviews #EuanFranklin #ShortFilms #Comedy

Directed by Javid Rezai Starring Sally Paffett, Francesca Bailey, Roberta Morris and Jennifer Stacey Short Film Review by Owen Herman Another Life is a short film that looks, over the course of one day, at the lives of two women, both seemingly connected through a story one of them is writing. They share similarities in their relationships with others; both have problems with important male figures in their lives yet both manage to find someone close to confide in. It is these relationships and their breakdown that is the key to the story. Jen, a young girl haunted by the death of her mother and the actions of her father, finds comfort writing about Emma, whose life soon unravels in its own ways. The ways their lives bear so many sad similarities, despite Emma being presented as better, imaginary life for Jen, make the short film’s story resonate. The breakdown of relationships with people you once loved, no matter how perfect it first seems, is an intriguing topic explored well by Javid Rezai. Another life is beautifully shot, with some great cinematic moments that make it a treat to watch, thanks to William Hadley and his assistants behind the camera. The best thing is, as the story evolves, the short film arrives naturally at these brilliantly shot moments. This is very different to shaping the story in order to force cinematic moments, something which a lot of directors are guilty of (Javid Rezai could teach the supposed “visionary” Zack Snyder a thing or two). A strong, well-written script and great performances from all involved, particularly Sally Paffett and Francesca Bailey, bring the short film to life and make it engaging and convincing. The eventual solace Jen finds through a friendly face is utterly believable, despite the lack of time you are able to spend with the characters. It is at moments like these that the script and actors’ performances shine, enabling the depth to each character, both in their back story and personalities, to come through. A great piece of original music, “Late Night”, plays as the short film ends, rounding off an impressively cinematic experience. Another life is crafted well and is an engaging, beautifully shot piece of work that feels very professional. Click here for more Short Film Reviews. #Shortfilmreviews #OwenHerman #shortfilm #filmreviews #ShortFilms #ZackSynder

★★★★ Directed by Jaume Collet-Serra Written by Anthony Jaswinski Starring Blake Lively, Oscar Jaenada & Sedona Legge UK Release date – 12th August 2016 Film Review by Amaliah S. Marmon-Halm If you didn't have a fear of sharks after all the shark-based thrillers and thriller-comedies that have come out over the last few decades, then it’s quite possible that this one will leave you never wanting to get into pretty-looking water or learn how to surf for that matter. The Shallows follows a medical student called Nancy (Blake Lively) who is still reeling from the loss of her mother. She decides to travel to a secluded beach for some much-needed solace and soul-searching. Despite the danger of surfing alone, Nancy decides to soak up the sun and hit the waves. Suddenly, a great white shark attacks, forcing her to swim to a giant rock for safety. Left injured and stranded 200 yards from shore, the frightened young woman must fight for her life as the deadly predator circles her in its feeding ground. What the film lacks in dialogue, it more than makes up for in being visually stunning. The crew really did craft a masterpiece, everything from the colour palette, the shots and the use of slow motion really add emotion and depth to the film. On the other hand, when the slow mo was overused, the shots became a bit too dramatic and there was an over emphasis on Lively’s echoed heavy breathing, which seemed to lose the emotion that the movie had worked so hard to build and suddenly became an overdone commercial for perfume. And we do have to mention that there a few too many shots of Blake Lively’s perfect, sun-kissed bottom. She’s perfect, we get it! If you want to compare this film, it could described as being like The Revenant. Just in the middle of the ocean. And instead of a bear, you have a shark. Just like The Revenant, it looks like bad luck just loves to follow the protagonist to the point where you just wish they didn't move. Just as she seems to be in the clear, another blow of bad luck hits her and you’re left wanting to throw your hands up at the screen and yell “just why??” I heard one audience member say that the shark could be a metaphor for life – just as you think things couldn't get any worse, there’s a shark using your leg as dental floss. Blake Lively does give one hell of a performance. Seeing as she is usually the only actor in the shot, she does a really good job of pulling you in and making you feel for her. It’s fair to say that this could be one of her best on-screen performances. However, there is a show-stealing actor who sometimes had the audience on his side rather than Blake’s – Steven Seagull and his epic surfing skills. To understand this, you need to see the film. Regarding the ending, it was rather forced, clichéd and happy-lovey-dovey and seemed rather out of place for what the film was trying to be but it doesn't take away too much from what is a good film to watch on a slow weekend. Overall, it’s a very enjoyable film and the first good shark film in decades. Not since Jaws have we had a film that doesn't involve a shark in a tornado or something, and genuinely be good. It has potential but with a horror, especially one with this kind of storyline, it takes work to maintain that suspense and there were times that it couldn't live up to expectations. Despite this, when that shark is on screen, you pay attention and want to hide behind your hands. There are times when you want to ask what kind of film am I seeing – a thriller, a light hearted drama, a teen flick but all in all, a very visually grabbing, entertaining film. Click here for more Film Reviews. #filmreviews #amaliahsaramarmonhalm #TheatricalReleases #Horror #Thriller #BlakeLively #JaumeColletSerra

Directed by Paddy Murphy Starring Kevin Kiely Jr, Caroline O Hara & Stephen Ryan Short film review by Lorenzo Lombardi It is 1950s Ireland, and the Roman Catholic church holds a powerful grip on the country. The results of their influence are felt deeply in this meaningful film. Its deep historical message is sure to resonate with audiences for a while after viewing. The Cheese Box tells the true story of a man named “Draughty” (Kevin Kiely Jr), directly affected by the powers that be. As a result, he sets off to perform a task most people could not even imagine to be psychologically doable. This involves carrying the titular plot device that is a cheese box. This short film must be one of the most personal I’ve ever watched. One aspect of this is the fact that main star Kevin Kiely’s grandfather is, in fact, the protagonist Draughty in real life. Secondly, the climax of the film is a prolonged take of that devastatingly unthinkable task. Kiely plays the character with raw emotion during this moment, proceeding with a consistent flow of poignancy seen throughout. With keen directing from Paddy Murphy, each scene hints at something traumatic, all the while leading up to the plentiful ending. A great sense of melancholy and mourning is conveyed through old-styled songs and the supporting performances. Every character —- from the bartender to the wife —- share deep expressions that seem to show sympathy and remorse. This adds curiosity to those unfamiliar with the story. Overall, this well-produced Irish tale is a heartfelt and informing one. With realistic performances, accurate costume design and a memorably moving bit of closure, it is no wonder that The Cheese Box was chosen for the 2016 Cannes Film Festival’s Short Film Corner. Forget the unknown premise and take part in the simple but personal journey of a man, a loved one and his cheese box. Take a look at some more of our Short Film Reviews. #Shortfilmreviews #ShortFilms #LorenzoLombardi #Drama #FilmFestival #Cannes

Director and Editor: David J Paradise Writers: Angela and David J Paradise Cinematography: Andrea Chiozzoto Music: Paul McKinley Starring: Kiki Kendrick, Francisco Bassignana Short Film Review by Andrew Moore Beautifully set within the verdant, summer-filtered light of the Sydney Gardens in Bath, David J Paradise’s Film Short Plastic Fingers makes wonderful use of all its vibrant natural settings (with credit to Andrea Chiozzoto’s cinematography). Also the integration of natural sounds (birds chattering, crows cawing, bees buzzing etc) and a wistfully elegiac soundtrack provided by Paul McKinley help set the scene. The Film Short’s vulnerable, melancholic central character Sebastian (Francisco Bassignana) is seeking to depopulate from his mind the constant castigations of his abusive and self-absorbed (yet deceased) mother (Kiki Kendrick) through his dream of performing mime for people. The film’s only other real character other than Sebastian is this deceased mother who we see either haranguing him as a physical on screen reality or through vitriolic voiceover thus revealing Sebastian’s vulnerable mental state in relation to her but also how it seeps into his subjective reality. Regarding the title ‘Plastic Fingers’ I was unsure if it alludes to Sebastian’s inability to mine well or concentrate on miming well (due to either not being especially good or due to his mother’s constant criticisms curtailing his ability) and thus ‘plastic fingers.’ Sebastian clearly isn’t at ease mentally in relation to his mother and to this effect miming seems to be some kind of cathartic response, the visual interplay of a damaged soul attempting to heal itself. Interestingly his mother even prompts the styles of mime required shouting ‘seamanship’ and tossing him a seaman’s hat or ‘horsemanship’ only to criticise his somewhat desperate attempts as he gallops around. When she’s not criticising ‘how’ he mimes the she’s criticising ‘why’ he mimes too. Additionally there’s scene in which Sebastian sees his mother messily scoff an expected cake all to herself (obviously Sebastian replaying an older memory) and so the vain, self absorbed nature of the mother (who also constantly preens herself in her portable mirror) is revealed and thus her effects on the overtly sensitive Sebastian and the subsequent nature of an unrequited motherly love. When all’s said and done the mother obviously just isn’t or wasn’t (past experiences permeating a subjective psychological present for poor Sebastian) remotely nice to him except when it’s finally revealed she needs him in her old age. Of course the mother is no longer physically there, and when Sebastian takes a Polaroid with her it reveals of course only him. Personally I found the Plastic Fingers hard to connect with, not finding its fantasy ‘through the keyhole’ enough to warrant a strong identification with it. As a gloriously whimsical idea carried through by a group of filmmakers and thus documented on a beautiful summer’s day in glorious surroundings its fine but as a short film in its own right I’m not sure it stands up completely. The production values are good, the music is well chosen in relation to the context of the short film, the editing works and these elements succeed in drawing the viewer towards its central protagonists but beyond this the two key characters fail to engage. The mother’s dialogue, which really needs work as only she speaks, is pretty pedestrian and I’m sorry to say that Sebastian often fails to engender sympathy or identification because he doesn’t mime particularly well and often just looks silly – am I wrong to think that in fact maybe his dead mother’s criticisms aren’t wholly unwarranted? Maybe that’s exactly how he’s supposed to evoke sympathy but of course it’s not a documentary about someone who can’t mime and so ultimately often it all just seems a bit too simplistic and twee. I really liked the idea, and as noted the mood of the setting was captured wonderfully but for me something got lost in some key elements of its execution, there’s a lack of poignancy or sentiment that a short involving a damaged central character who mimes (and thus doesn’t speak) should carry or the sense of magical intimacy you should share with Sebastian and for me this is where Plastic Fingers becomes unstuck! Click here for more Short Film Reviews. #Shortfilmreviews #AndrewMoore #ShortFilms #Filmmakers

★★★ Directed by Shane Davey Starring Marie Allcorn, Ava Barnett, Richard Brinkmann, Lucy Chalkley, Sarah Datblygu, Jennifer Evans, Hannah Farmer, and Kari Frette Indie Film Review by Chris Olson The London tower block is often the setting for a film; most likely for symbolising the cultural makeup of British citizens and the class divide, or for offering numerous sets all within one location. Shane Davey’s indie film, The Horror of the Dolls (2010), utilises both of these benefits, as well as achieving something quite remarkable with an urban structure best known for being grim and grotty - which is style. His film, co-written with Andy Tomlinson, serves up a nuanced, if baggy, Horror/Thriller that works on a number of...ahem...levels. Given the title of the film, one might be expecting a rather shallow, or even slapstick, outing that would have more in common with a Goosebumps book than a serious, violent film. The Horror of the Dolls, though, deals with the inhabitants of a tower block facing eviction from a nebulous building firm who hope to turn a profit from the building. However, a pocket of resistance to the building firm’s plans has arisen, who hope to petition to prevent the ousting. This becomes mixed up with a bloody murder which occurs to one of the building’s residents, who happened to be a collector of freaky-ass looking dolls. There is also a smorgasbord of totes emosh happenings going on between the tower block’s inhabitants, which trying to explain would be like trying to unpick the last six years of Hollyoaks plotlines. Like this reviewer mentioned before, the indie film is nuanced and baggy - pretty much in equal measure. There is a lot to like about Davey’s film, especially in terms of the movie’s aesthetics and tone - which transcends the usual guts and glory of a Slasher and instead pursues something more intelligent. A few of the standout sequences are genuinely compelling and the ensemble cast have more than enough screen time to create a consistent cohesion, that the viewer will embrace the atmosphere without much trouble. The film’s most menacing character (Richard Brinkman) is particularly engaging and manages to deliver a worthwhile killer without verging into Scooby-Doo territory. That said, much of the dialogue is waffley and inconsequential, giving the indie film a soap opera tinge which is totally unwelcome against the visceral imagery and atmosphere which is running parallel. There is also a heavy reliance on slow motion which, whilst a powerful tool in places, becomes a burden to the pacing by the final act and sadly undermines the chilling grip the movie achieved. It felt like a device used simply to stretch the movie to a longer run time (which is already a lean one hour twenty-something), when audiences could have been given a stronger exploration of the characters and perhaps built more of a connection to them. When a filmmaker tries to be inventive and interesting it is always worth a watch, and The Horror of the Dolls is proof that Davey is artistically both. This is by no means a perfect Horror/Thriller and needs a fair bit of tightening up, but there is a lot to engage with and the overall impact of the film, which is viscerally stunning in places, offers enough for viewers to grab hold of. More Indie Film Reviews over here. #Indiefilmreviews #filmreviews #ChrisOlson #filmmaker #ShaneDavey #IndieFilm

★★★★★ Directed by Paul Greengrass Starring Matt Damon, Tommy Lee Jones, Alicia Vikander and Vincent Cassel Film Review by Chris Olson It's 2016, and the world is a dangerous place. The spy genre has not been this relevant since the Cold War, and filmmakers hoping to make big social commentary need only turn on their laptops and pick today's burning issue for inspiration. With a plethora of thrillers and action movies to choose from, how does a director make a big splash when everyone is already soaking? Well...in the case of Paul Greengrass and his return to the Jason Bourne franchise, it's go big or go home. Set several years after Matt Damon jumped off the building into the East River at the end of The Bourne Ultimatum (2007), his character Jason is now laying low as a street fighter, making money by punching the lights out of people. During one fight, though, a face from his past emerges and he is suddenly thrown back into the world of CIA shenanigans and black ops banter. That's all this film reviewer will be giving of the plot, for two reasons: A) our beloved readers generally hate spoilers and B) we signed an embargo form that looked so serious we had to sign it in blood! Okay I'm being hyperbolic but there were a lot of paragraphs. Back on huge form, director Paul Greengrass deliver the biggest, fiercest film of the year. It is quite simply another level of action thriller that operates at a pace unrivalled by the likes of Bond, Kingsman or other. Damon bulldozes through the film like an unstoppable force and Alicia Vikander is absolutely brilliant. The set pieces are brutally engaging and work on a level so huge that the ferocity of the violence is matched only by the magnitude of the performances. Only a film with heavyweight talent could deliver a film like this without it veering into TV-style slosh, and the turns by Vikander, Damon, Vincent Cassel and Tommy Lee Jones are like the grease in the gun, making this a slick and deadly operation. Sure there is a fair bit of contrivance, and continuity or believability can always be called into question - especially when Bourne should probably have perished 20 times in the opening third - but Greengrass' franchise has always attained a quasi-fantasy status whereby being shot three times and falling off a building does not stop you brushing yourself off and getting stuck into a high speed car chase. This is incredibly smart filmmaking that not only exists within the genre but is determining its parameters. The themes of the film are relevant and there is a brutal poignancy to the film which is harrowingly reinforced within the opening ten minutes during a pulsating riot in Greece. The sheer chaotic realism of this scene is palpable and quickly negates any claims that this Jason Bourne film is unnecessary. It pierces into the cacophony of rhetoric which is surrounding global instability in a way that is loud, clear and forceful. As a measuring stick, if you liked the first three Bourne films then grab yourself a cinema ticket, because You Know His Name deserves big screen action. And don't worry, You Don't Know His Name (Jeremy Renner) does not make an appearance...crap does that break the embargo? They could be coming for me... We were Bourne, to give you more Film Reviews - this way. #filmreviews #ChrisOlson #TheatricalReleases #5StarFilm #PaulGreengrass #MattDamon #AliciaVikander #TommyLeeJones #VincentCassel

★★★★ Directed by Justin Lin Starring: Chris Pine, Zachary Quinto, Karl Urban, Ibris Elba, Simon Pegg, Anton Yelchin, John Cho, Sofia Boutella & Zoe Saldana Film Review by Kieran Freemantle Star Trek is now celebrating its 50th anniversary, a huge multimedia franchise that found its way onto TV, film, cartoons, books, comics and video games. To celebrate this occasion Paramount have made their third movie in the reboot series with Justin Lin taking over J. J. Abrams and his team of writers. The crew of the U.S.S. Enterprise are three years into their five year mission to explore the outer reaches of known space. Captain James T. Kirk (Chris Pine) has fallen into a state of ennui as he is about to outlive his father and questions why he joined Starfleet. Spock (Zachary Quinto) also suffers an existential crisis after he finds out Spock Prime has passed away and considers whether he should fulfil his duties for the Vulcan race. However, they are unable to dwell too long on these issues because the Enterprise have to go on a rescue mission to save a scientific ship but fall into a trap laid by the mysterious Krall (Idris Elba). Trapped on a strange planet, it's up to Kirk to find a way to rescue his crew and stop Krall from retrieving a ancient destructive weapon. Star Trek has endured as a series for a number of reasons - it has a cast of characters that people love, a rich world filled with loads of alien races and complex intergalactic politics, the use of all its sci-fi elements and has a willingness to inject some political commentary. The previous two Star Trek films were critical and financial successes but some of the characters got more focus than others - namely Sulu and Chekov got short changed. The advantage Star Trek Beyond has over its predecessors is that all the characters get a chance to shine and Lin, along with writers Simon Pegg and Doug Jung mix up the parings to show new dynamics. The best was between Spock and Bones (Karl Urban) because of their different personalities - Spock is straight-lace and literal minded and Bones has a more gruff, sarcastic persona, which led to a great on screen chalk-and-cheese relationship and they had the funniest dialogue in the film. The other pairings are Kirk and Chekov as they find a mole in the crew, Sulu and Uhura get captured by Krall, and Uhura (Zoe Saldana) has to battle wits with the villain and Scotty (Pegg) meets Jaylah (Sofia Boutella), an alien who escaped Krall's clutches and could be the key to the Enterprise crew escaping the planet. Pine's Kirk is given more weight because of his state of angst and Pine pulls it off, showing a more mature version of the character in the reboot series. Boutella was a strong new addition to the series, having already homed her action skills on Kingsman: The Secret Service and despite her skills, has an incredible fear of Krall and his forces. Although Star Trek Beyond has some serious character development it is actually a more light hearted entry in the series and the most comedic out of the reboots. As mentioned, there was lots of banter between Spock and Bones and there are other fun interactions throughout the film. An early moment between Kirk and Bones is a homage to a similar scene in 'Wrath of Khan'. Justin Lin is best known for directing four Fast & Furious films that had impressive usage of practical effects but when they had to use CGI, it was obvious. He stepped up his game for the Star Trek series, opening with Kirk encountering some aliens and showing the grand Yorktown, a Federation space city that shares some similarities to the space cities in Elysium and Interstellar. Lin does provide on the action front as would be expected considering his experience. Krall's swarm is able to counter the Enterprise's defences by being a collection of small ships, making a crucial hit impossible. The raid and the destruction of the Enterprise was an excellent action scene to kick off the film. When on the planet, some of the highlights are when Jaylah is introduced using her martial arts skills and her holographic doppelgangers and the rescue mission to free the Enterprise crew. The rescue mission includes the infamous motorbike stunts that are a lot better in context and has a martial arts fight between Jaylah and Krall's second-in-command (The Raid's Joe Taslim). Taslim's character was pointless to the film but still, it's great to see Gazelle and Sgt. Jaka fight. Other moments are more ridiculous, yet it suits the lighter tone of the film and pays homage to have the old Enterprise crews solved problems. The previous entry in the Star Trek series, Star Trek Into Darkness was praised critically but fans of the series were much more critical - it was even voted the worst Star Trek (an impressive feat considering 'The Front Frontier'). As a more casual fan to the series I will state I have an unpopular opinion: 'Into Darkness' is the best out of the reboot series because it was a strong continuation of the 2009 reboot. Although Star Trek Beyond is a fun sci-fi action film, it is the weakest out of the reboots, having the lowest stakes out of all them. Star Trek Beyond also shares the same problem that Star Trek (2009) suffered - it's villain. When we find out Krall's origins and what his plan really is, it isn't that different to previous reboot films. Star Trek Beyond is an entertaining popcorn film, having some excellent action scenes and great special effects and enhanced by the characters that fans know and love. Long-time fans will be happy how Star Trek Beyond homage’s the TV show and old films and works as a standalone film while more casual fans will enjoy it as a light-hearted action film. Set phasers to stun - more Film Reviews this way. #filmreviews #KieranFreemantle #TheatricalReleases #Scifi #JustinLin #ChrisPine #ZacharyQuinto #IdrisElba #SimonPegg #AntonYelchin #ZoeSaldana #KarlUrban #JJAbrams

Directed by Tofiq Rzayev Starring Göknur Danişik, Mekmet Fatih Güven & Elif Barut Short Film Review by Monica Jowett Short Turkish film In a Time for Sleep, directed by Tofiq Rzayev, is an insight into one woman’s journey after a celebratory dinner which takes a turn for the worse. The film follows Leyla (Göknur Danişik) who has had a huge argument with her boyfriend Arda (Mekmet Fatih Güven) with devastating results. However, instead of descending a downward spiral to deal with the aftermath, Leyla shows her true self and courage. As the central character, Leyla is easy to warm to and her actions are extreme, but understandable. From the outset, we can see she is a woman unhappy in her relationship, as Arda does not seem to care for her at all. But she is someone who can find comfort and happiness with herself and in the company of another woman. Her actions are the beginning of her freedom, and it is heartening to see that in a female character. Arda’s other girlfriend (Elif Barut) makes a great partner for Leyla. Both hurt and angry at Arda, they form a quick connection, and being the older woman, she steps into a protective role over Leyla. Again, the short film creates another interesting female character, who is clearly a strong person, as she is easily able to handle the situation with Arda, and seeing he has been cheating on her with another woman. The film’s music plays an important role as well. Though absent from the film in the first half, the music begins when Leyla’s future looks more positive, when she too starts to have a more optimistic outlook about where her life is heading. Even though the music is not necessarily upbeat, it is happy and calming, a perfect reflection of what is happening to the characters toward the end. The cinematography in the short film is lovely to look at. The carefully chosen colour palette works well in each scene, and stays consistent throughout. The close-up shots of each character help to keep the focus and really draw out the emotions of Leyla, Arda and the other girlfriend, and you can easily see the pain or happiness on their faces. With an interesting development of Leyla’s character, it is also a refreshing to see such different but equally wonderful female characters on screen in Rzayev’s short film. This way for more Short Film Reviews. #TofiqRzayev #shortfilmreviews #filmreviews #MonicaJowett #ShortFilm #shortfilms