★★★★★ Directed by Nicolas Winding Refn Starring Elle Fanning, Karl Glusman, Jena Malone, Bella Heathcote, Abbey Lee, Christina Hendricks, Keanu Reeves Film Review by Hannah Sayer In a recent Empire podcast, Nicolas Winding Refn responded to the discussion of the provocative reaction his film received at this year’s Cannes Film Festival with the statement ‘I am Cannes’. The Neon Demon is the third consecutive film directed by Refn to have premiered at the festival and it was met with both violent boos and a well deserved 10 minute standing ovation. Without Refn regularly challenging Cannes audiences, the film festival would certainly be a significantly duller and more conventional affair. It’s Refn’s ability to create such diverse reactions by simultaneously impressing and repulsing his audiences which makes The Neon Demon, like his previous films including Bronson, Drive and Only God Forgives, another unforgettable experience. Elle Fanning stars as beautifully naive sixteen year old Jesse who arrives in Los Angeles to pursue her dream of becoming a model. Her captivating presence quickly lands her an agent, played in a brief role by Christina Hendricks, and Jesse is seen as the new ‘it’ girl and a force to be reckoned with on the runway. She meets make-up artist Ruby, played by Jena Malone, who she forms a close bond with and she introduces her to two beauty obsessed models, played by Bella Heathcote and Abbey Lee, who are only concerned with their own physical perfection and success. It is their extreme jealousy which causes Jesse to fall victim to the bright lights of the modelling industry. With particularly bold and impressive performances from Elle Fanning and Jena Malone, The Neon Demon takes you on a shocking and unexpected journey that it is difficult to think about anything else afterwards. From the opening shot the viewer is plunged straight into this chaotic and visually daring world as Jesse’s first photo shoot resembles a graphic murder scene. Much of the horror comes from Refn’s controversial visual comparisons between beauty and death. An example of this comes later on in the film when the viewer learns that Ruby is both a makeup artist for dead bodies in a morgue as well as for these beautiful models. Refn’s subtle parallels of beauty and glamour with violence and death serve as a parody as well as an expertly exaggerated take on how we consume and gaze on beauty in modern society. Natasha Braier’s cinematography is mesmerising and arresting in every sequence and Refn’s frequent collaborator Cliff Martinez provides the intoxicating score. With Refn enlisting Polly Stenham and Molly Laws to co-write the screenplay, the film feels distinctly collaborative, as well as unusually feminine for a film directed by Nicolas Winding Refn. Audiences will be used to seeing Refn explore masculinity in various forms throughout his past films so it is refreshing to see a filmmaker challenging his own style. Even though The Neon Demon is extremely different from his past work, when you see what is captured on screen it is unfathomable to imagine a depiction of the modelling industry as frightening being directed by anyone else. The bold and impressive takes, score and dialogue coincide to create a hypnotic, lurid and heightened exploration of the horror beneath the surface of beauty. With everything from shocking acts of violence to necrophilia and cannibalism, Refn definitely shies away from conventional narrative and character development. Every moment of The Neon Demon is an extreme and exciting visual spectacle of female jealousy and the ruthless women who will go to great lengths to devour and consume Jesse’s beauty. ‘Beauty isn’t everything. It’s the only thing.’ More Film Reviews this way. #filmreviews #HannahSayer #TheatricalReleases #Fashion #NicolasWindingRefn #ElleFanning #KeanuReeves #ChristinaHendricks #KarlGlusman #Cannes #FilmFestival

★★★ Directed by Graham Higgins Starring Alex Humes & Mark Arnold Indie Film Review by Lorenzo Lombardi Lauded by the NYC Independent Film Festival by winning “Best Narrative Feature” as well as a decent bit of favourable reviews, Mile End is an unsurely conveyed, but ultimately fascinating, production that interweaves relatable themes with skilful execution that all boils down to a semi-successful character study. Mile End follows Paul (Alex Humes), a simple and reserved man who questions his competence after suddenly getting fired from his job. Unknowing of the future, he finds solace and self-improvement in marathon running. During one jog, Paul meets John (Mark Arnold), an upbeat and philosophical American man. They both discuss topics such as struggle and employment, and eventually become friends. John’s outlook on life revolves around bending the rules, which he follows to a fault. Humes is decent as an everyman who suddenly gets his life turned around by one person (a trope we should see more). However, notably outshining Humes, Arnold steals the show by giving a performance that demonstrates two sides to his persona. One side is a friendly Jack Lemmon-esque character that simply wants to help, and the other is unexpectedly psychotic. It is impressive to convey a sense of initial likeability and then turn that into equal uneasiness for the character. This other persona paves a way for Mile End’s shocking tonal transmute that is chilling but sometimes slightly unfitting. I did not presume that a film about marathon running would turn into a psychological thriller, but it does this effectively enough given the unusual running theme. Production values are crisp and polished in Mile End. Anna Valdez-Hanks shoots the backdrop of East London with care and precision, leaving it to be a reminder of many people’s harsh world of unemployment. Ed Scolding sets the score and it undertones the film very well, with credits due to his first attempt at a feature film. It is a shame, then, that it does not feel like one entity since the indie film tries to establish its chain of events with scattershot pacing and a forgettable script (if you discount the few well-written analogies and expressions about ambition and adversities). A lack of good supporting performances and characters also level it down, but Mile End is an entertaining thriller that provides viewers with enough intelligence to figure out reveals and nuances that even David Fincher would be proud of. Run into this and you will not look back. Click here for more Indie Film Reviews. Or watch indie films online on our Film Channel. #Indiefilmreviews #IndieFilms #LorenzoLombardi #FilmChannel #WatchIndieFIlmsonline

★★★ Directed by Mandie Fletcher Starring Jennifer Saunders, Joanna Lumley, Julia Sawalha, Jane Horrocks and June Whitfield Film Review by Jack Bottomley It is with a great deal of apprehension that we approach any TV-to-Film adaptation. For every In The Loop there are many middling entries like Dad’s Army or dire efforts like Mrs. Brown’s Boys D’Movie. It seems that in making the transition to the big screen, especially for British sitcoms, so much can be lost in translation. So many, needless to say, were rightly worried about the long time in the making, Absolutely Fabulous: The Movie, the big screen outing for Jennifer Saunders’ glamorous and naughty sitcom. As it happens, you fans can just relax darlings because despite not being perfect, much like The Inbetweeners Movie (the first one that is), fans of the show will have an absolute ball with this feature film outing for the chain smoking, heavy drinking, fashionistas. The plot sees partying PR guru Edina Monsoon (Jennifer Saunders) and Patsy Stone (Joanna Lumley) down on their luck a bit in the fashion industry, however opportunity knocks when supermodel Kate Moss needs new PR. Sadly all doesn’t quite go as plan, as in the fracas of the world’s biggest fashion event in London, Edina incidentally kills Kate Moss, leading to a media circus that forces Eddy and Patsy to go on the run. As evident from the plot outline, this long awaited screen debut for these iconic and glam TV characters is completely silly and self-depreciating but in this day and age of doom and gloom, these girls still bring the bubbly cheer. The most surprising thing about the film is that, for its many faults, Saunders’ script really does bring the laughs. True not every joke lands but unlike this year’s Zoolander No. 2, the comments on the vane and ravenous fashion industry hit the mark and the jokes come at such a quick rate that you forget those gags that don’t work pretty quickly. In fact for a good chunk of the film’s duration, especially when the antics are set in London, the film veers nearer to an Alan Partridge: Alpha Papa vibe, whereby it feels organic and homegrown, as it tells a worthwhile story, while not overstretching the plot. However once the main celebrity death angle kicks in, the film falls into that atypical British Sitcom-to-film trap of going abroad. Sadly a lot of the plot gets dropped or forgotten in the process, as the film comes to feel kind of like a prolonged TV special. Complete with Kylie’s closing- and bloody loud- cover version of “This Wheels On Fire”. This shift means that certain characters- Saffron’s (Julia Sawalha) Ugandan teenage daughter Lola (Indeyarna Donaldson-Holness) and Celia Imrie’s fashion PR star Claudia Bing for instance- become practically forgotten as the film features many moments of filler. Still, in spite of this, the laughter is remarkably constant and the whole drunken, excessively stylish and escapist adventure is a joyfully unpretentious and fun affair. This is mostly down to the pairing of Saunders and Lumley, who prove that cool has no age restriction, as they are game for any and every gag, whether it is cologne drinking, botox poking, bong smoking or many jabs (no pun intended) at their advancing years (not that we could tell!). Saunders is as great as always as Edina but Lumley is predictably the best part of the film as the practically indestructible Patsy, whose selfish character is developed (with many LGBT themes being embraced by the film) and Lumley clearly loves all the style-based shenanigans. The original TV cast (Sawalha, June Whitfield, Jane Horrocks and more) all make appearances too and none look out of place. The film is lathered in cameos from some big names and some industry stars that, frankly, were a bit lost on us. It is a mixed bag with some fun cameos (Dawn French, Jeremy Paxman, Rebel Wilson, Jon Hamm, Barry Humphries, Chris Colfer) and some unimpactful ones (Rylan, Nick Grimshaw and the majority of the fashion crowd, y’know that lot.). Though the undeniable highlight has to be an appearance by the ever-brilliant Kathy Burke as foul mouthed and temperamental Magda, who deserved more screen time. All in all Absolutely Fabulous: The Movie is not sensible or flawless but that is to its charm and it carries much of what made the TV show work to the silver screen with it. True it loses the plot and certain characters likewise become unnecessary, as do certain scenes of lavish narrative padding but avid fans of the show will easily forgive such missteps and newbies will also be able to have an easygoing giggle at this surprisingly enjoyable adaptation. Let us be honest, we all expected a disaster here and thought perhaps they waited too long but despite any aforementioned faults, the script is funny and everyone still looks fabulous darling. Absolutely Fabulous: The Movie is no Alpha Papa but it can certainly be called a successful outing for British TVs most fashionable pair, who bring plenty of laughs, energy and unexpected entertainment with them. Older but still fabulous… Click here for more Film Reviews. #filmreviews #JackBottomley #Comedy #TheatricalReleases #JenniferSaunders #JoannaLumley #RebelWilson #KathyBurke

Directed by Zachary Lapierre Starring Noah Baily, Ansley Berg, Isaiah Lapierre & Timothy J. Cox Short Film Review by Chris Olson High school is a notorious time, and, ironically, many students dream of being notorious. To propel oneself above the student body, or be deemed “remarkable”, is the daydream of many a-pupil, one that oftentimes leads young boys and girls into making questionable choices. Such is the foundation of short film Dirty Books, in which an adolescent boy named David (Noah Bailey) attempts to attain high school infamy by raising the profile of the newspaper he runs through controversial methods. After being told his printed school newspaper is to cease by teach Dr. Bradley (Timothy J. Cox), David is furious with the idea that his efforts as Editor-in-Chief have not been enough to save the archaic format from the onset of digital media (bloody blogs!). However, after chatting with his chum Owens (Isaiah Lapierre), David stumbles on a tantalising idea - what if he were to create exciting news stories himself, and then print them? Perhaps this simple yet devilish idea would be enough to save his paper from the inevitability of the modern age. Like all great high school movies, Dirty Books taps into something honest and compelling about the coming-of-age experience, and in this case it is strongly exploring the idea of identity. David’s quest for popularity and notoriety are all-encompassing, leaving little room for self-awareness which is difficult to have when you don’t really know who you are. His actions, whilst commendably enthusiastic, are self-destructive and naive in a way that only teenagers can be. There is a delightful scene in which David berates ones of his writers Charlotte (Ansley Berg), telling her to not interfere and to stick to the Sports section, which completely reveals his isolated view on the world in which he fails to notice and appreciate the talents of those around him, even if they might benefit him in the long run. The script is a little wooden, even for a high school movie. The dialogue between David and Owens is particularly jarring and lacking in chemistry, however the sequences with David and Dr. Bradley offer the best moments in the short film. Cox adds a much needed gravitas to the inexperienced ensemble, slowing down the scenes enough to allow the viewer to grapple with the themes and character development. Berg and Bailey also have some nice moments together too. Director Zachary Lapierre does create a fantastic aesthetic with Dirty Books, one that captured the brightness of adolescence and the quick-fire nature of one’s journey through the educational system - where emotion and force are substituted for evaluation and experience. There is also the repetition and routine, beautifully highlighted during David’s paper round sequences, which were a particular highlight. The pop-punk soundtrack was also perfectly placed! As a genre, the high school movie is inundated with stories about sexual development, parental issues, or difficulty with authority, but very few attempt to grapple with reputation. Very often, the protagonists of such films do their utmost to stay out of the limelight, and what is compelling about Dirty Books is the central character’s spiralling notions of self-importance and the destructive nature this brings with it. Whilst not phenomenally delivered by the cast, and littered with exposition, there is something genuine and poignant about this short film which audiences will either connect with or find completely fascinating. Click Here for more Short Film Reviews Watch Short Films Online on our new Film Channel! #Shortfilmreviews #ChrisOlson #ShortFilms #WatchShortFilms #FilmChannel #ComingofAge #HighSchoolfilms #shortfilm

★★★★ Directed by James Wan Starring Patrick Wilson, Vera Farmiga, Frances O’Connor, Madison Wolfe, Lauren Esposito, Patrick McAuley, Benjamin Haigh, Maria Doyle Kennedy, Simon Delaney, Franka Potente, Simon McBurney Film Review by Lorenzo Lombardi Attempts to make horror franchises usually flop in terms of quality. Sequels of classic or modern greats such as Halloween and Paranormal Activity, despite being financially successful, fail to critically impress, unlike their predecessors. This might be because they are retreading the same solidified steps, or that the director had changed from the first. And although director James Wan made a lackluster attempt at his Insidious sequel, he recaptured the spirit of The Conjuring with its sequel, The Conjuring 2: The Enfield Case. The Conjuring 2 follows paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) yet again as they set out to help another family plagued by malevolent spirits. This time, the factually based haunting is set in the titular London Borough of Enfield, England. 70’s London adds a layer of splendour to the film. Everything from that era is nailed - from the fashion to the old-styled accents. What is also faithful is the case itself and the people involved. Actors were specifically hired to look like their real life counterparts and most of the events from the case are virtually re-enacted from witness descriptions. Even the haunted house and its properties look the same, which makes for a lot of believability for those who are familiar with the story. By focusing on a case outside the US, the film differentiates itself from the first straight away. However, as is the curse of the horror sequel as previously mentioned, the film retreads many stylistic titbits of Wan’s earlier works. One example of this is when a demon points ominously to the desired victim - the same motif used in Insidious. The Conjuring 2’s antagonist also looks strikingly similar to ‘The Bride in Black’ in Insidious, but other than that, Wan uses his one-of-a-kind horror filmmaking skill to craft something that stands out in his filmography. The tension in the second outing is on par with the original. Wan uses audiences’ expectation and paranoia to carefully execute effective scares. There are moments that build to nothing, in the beginning, playing on fears of the dark and of unusual sounds with fantastic lighting. As the events occur, they become increasingly more violent and scarier. Sometimes, though, the film becomes zany and not as believable as the first. Wan once stated that he prefers to leave things to the audience’s imagination, but more is revealed in this film. I also have a problem with the amount of CGI as practical effects look more believable. Wan’s experience with The Fast & Furious franchise carries its silver linings here in the form of more energetic cinematography (solidly taken care of by Don Burgess). Camera movements are superb and invigorating, with the tracking shots being a highlight throughout the director’s career. He includes them better than ever before, leaving viewers on the edge of their seats as we follow our protagonists through to whatever lies ahead. Joseph Bishara once again helms the score - the scariest aspect of his films. Percussions, strings, and haunting choirs are used to punctuate The Conjuring 2’s disturbing imagery to maximum shock and discomfort. I do not know if I would be scared at all if this unbearably frightening score was not included. Farmiga is the star of the show here and Wilson holds his own too. I am glad the Warrens continue to develop, as they are becoming even more empathetic and compelling this time around. Most importantly, they actually seem quite vulnerable. In the finale, you feel like anything could happen to these characters, which I personally found exciting. While The Conjuring 2 cannot compete with its predecessor’s subtlety and innovation, it serves as the cherry on top to James Wan’s title: this generation’s most consistent horror director. See it for some of the best thrills of the year More Film Reviews this way, if you please. #filmreviews #LorenzoLombardi #TheatricalReleases #Horror #JamesWan #PatrickWilson #VeraFarmiga

Written and Directed by Jo Osborne Produced by Andrew Gunn and Jo Osborne Starring Rachel Leonard, Paula Dunn, Stuart Smith Cinematography by Kristopher Blair Editing by Peter J. Stewart Short film review by Euan Franklin Tracing the extreme repercussions of adultery in Glasgow, Requital follows Laura (Rachel Leonard) as she breaks the news to her best friend Jill (Paula Dunn) that she is sleeping with her boyfriend Mark (Stuart Smith). Jill seeks brutal revenge for this heart-rending betrayal. Requital’s place within the Slasher genre isn’t clear – particularly when watching the first two scenes. With its clichéd dialogue and intolerable characters, the film fits more with the image of a Scottish soap opera than a toe-curling horror movie. Since most of the focus is on the drama of the affair rather than the results of Jill’s revenge, the blood-dripping finale is more banal than terrifying. Kristopher Blair’s close-up cinematography is perfect at capturing Laura’s guilt, her dread, and her vulnerability as she prepares to tell Jill about the affair. However, there is an implausible shift in her personality after Jill unleashes an understandable rage in the middle of a café. Laura is insulted by Jill’s words, rather than hurt, as if she hadn’t been expecting any kind of reaction. Lines like “His heart belongs to me now” service the plot, but are too cheesy to take seriously. Laura enters a two-dimensional world where her guilt changes to thoughtlessness. It seems as if Jo Osborne wants to rip away any kind of sympathy, and empathy, from the adulterers. One wonders why that might be. The most fulfilling aspect of the short film is in Peter J Stewart’s editing. The close-ups are cut perfectly to fit the pace of each scene, providing effective tension between the characters. The final scene is reminiscent of the aesthetic, parallel cutting used in stylised horror films like Don’t Look Now and Fatal Attraction. A creeping suspense is created as we jump between two corresponding scenarios. Osborne takes this innovation and wraps the narrative around it: making use of the flashback as an excellent anticipatory device. Blair’s interior wide-angles can be bland at times – they either appear too bright or too dark. However, there are some that manage to succeed at conveying the intended tone of the film. There is a tracking shot of Laura walking down the road - it isn’t entirely certain whether the shot is in POV or not. This leads the audience to suspect that Jill is stalking her from the other side of the road. This provides an uneasy ambiguity, building suspense for the rest of the film. In spite of the fact that this isn’t done to a professionally satisfying standard, the purpose is clear and the audience moves with it. Despite the good intentions and reasonable effort, the result is no better than a semi-decent student film. There is an attractive story, but it is left unfulfilled. Click here for more Short Films Reviews. #Shortfilmreviews #EuanFranklin #ShortFilms #filmreviews #SlasherFilms #Horror

Directed By Maggie Kaszuba Starring Tyler Kipp, Ariane M. Reinhart and Chris Viemeister Short Film Review by Owen Herman Inspired is a short film about a young girl’s relationship with her strict basketball coach. Always late and unreliable, Samantha Higgins (Tyler Kipp) seems to be the focus of her coach’s (Ariane M. Reinhart) temper, though they both hide their more personal issues from each other. It is hard to explore these matters easily in a short film such as this, but Inspired does a good job. Higgins’ imperfect home and school life away from the basketball court is conveyed brilliantly and believably. Shifty eyes, nervous leg shaking and checking a phone are used instead of some boring exposition dialogue to show her lack of social interaction and slight loneliness. The dynamics between the two characters is interesting and evolves quite naturally, thanks to solid performances from the lead actors. Some of the extras aren’t particularly convincing and I think perhaps dialogue should have been kept to the leads. It is not a huge issue but poor delivery always takes the viewer out of the moment. The script is good but as with many similarly inspiration-focused films, there are one too many cheesy motivational lines. A few are always fine and these actors have the quality to deliver them, but Inspired does seem to feature one after another at times, particularly in a hospital scene that could have been more moving. Inspired is certainly well made, Matt McAndrew’s music is great and sets the right tone, Michael Posner’s editing is slick and Maggie Kaszuba’s direction is very good. It is often surprisingly hard to direct any sport scene convincingly but Kaszuba manages to portray both matches and training in a believable manner. There are issues with Inspired but I did enjoy it. There is obvious talent both in front of the camera and behind the scenes but these small problems keep Inspired from being as good as it could be. More Short Film Reviews here. #Shortfilmreviews #OwenHerman #ShortFilms #filmreviews #Sportsmovies #ComingofAge #GirishPatel

Directed by Peter John Starring Tarnea Omeara, Lyall Morris, Jackson Rich, Kirra Green, Brody Cross, Kodan Lynam, Jordan Merry & Aaron Bradley Short film review by Monica Jowett Short horror film Bunyip is not what it seems. Taking its name from the mythical creature feared in Australian Aboriginal mythology, the film keeps us questioning from start to finish. Director Peter John has created a very original film. The film starts off with a group of kids at a skate park. It’s the 80s and the middle of summer; they are hanging out and enjoying themselves. An older group arrives, taunting them and trying to flirt with the only girl in the group Miranda (Tarnea Omeara). On the radio in the background they hear news of 10 feet waves hitting the beaches so they head off. The skater surfing scene of the 80s is prominent in the short film, from the music to the clothes to the cinematography in the VHS quality. It is fun to see the cast enjoying the different setting, though it feels little has changed in that culture over the years. The music, from Jeremy Fowler, really captures the spirit of the film, the carefree attitude of the young kids and the overall laidback stereotypes of Australians. Along with the bantering dialogue between the two groups of skaters, the music does put a smile on your face – it is the perfect soundtrack for summer. The film’s dialogue, which looks as though it has been dubbed over the original, even though they are saying the same words, might be hard to get your head around if you are unfamiliar with the Australian vernacular. Nevertheless, the confident way the actors address one another and interact provides decent performances from the whole cast. What really stands out for the short film is how it has been shot and edited to make it look like it has been filmed in the 80s where there were few to no digital cameras available. The video style definitely gives it an extra edge. The camera looks slightly hazy at times, which helps to introduce the titular Bunyip. Peter John has really made the effort with his short film, and the style and story makes it a thoroughly enjoyable watch. More Short Film Reviews can be found here. #Shortfilmreviews #MonicaJowett #ShortFilms #filmreviews #Sportsmovies #WorldCinema

★★★★★ Director: Hiromasa Yonebayashi Animated film review by Colin Lomas The rising emotional detachment of daughter Anna persuades her adoptive mother to reluctantly send the young girl to relatives in the countryside for the summer in an attempt to instil some joy back into her life. Anna endeavours to avoid the other local children, preferring instead to wander alone, sketching landscapes. On one of her journeys she discovers an old abandoned lake house to which she is mysteriously drawn. At night the lake house inexplicably transforms into the opulent residence of an affable young blonde girl called Marnie. Anna and Marnie becomes best friends, meeting every evening, and while Anna struggles to understand Marnie’s semi-existence, she starts to uncover secrets about her new pal and becomes determined to unravel the mystery. What Studio Ghibli have always done so well is to perfectly understand the complexities of a young mind. Anna’s abandonment issues and unbearable loneliness are truly touching. Given the depth and development she achieves during the film, if this were a live action piece Anna would be up for every acting award available. The tenderness Yonebayashi applies to Anna’s emotional predicament shows a level of mastery and emotive understanding rarely found in film. Marnie’s supposed freedom and happiness is also loaded with a sense of increasing melancholy as the girls start to prise information out of each other. The storyline itself is a joy. The enigmatic nature of the girl’s relationship is utterly addictive and the constant need to explore and discover more about the mystery borders on desperation. Yet When Marnie Was There rarely rushes along; it always manages to take a well-timed step back to present the beautiful Anime visualisations which make Ghibli so unique and striking. There is a moment towards the end when secrets are revealed a little too quickly during a swift monologue, but the final revelations soon quash any negative feelings of inappropriate alacrity. When Marnie Was There feels like the second side of Abbey Road; a medley of everything great which came before. It is a masterpiece of tear-jerking mysteriousness which exhibits with pinpoint accuracy the seemingly unachievable desires and overriding dilemmas of being a troubled child. Like the freshness one of film’s countless thunderstorms leaves across its meadows, When Marnie Was There will invigorate your sensitivity to the world and force you to consent to a joyfully increased emotional focus when leaving the cinema. If this is indeed the last Ghibli movie after the retirement of genius Hayao Miyazaki then it’s a sad but fitting end to a studio which has given the world some of the greatest animated films in history. You get the feeling though that Ghibli is a beast which will refuse to lie dormant for long. More film reviews this way #filmreviews #AnimatedFilms #ColinLomas #Animatedfilmreviews #StudioGhibli #WorldCinema #Animation #HiromasaYonebayashi #HayaoMiyazaki

★★★★ Director: Deniz Gamze Ergüven Starring: Günes Sensoy, Doga Zeynep Doguslu, Tugba Sunguroglu, Elit Iscan, Ilayda Akdogan, Nihal G. Koldas, Ayberk Pekcan Film Review by Colin Lomas Modern day Turkey and orphaned sisters Lale (Sensoy), Nur (Doguslu), Selma (Sunguroglu), Eca (Iscan) and Sonay (Akdogan) are playfully flirting with some local boys on the beach; climbing on shoulders, play fighting and splashing water at each other. When they return home they realise they have been spotted and reported to their grandmother (Koldas) by a neighbour who considers their behaviour unacceptable and whore-like. Their grandmother screams and drags each into a room for a beating. Their uncle Erol (Pekcan) finds out and bans them from leaving the house again, barring up the windows and deciding that the best course of events to stop the girls becoming a disgrace is to start marrying them off immediately. The house then becomes, as Lale describes it, ‘a wife factory’. The world has seen its fair share of coming of age movies, yet not so many involving girls, and certainly very few that don’t eventually turn into bog standard romantic slush an hour in. This is what really stands Mustang apart; that a group of sisters similar in age yet aeons apart in regard to supposed responsibilities are given time to exhibit the confusing challenge of teenage transition, especially in the wake of hard-line religious guardians. Although there are moments of great comedy, Mustang never sets out to be anything other than a damning insight into the archaic structures of arranged marriage and its effect on a tightly knit playful bunch of loving sisters torn from each other at such a young age. One of Mustang’s greatest tricks is that without trying too hard it is genuinely anger-inducing. The way that the enforced obligations of womanhood and wifedom are suddenly hammered down on what are essentially children is heart breaking at times. The discussions around the family table regarding marriage proposals are embarrassingly real, at no point is the girl allowed a single word of approval or otherwise. The childish dreams and trivial attempts at avoiding the inevitable bring about a sadness yet also embed a steadfast craving to see them succeed. There is not a single moment of sluggishness here; the girls rushed off to the hospital for a virginity test after playing on the beach, the older women’s carefully veiled empathy yet utter conviction of tradition, the way the girls are dressed as sacrificial dolls when pre-determined husbands first appear. It is all beautifully arranged and wonderfully acted. All of the girls put in absolutely superb performances and at no stage is their lack of experience noticeable. Their kinship and spirit as a group of sisters is addictive and constantly pulls the viewer into the playful and mischievous coven. Pekcan is excellent as the angry traditionalist struggling with the commanded freedom of modern girls, his character brings sincere vitriol from the audience, a fine accolade for any actor. Mustang is a wonderful movie and it’s a crying shame it will only grace a handful of cinemas across the UK. Many a film has been described as an emotional roller-coaster over the years yet Mustang is about as close to achieving that as possible without slipping into Forrest Gump Hollywood mawkishness. One of the better movies of the year so far. Click here for some more of our Film Reviews #filmreviews #TheatricalReleases #ColinLomas #DenizGamzeErgüven #WorldCinema #ComingofAge

Directed by Bulent Ozdemir Starring Alan Stenson, Andrew Dowbiggin & Remie Purtill-Clarke Short film review by Sarah Smeaton Promised is a sublimely shot and intense short film. Written and directed by Bulent Ozdemir, this film provides a tiny snapshot into the raw emotion of archangels Lucifer and Michael. Not only does this concentrate on archaic characters that generate more interest today than ever before, but there is also a beautiful assessment of humanity’s moral compass. What happens if you promise something so intrinsic to life, so rigid, and yet if it is not kept, will change the course of mankind forevermore? Here we have a fantastic insight into how far we can be pushed. Everyone has their limitations, even an archangel. When Lucifer reminds Michael of the promise he has once made, Michael eloquently argues, “The promise I made was to a true brother. You, you are an abomination.” I think what makes Promised such a captivating short film is the true talent portrayed by all the actors involved in this production, which is a rare and beautiful thing in itself. The true uncensored emotion that Alan Stenson brings to the role of Michael is palpable throughout. In the opening sequences, there is no explanation as to what has happened to put Michael in such a state of sheer rage, however, this is virtually irrelevant as his dramatic anger and loss of control provides an all-consuming viewing experience. Equally, Andrew Dowbiggin (Lucifer) brings the true cockiness required to truly fulfil the role of Lucifer. Even in the face of what appears to be death, Lucifer here is seemingly undeterred and unaffected, which is exactly what we would expect to see from this infamous character. Stepping into character roles such as these, of which everyone is familiar with, can surely be no easy feat, but Stenson and Dowbiggin do it with class and ease. The role of Faith is a smaller part, however, Remie Purtill-Clarke brings a true sense of horror and realism to this role as well. An effective tactic of interspersing penetrating, high-level action scenes with more serene, still shots, has been adopted here by Ozdemir. The result is very effective, whereby he encourages the viewer to drop their guard, and in the next second introduces a more intense, aggressive scene. The juxtaposition of the two, along with lighting and sound that complements the level of action, creates a real piece of artwork here. My only real complaint is that I would have liked it to be longer. The shortness of Promised, does, however, mean that we get a really focused assessment of emotion, family attachment and betrayal, which I think might have been lost in a longer sequences, which would have required a more complex plotline. Even so, I think you’ll be left begging for more. Click here for more Short Film Reviews #Shortfilmreviews #SarahSmeaton #ShortFilms #filmreviews #FilmChannel #Religion

★★★ Directed by F. C. Rabbath Starring Daniel Link, Elly Schafer & Avery Kristin Pohl Indie Film Review by Lorenzo Lombardi 'Watch Over Us’. A title suitably conceived, serving as a hint at an integral plot point and reveal that will strike viewers with not just shock but also bafflement. These reactions could be mentioned when discussing the whole film’s story and narrative, and those invoked emotions are not necessarily the best effects the film could have had. This horror/drama triggers its story by focusing on a family struggling to cope after a break-up. Jon (Daniel Link) alongside his two daughters Becca (Elly Schafer) and Eliza (Avery Kristin Pohl) decide to stay at their grandfather’s secluded home. As Jon seeks out steady employment as well as rejuvenation of his love life by attempting a few blind dates, his daughters start claiming to hear creepy sounds emerging from around the farm, but especially from within the barn. This plot soon serves as a parallel of Jon’s decisions in life and the general question of “do the ends justify the means”, making the film a bit more meaningful. Firstly, horror stories with haunted structures are an unforgivably clichéd trope. Watch Over Us’ narrative screams the notion of the characters discovering something nefarious in the barn from the first sound of the eerie noises. Maybe it is because the Horror genre is mostly comprised of predictable narratives and unsatisfying antagonists and maybe that is because there is not much room for variety with all that has already been accomplished, but the story did not intrigue me due to a sense of predictability. What I was really invested in was the dramatic part of the first half. Link’s portrayal of the inadvertently selfish but sometimes humorous Jon is believable and even sympathetic. I believe his character would have been more realised and suitable in a full-on drama or comedy, as well as this part of the plot. The indie film’s themes of ramifications might have also been served better in a more character-driven film, but the drift in the story keeps the characters developmentally trapped. That plot reveal in question also nonsensically descends the film into that category of undistinguished horror, but some credit is due to the factors of what was achieved despite its low budget and unknown actors. Most of the actors - amid a tad of melodrama from a few others - play their parts solidly, with the daughters played by Schafer and Pohl, and the earlier mentioned Link, being promising highlights. Production values are up to a high standard. Lighting is very well done, and a couple of scenes even incorporate a rare and stylish method to further emphasize the mood - colour-changing filters. I had not witnessed something like this since an early cinema flick, making the atmosphere and style even more memorable. Its cinematography is often safe but sometimes shines in striking aerial shots that solidify the dread of the location and situation. Watch Over Us also gets more merit for managing to not manifest its riskier indie horror constituents by remembering a rule that the best horror films follow: “less is better”. In turn, it accomplished a scarier and haunting villain. All in all, Watch Over Us is a safe but flawed indie film that tries to be serious about its overly familiar set-up, albeit with unfortunate execution. This is decently rectified in hindsight by the satisfying inclusions and implementations of odd jokes, great aerial shots, unusual filters and mostly tolerable performances. Enter director’s F.C. Rabbath’s creation with the expectations of your typical horror flick and you will enjoy it for what it is. More Indie Film Reviews this way #filmreviews #IndieFilmReviews #LorenzoLombardi #Horror #Drama #IndieFilms