★★★ Directed by Dominic Pelosi Written by Andrew Pelosi Starring Darrell Hoffman, Louise Vansleve, Pamela Eagleson, Ken Welsh Indie film review by Euan Franklin In the online age, it seems an impossible idea for a video to last more than ten minutes before the viewer decides to pause it or skip to another one. Target Fascination runs at nearly 72 minutes, and I didn’t stop it once. Joe (Darrell Hoffman) is an elderly ex-convict, released after a twenty-year sentence for the rape and murder of a young woman. Through an unlikely turn of events, Joe’s enigmatic therapist (Ken Welsh) arranges a meeting between Joe and his victim’s family – in order to forgive his actions and accept him as a changed man. There is a philosophical idea underlining this film, which promotes forgiveness of those seeking repentance – thus easing the souls of all involved. The Pelosi brothers attempt to teach us this idea: that anybody, no matter what they’ve done, can be forgiven and accepted. The problem is that only a select clutch of liberal-minded individuals would welcome the complete absolution of a rapist-murderer – fracturing the possibility of a wider audience. It is fine that the premise is absurd, but Target Fascination seems more concerned with promoting this philosophy than the characters and their stories. Saying this, the characters are more alluring than many other indie films. There is enough focus on each of them to warrant our empathy and the connection between the four characters is tense – particularly when they are all gathered around a dinner table. There are moments in the film when motivations aren’t entirely clear. For example, there is a scene where Caroline (Pamela Eagleson), the mother of the victim, agrees to pay for a prostitute for Joe. Even though the approach is surreal and compelling, the casual reactions aren’t believable. Andrew Pelosi is able to construct scenes that force our attentive gaze, but there are times when the dialogue breaks it. In the opening scene, Joe visits his brother Shane (Robin Royce Queree) after leaving prison. Shane cannot forgive Joe for what he’s done and he reveals Joe’s crime for the benefit of the audience - three times in three minutes. “You raped and murdered a young woman” becomes repetitive and possesses less punch than it should do. Rape and murder are thunderbolt topics, which only need to strike once to create impact. It might have also been wise of Pelosi to move the rape-murder reveal to the dinner table scene, midway through the film, where Joe describes his crime in detail to the victim’s family. This way, we are able to empathise with Joe as a person in the present rather than a murderer in the past. Dominic Pelosi’s digital cinematography, though imperfect, works for the story he’s telling. Its faultiness brings a surreal and psychological quality to the film – reminding one of David Lynch’s Inland Empire and the Dogme 95 movies. The intentions are unclear, but it seems natural within the context of the story. This is not a great indie film, by any means, but better than most. In spite of the silly storyline and unsatisfying climax, Dominic Pelosi has made a film with characters gripping enough to pull us into the story – and our cursors away from the Pause button. Read more Indie Film Reviews here #Indiefilmreviews #IndieFilms #EuanFranklin #SupportIndieFilms #filmreviews #DavidLynch #WatchIndieFIlmsonline

★★ Directed by Dave Green Starring: Noel Fisher, Jeremy Howard, Pete Ploszek, Alan Ritchson, Megan Fox, Stephen Amell, Brian Tee & Tyler Perry Film Review by Colin Lomas There is a theory bandied about in the darkest, most complex recesses of Theoretical Astrophysics that our universe is one of many, an infinitesimal dot in a spiralling infinite multiverse. Within this endless set of dimensions, everything that could have possibly happened will have happened; dinosaurs survived on earth and still rule the planet, Mars prospered and Earth perished, the England football team won something recently. The single most vexing stumbling block, which has had the world’s greatest minds stumped for almost fifteen years is that somewhere, by its own definition, Megan Fox must have been in a film that could not be described with the single word ‘garbage’. Would the latest instalment of the most unlikely heroes in the comic-book world (okay, apart from Ant-Man) bring scientific enlightenment to us all? Mega-baddy Shredder (Brian Tee) manages to escape from custody during a prison transfer using a teleportation device created by scientific genius Baxter Stockman (Tyler Perry), and teams up with extra-dimensional pink octopus-thing Krang. Shredder and his new mutant foot-soldiers, Rocksteady (Stephen Farrelly) and Bebop (Gary Anthony Williams), set out to search for a collection of lost relics which will help create a rift in the space time continuum and allow Krang to bring through his world-destroying super weapon. It is down to our four heroes Michelangelo (Noel Fisher), Donatello (Jeremy Howard), Leonardo (Pete Ploszek) and Raphael (Alan Ritchson) plus the makeshift hero of New York Vernon Fenwick (Will Arnett), cop Casey Jones (Stephen Amell) and reporter April O’Neill (Megan Fox) to halt the evil plans. Like many modern action movies, Out of the Shadows feels like a collection of bloated computerised set-pieces linked together with a thin string of pointless narratives mindlessly spoon-fed in dialogue. The scene showing Shredder having the portal activation process explained to him feels like a five second textual introduction from the NES version of Super Mario Brothers (“We must find three artefacts; the one in your hands, one in Brazil, one in a museum”), the only thing missing is a screaming pixelated princess. As if by activation of the pout-count clause written into her contract, Ms Fox takes approximately three minutes, fifteen seconds from opening credits to change into a cheerleader’s skirt and knee-high socks and parade herself through the centre of Grand Central Station. The turtle’s individual traits start to appear and cause friction between the team (cleverly preceded with ‘Raphael – Muscle’ and so on in big letters on-screen). This gives some level of interest to the plot but dissipates pretty much straight away as father figure cum giant rat Splinter gives some sage advice on the power of many over the power of individuals. It’s also worth mentioning that this storyline was brought through in the cartoons almost thirty years ago and even more recently in the pretty average TMNT, but at least the big-money boys seem to be catching up. The turtle’s personalities are becoming more interesting and the banter between them is starting to gel and get laughs, but there are still enough holes in its entirety to feel unsatisfactory. Towards the end, there is so much CGI at work that it feels like watching your mate playing a computer game, and has the same level of personal interaction. It’s impossible to argue that the effects aren’t excellent because they truly are, but when a certain level of realism is taken out, it leaves the visuals with a lack of soul. In many ways, it feels like the new Teenage Mutant Ninja Turtles series is on the right track. The turtles themselves are well cast, there are sparks of real comedy appearing and the action set-pieces are mostly enjoyable and spectacular. There is just too much weeding to do in the ninja garden for it to feel agreeable at the moment. A decent scriptwriter and a de-pouted Fox and there is still hope for the heroes in the half-shells. Read more Film Reviews...only if you want to though. #filmreviews #TheatricalReleases #ColinLomas #DaveGreen #MichaelBay #MeganFox #TylerPerry #NoelFisher #BrianTee #JeremyHoward

Directed by The Brothers Lynch Starring Tom Cullen, Ana Ularu and Joseph Mawle Short film review by Chris Olson As a teaser for an upcoming feature film (Residual), this short film from directors David and Keith Lynch serves up plenty of promise in the form of a gripping sci-fi drama and nail-biting action. The very fact that this is only a teaser goes a long way in its favour, as the plot is delivered in a manner akin to a trailer without ever really settling on something dissectable, massively bolstered by a fantastic central performance from Tom Cullen. Sitting in a hospital bed is Aaron (Joseph Mawle), a quadriplegic soldier whose bedridden isolation has rendered him suicidal. His suffering and pain could be at an end, though, with the proposal of a lifetime - no, not a rom-com style wedding - but a medical trial involving a mind transfer, which will essentially allow Aaron to live on in the body of another. With nothing left to live for, Aaron says yes and shortly after awakens in the body of a fitter, younger man (Tom Cullen). Adjusting to his new body and all its working facets is at first a delightful piece of discovery for Aaron, however the discoveries soon turn violent when he experiences sharp time jumps which often find him in the centre of bloody exchanges between himself and the staff in the medical centre. With a premise and filming style seemingly straight out of a video game, Trial could easily have been a short film to quickly dismiss as superficial violence and by-the-numbers science fiction tropes. However, as previously mentioned, taken as a teaser for something larger, there is a huge amount of enjoyment found in this glimpse into a bigger picture. In fact, as Aaron struggles to piece together what is happening to him since his mind transfer, the audience will try to fit snippets of the narrative into something bigger and the desire to see more will become increasingly addictive. The urgency to the filming style of The Brothers Lynch is also an important part of this, lulling the viewer in with intrigue as to the situation, then recklessly unsettling them with frantic visuals of close-quarter threat. Cullen’s performance is impressive; capturing the sense of wonderment in Aaron’s “baby steps” and then slipping into kick-ass ninja warrior in a moment’s notice. A couple of sequences in particular demanded so much intensity with little build up, that Cullen was impeccably grounded to prevent it coming off shouty. And by the end, the revelations about his character and the history of the body Aaron now resides in is completely engrossing. Aside from a few familiar parts to the plot and some expositional dialogue, this is a frenetically engaging and completely intriguing short film. Trial finds a nice balance between tense action and subtle narrative. Whether the feature film will have as much pace to it is yet to be known, but if Trial is anything to go by audiences should be in for something electrifyingly entertaining. Click here for more Short Film Reviews. Or watch some Short Films Online here. #Shortfilmreviews #ChrisOlson #ShortFilms #TheBrothersLynch #TomCullen #Scifi #WatchShortFilms #filmreviews

Directed by Aaron Dunleavy, Joseph Ollman Starring: Lewis Bradshaw, Peter Quinn, Jack Hartley Short film review by Kurran Sohanta This compelling short tells the story of a lonesome boy’s struggle to win the affection of his father and those around him in the terraced streets of a British town. In as little as 12 minutes, directors Aaron Dunleavy and Joseph Ollman have given a riveting depiction of the experiences of real British people, insightfully exploring what life may be like for a young boy growing up in an impoverished area. The short film explores social realism with key themes of bullying, broken relationships and growing up in a run-down environment. What the directors have done brilliantly is to convey the gritty and intense tone of the story by shooting with a cast of non-professional, local actors. This gives the short a truly raw and believable edge making Throw me to the Dogs a gripping watch. Throw me to the Dogs begins immediately by giving the viewer a taste of life for many of Britain’s inhabitants with a shot of Quinny (Peter Quinny) disastrously cooking runny eggs for dinner, quickly deciding on a classic British favourite of chips instead. This opening shot is as clever as it is simple, the diegetic sounds, coupled with quick cutaways and minimal editing, successfully enhances the authenticity of the short here making it instantly relatable with the use of stereotypes, grounding the film in reality. The narrative quickly shifts to Dylan, played by Lewis Bradshaw, who gives an incredibly honest performance which in no manner reflects his acting inexperience. Dylan is seen being pushed around and bullied by a group of local boys, who are led by Tez (Jack Hartley), who takes advantage of Dylan’s shyness with verbal abuse and taunts. This has a roll-on effect on the young boy’s relationship with his father Quinny and we see there is no real communication between them. When we see how Dylan deals with, or rather does not deal with, his difficult relationships in the following scenes, it gives the viewer a swift reminder that life is not always as easy as it seems away from fabricated “reality” television programmes, which are more often than not focused on the lives of the wealthy upper classes. A particularly noteworthy scene is when Dylan is handing the chips to his father, and Quinny seems to be more interested in watching the football than acknowledging his son, who has just been physically and verbally abused by Tez’s boys. Although this is just a short scene in the film, it effectively highlights the frailty of father and son, which makes Throw me to the Dogs that more powerful. Dunleavy claimed in a local newspaper interview that the film was entirely improvised, with none of the cast having to learn lines, which captures the heart of the narrative, a truly plausible portrayal of adolescent life. Click here for more Short Film Reviews. Or visit our Film Channel to watch short films online. #Shortfilmreviews #KurranSohanta #ShortFilms #WatchShortFilms #Britishfilmmaking

★★ Directed by Mark Morris Starring Alan Harding, Gareth Lawrence, Rachel Pooley Indie Film Review by Sarah Smeaton Vampire Resurrection has all the workings to be a great vampire horror but falling into many cliché traps, it unfortunately fails to deliver on several crucial elements. Having said that, there are some fantastic and beautiful moments of true horror here. Several scenes pay homage to the greats of the horror genre. The bathroom scene, for example, where Nathan (Alan Harding) is just discovering his transformation into vampire, has a real classic horror feel to it, with the music and camera work no doubt giving a little bow to Hitchcock in style. The eerie panning out of the camera combined with music that gradually becomes uncomfortably high pitched, followed by abrupt silence and a cut to the next scene is really powerful in design. It’s moments like this that it’s clear director, Mark Morris, has given a lot of time to the layout of this indie film. It would have been great to have seen more of this. The moments where we have deep and dark horror are truly gripping and would have been terrifying had this theme and feeling been kept up throughout the duration. What we have here is a film that doesn’t seem to know what it is. There are elements of comedy throughout, but they come at times that are unexpected and feel alien to the plot. The special effects are perhaps a little ambitious for budget and weren’t particularly necessary for plot development. Having vampires burst into flames, which were clearly added post-production, reduced the believability from the word go. The makeup of the vampires didn’t appear consistent either. Some vampires were covered in white foundation, others had skin mutations and others looked completely human. None of which appears to be explained. If this was an unashamed vampire parody from start to finish this wouldn’t have been a problem, but when trying to be a serious vampire horror its effect became damaging to the viewing enjoyment. What essentially lets the plot down, though, is that this is not an original idea. And in a world where vampire movies are still coming out of every crack and crevice, this is most certainly a genre that has to be challenged and constantly adapted for a film to stand apart from the crowd. Take 2014, vampire comedy, What We Do in the Shadows. Here’s a vampire film stepping into a crowded marketplace but standing away from the crowds, by not taking itself seriously. Vampire Resurrection follows the same tried and tested storyline of what is essentially vampire slayers hunting the vampires, and the vampires subsequently hunting the slayers. The acting did at times feel a little unenthusiastic, especially when the unfolding drama called for more. Having said that, Gareth Lawrence (playing King Vampire, Nick) and Rachel Pooley (playing Jenny, teenager turned vampire) had some fantastic scenes that were captivating and filled with horror (in a good way), emphasising their true acting potential. Vampire Resurrection does have some beautiful redeeming qualities, predominately its scenes reminiscent of old, classic horror, and if it had stuck with this throughout, letting go of some of the ambitious special effects, then I think there would have been some real potential here. Read more Indie Film Reviews #Indiefilmreviews #filmreviews #SarahSmeaton #Horror #IndieFilms #Vampires

★★ Directed by Thea Sharrock Screenplay by Jojo Moyes Cinematography by Remi Adefarasin Starring Emilia Clarke, Sam Claflin, Janet McTeer, Charles Dance, Matthew Lewis Film Review by Euan Franklin Continuing the reign of the terminal romcom, Me Before You focuses on the relationship between an affluent quadriplegic and his clueless caretaker. Although the recent controversies buzzing around the film are understandable, the film’s quality proves to be more offensive. Emilia Clarke slips into a different character altogether from the thick-skinned Mother of Dragons in Game of Thrones. Here, she is Louisa – a bubbly café waitress clad with eccentric charm. The café closes down and she is desperate to find another job to support her working-class family. She eventually lands the job of caring for Will (Sam Claflin), our disabled ex-playboy heartthrob. His mother (Janet McTeer) hires Louisa to coax Will out of his depression, which seems hopeless as he disparages Louisa at every opportunity. When she finally snaps at him, they form a close bond. Me Before You is the debut film from British theatre director Thea Sharrock, and this experience rubs off. However, as is the case with many theatre professionals, Sharrock’s break into film reveals how little she knows about the form. Yes, she has made the actors feel comfortable in their characters. Yes, she can create lavish sets in fine locations to highlight Will’s opulence. All the same, these elements are compromised by a misunderstanding of cinematic timing – particularly during the comedy scenes. Many lines are funny in the film and the actors’ deliveries are flawless, but Remi Adefarasin’s bland cinematography rarely captures those moments. I snickered during a scene where Will upstages Louisa’s boyfriend, Patrick (Matthew Lewis), during her birthday party. Patrick is an alpha-male long-distance runner, who feels threatened by Louisa’s new commitment. This makes the passive conflict between the two characters tense and hilarious. Claflin delivers a subtle emotional performance, but the same cannot be said for Emilia Clarke. Hard as she tried, she couldn’t squeeze out a tear throughout the entire film – something her and I have in common. Me Before You is told in a style more in touch with Hollywood than Britain. This is established during humiliating montage sequences underscored with cheap and cheesy music. Instead of enhancing our experience, they patronise our intelligence. This film reminds one of many superior films possessing similar themes. The French film Untouchable and the Stephen Hawking biopic The Theory of Everything are preferable because their struggles are clearer and we are invited to join that emotional journey. Louisa is employed only to bring cheer in Will’s life rather than deal with his medical needs, which are fixed by another carer. This leaves Will’s physical strains and fights with pneumonia up to the viewer’s imagination. Amid the heated contentions regarding the film’s attitude to disability and euthanasia, I propose that it isn’t daring enough. We can’t engage with Will’s character if we’re looking from a distance. The realities of Will’s condition are conveniently brushed aside to make way for a slushy romance plot. Despite being ideal for fans of John Green adaptations – sniffling and snorting through their paper-thin tissues – Me Before You is another embarrassing addition to the canon. The controversy is the least of its problems. Check out more Film Reviews here #filmreviews #EuanFranklin #TheatricalReleases #TheaSharrock #Romance #EmiliaClarke #SamClaflin #CharlesDance #MatthewLewis #JanetMcTeer

Directed by Matthew Steggles Starring Amy Newton & Andrew Horton Short Film Review by Monica Jowett Short period film Ladies First tackles the gender equality issues of 1919 in the form of a young couple whose conversation raises questions and ideas for both of them. Director Matthew Steggles has created a film that despite its setting of post-World War One is still relevant to modern audiences. The setting for the film, of a soldier meeting his girlfriend, provides the first step to the argument they have and the ending shot reflects the point as well. The film’s leading characters Diana and George played by Amy Newton and Andrew Horton respectively, are enjoyable to watch. They have a readiness and easy chemistry between them, which makes their dialogue natural. As they chat, flirt and play games, you can see that the two are comfortable in each other’s presence. The theme of gender equality is prevalent in this short film. There are references to political activist Emmeline Pankhurst, as well as the mention of certain phrases often overlooked but are actually employed as being demeaning to women, highlighted in the title ‘Ladies First’. Though the film uses the couple to make the argument playful at times, the underlying issue that Diana brings forth was a huge problem at the time, and still is today. It is refreshing to see George agree with her in some ways, but he still presents the patriarchy of the time. Along with the simple setting that does not take away the emphasis of the film’s message and themes; the cinematography is humble and sedated. The only bright colours are Diana’s dress and lipstick. Everything else is muted; the whole landscape feels like it is merged together. The film could have been shot anywhere, but the open field feels as though it has given Diana and George the chance to speak more freely to one another. Even in a short length of time, the film carries its message well. Though not everything might have been said between the two characters, what is left unsaid the audience can still understand, and could lead to conversations off screen. Ladies First is an interesting and forward thinking film, which explored gender equality, an important issue for today and the time it was set, into forming a well written and performed short film. Watch Short Films on our brand new Film Channel #Shortfilmreviews #MonicaJowett #WatchShortFilms #FilmChannel #ShortFilms #WarFilms

Film Feature By Chris Olson This year seems to be loaded with Studio Ghibli goodies - with the release of When Marni Was There, in cinemas on June 10th, screening in both Japanese and English, with a star-studded English-speaking cast including Kiernan Shipka, Hailee Steinfeld, Kathy Bates, Ellen Burstyn, Catherine O'Hara and John C. Reilly. The film will be released as part of the Studio Ghibli Forever season, a complete retrospective of the animation house's work, which includes ONLY YESTERDAY, a first-ever English language dub of the 1991 film, that has been produced to celebrate the 25th Anniversary of the studio's masterpiece, featuring the voices of Daisy Ridley (Star Wars) and Dev Patel (Slumdog Millionaire). ONLY YESTERDAY will be in UK cinemas for the first time this Friday 3rd June. StudioCanal have revealed a set of seven images designed exclusively by Roxy Radulescu of MOVIES IN COLOR to celebrate Studio Ghibli's retrospective season. The images and analysis highlight the animation powerhouse's exquisite and impactful use of colour in their animation across films such as Ponyo on the Cliff by the Sea, Laputa: Castle in the Sky and new film When Marnie Was There. Color Palettes by Roxy Radulescu of Movies In Color: www.moviesincolor.com When Marnie Was There Natural settings are highlighted in both palettes for when Marnie Was There. Each still’s location is vibrantly represented. From the yellows and bright greens in the forest to the bright blues and turquoises of the seascape, there is a clear intention to let the environment take centre stage. Color Palettes by Roxy Radulescu of Movies In Color: www.moviesincolor.com Princess Mononoke Based on primary colors, this still from Princess Mononoke feels bold and eye-catching. By putting the character of San front and centre and setting a mood with the fiery bold background, this still effectively communicates emotion through its palette. Here are a selection of the other Color Palettes by Roxy Radulescu of Movies In Color: www.moviesincolor.com Only Yesterday is released for the first time in English-dub format starring Daisy Ridley and Dev Patel this Friday June 3rd. Celebrate Studio Ghibli and see the classics on the big screen this summer with the Studio Ghibli Forever retrospective - in cinemas across the country from April 29th till July 28th. #StudioGhibli #StudioCanal #StudioCanal #Animation #AnimatedMovies #JohnCReilly #FilmFeature #FilmmakerFeatures

★★ Written and Directed by Darren A. Furniss Produced/Edited by Darren A. Furniss and David Furniss Starring Sarah Kelly, Liam Gregory, Sophie Olley, Kyle Futers, Rachel Page, and Dean Fisher Indie Film Review by Euan Franklin When a film fades in with a quote from Nietzsche, you know you’re in for a depressing ride. However, no amount of mental preparation is enough for this draining debut by American playwright Darren A. Furniss. Through six tales of transgression and torment, Damaged plunges down a deep well of despair – pulling us away from the light and into the shadows. Alice is a young woman who has a brief affair with another man. Dave, Alice’s boyfriend, is addicted to intercourse and adultery. Kayleigh is an impressionable teenager turned model turned porn star turned church-worker. Christian, a twenty year-old virgin who becomes infatuated with his sister. Melissa sleeps her way to the top of a major company. Frank is agitated at his shop manager. With intense descriptions of murder, rape, and incest, this film exhausts you before realising only half-an-hour has passed. In storytelling, there is a sacrosanct dogma: show me, don’t tell me. Damaged breaks this rule incessantly, wearing the mask of aesthetic purpose, but lacking the talent and budget to achieve it. This is less a feature film, more an anthology of short films treated like the latest binge-watch series on Netflix. Furniss wants us to keep watching each story, pursuing them, digesting them, until we find a philosophical meaning for ourselves. Instead, a state of apathy pours through our Being. Damaged introduces us to a superfluous number of characters and our empathy dissipates as we pursue each story. The stories themselves are well told and the characters are believable but there’s no progression and no sense of change. This is why the graphic voiceovers become interminable after a while, in spite of their eloquence. This film doesn’t encourage you to watch more - it motivates you to shut the laptop. The stories of Alice and Dave are absorbing because of their inconsistencies and unreliable narrations, reminding one of Bret Easton Ellis’s excellent transgressive novel The Rules of Attraction. However, we are ripped away from this promising device and taken to three other characters – related only by theme. If Furniss couldn’t be pushed to kill his darlings, then he should’ve bridged greater connections between the characters. In spite of this, the acting in the film is commendable considering the film’s dubious style and difficult subject-matter. This is rare for an amateur production. Furniss relies heavily on bloated voiceovers and glum gestures, like a cheap version of a Terrence Malick film. This is reflected in the cinematography, which does elevate the film at times. Its style is ambitious to imitate the trademark Malick-Lubezki floating steadicam shots – most prevalent in the last ten minutes of Damaged. The goal is admirable, but falls short when you realise neither Furniss brother understands how to achieve the same effect with a basic camera. The interior cinematography is far superior to the exteriors, the former benefitting from a greater control of lighting and colour within a studio environment. Daniel and David Furniss create images that stir the soul, but these become undermined by gaps in their knowledge and experience. Damaged attempts to be profound and philosophical, but is crippled by its infatuation with theme and interpretation. The aesthetic intentions are unclear and there’s no motivation to uncover them - making it more in common with a charity appeal than a narrative feature. More Indie Film Reviews this way #EuanFranklin #IndieFilmReviews #IndieFilms #filmreviews #SupportIndieFilms #TerrenceMalick #ShortFilms

★★★ Directed by James Bobin Starring Mia Wasikowska, Johnny Depp, Sacha Baron Cohen and Alan Rickman Film Review by Jack Bottomley “Eat Me, Drink Me, Watch Me?” In 2010 Tim Burton’s adaptation of Lewis Carroll’s Alice in Wonderland was among the most anticipated films of that year. The marriage of Burtonesque quirk and darkness with Carroll’s trippy wonderland and its barmy inhabitants was a project so tasty you didn’t need to be instructed to eat it. Lavishly casted and visually sumptuous, this incarnation of Carroll’s landmark literary fantasy was certainly a very important date, as cinemagoers shockingly flocked to Burton’s tea party en mass and made the billion-dollar movie club curiouser and curiouser in the process. Still critics were less tickled, as the film drew polarizing responses but financial success sparked talks of a sequel and in many ways Burton’s film was the starting point for the recent boom of live action fantasy adaptations (Snow White and The Huntsmen, Maleficent). So, as we return to Wonder…sorry…Underland, we ask was this trip through the looking glass worth taking? Based very loosely- like very loosely- on Carroll’s 1871 novel Through the Looking-Glass, and What Alice Found There, this sequel will disappoint those expecting a straight adaptation. After the last film drew inspiration from both Carroll’s stories, Alice Through The Looking Glass is practically a new story entirely and if you hated Burton’s last film (he produces this time), this won’t change your mind. Contrariwise if you loved the 2010 film, this will be to your tastes. The film catches up with Alice Kingsleigh (Mia Wasikowska) as she returns from captaining her father’s ship in a voyage across the world. However as she arrives home, her family’s estate is in question but before she can come to grips with that, the blue butterfly Absolem (the late great Alan Rickman- in his final film role) draws to a magic mirror that leads straight back to Underland, where she finds that all her friends are worried about the health of The Mad Hatter (Johnny Depp), who is maddened and haunted by thoughts that his deceased family may be alive. To find out whether he is delusional or not, Alice visits Time (Sacha Baron Cohen) in hopes of retrieving a device- the chronosphere- that will allow her to travel back to the past and uncover many secrets behind Underland and its inhabitants. Falling into some of the same rabbit holes as the first film, Linda Woolverton’s story suffers from some overloaded plotting, and some uneasy transitions from fantasy to action persist. Though there are some funny lines, the film’s many time puns for instance- as knowingly corny as they are- did tickle this writer. And, despite earlier moments in Alice’s return to Underland going through the motions a bit, the story does pick up and try to do something interesting. Moving at a right ol’ lick, there is really not time (ahem) to dissect or criticize, as the film gallops through past and present with such ferocity, you kind of sit back eventually and nod along to the nutty narrative. It becomes chaotic, as it jumps about and it could well confuse many younger viewers or annoy some older audiences with its moments of retconning. Still, it is intriguing to see the origins of some of these iconic characters and the integration of worthwhile messages like the importance of family, consequences of our actions through life and gender empowerment, with some (forced and some neat) nods to the first film. It is all pretty batty and while James Bobin’s (2011’s The Muppets) film may lose the plot at times, it does retain way more charm and affection than other unasked for follow-ups (say, The Huntsman: Winter’s War). Though, judging by early box office reports, this is likely the final trip to Underland that we will all be taking. The cast is all up for it and with the sheer amount of characters some emerge practically in cameo parts, whereas others are given more to do. Wasikowska’s return as Alice is even stronger here and provides a rather excellent role model female hero. Depp’s performance has more dep(p)th than last time too and his Madonna/Carrot Top/Elijah Wood love child The Hatter, is used to better effect in many ways. The likes of Stephen Fry’s Cheshire Cat, Helena Bonham Carter’s Red Queen, Anne Hathaway’s White Queen, Matt Lucas’ Tweedledee and Tweedledum, Timothy Spall’s Bayard the Bloodhound, Barbara Windsor’s Mallymkun the Doormouse, Paul Whitehouse’s Thackary the March Hare and Michael Sheen’s McTwisp the White Rabbit, fit the parts really well but some served more substantial parts last time (though the two queens get a neat backstory). The biggest new faces are probably Sacha Baron Cohen’s steampunkish Time - who he plays with quirkish fun, Herzog-like accent and all - and his clockwork servant Wilkins (voiced by Toby Jones), who reminds a little of Tik Tok from Walter Murch’s infamously dark and disturbing cult classic Return to Oz (those darn Wheelers still roll round our nightmares). Also Rhys Ifans makes a nice appearance as The Hatter’s strict father Zanik Hightopp. As a whole the cast all fit in place- be it a big part or small- and for the film’s many faults and cluttered plot, it is suitably eccentric- hell, a vegetable person gets their nose chomped off at one point. The real star of the film though, once again, is the visuals and while there are, at times, more special effects than necessary, the overall aesthetic is gorgeous and transportative, with Coleen Atwood’s costumes being good enough to eat. Danny Elfman’s score does its job, though is not as outstanding as his work on the first film. Overall, this is a hectic jumble of a film but, flaws notwithstanding, still captures the British bizarreness of Carroll’s world. It is sometimes scrappy, others unnecessary and every now and then features a splurge of effects but the charm remains intact and much like a tea party with the Hatter, this is a flawed but likable event and moves so fast that you barely have chance to overthink the madness. Oh and there is a very welcome and well-placed tribute to Alan Rickman at the close of the initial end credits too, just in case you were wondering. Alice Through The Looking Glass is madly paced, aesthetically awing and narratively hectic but, for better and for worse, captures the eccentricity of Carroll's characters. Flawed but never boring! More Film Reviews this way #filmreviews #JackBottomley #TimBurton #JamesBobin #MiaWasikowska #JohnnyDepp #SachaBaronCohen #AlanRickman #HelenaBonhamCarter #TheatricalReleases

★★★ Directed by Daniel P. Schenk Starring Maya Schenk, Thomas Koch, Eleanor Buechler, Jean-Noel Molinier, & Carolina Schenk Indie Film Review by Lorenzo Lombardi Once in a while, you will stumble across a film that needs a second watch. Not only because you really liked that film, but also because it has deep plot points and layers that need to be understood fully. On the other hand, there is another kind of film that focuses on setting up a second viewing without concern for the quality of the first viewing, and Beyond the Bridge (directed by Daniel P. Schenk) is one of those films. This psycho-horror thriller follows student Marla (Maya Schenk) as she returns to her family’s empty house in order to sell it. She has been away for 2 years and the past is mentally affecting Marla. Her parents’ death in a car accident, as well as other troubles, still haunt her most of the time. One day she decides to throw a party at the house, but a drug takes the character down a dark and disturbing road, launching the plot. During the opening, the first thing you notice from this indie film is the atmospheric soundtrack. It is synth-filled; taking inspiration from recent horror offerings such as It Follows and The Guest, and blends in a weird tone that is quite fitting to the style of the film. The score would have been enough for the introduction, but this film throws subtly out of the window for another running technique. That other technique is the film’s superfluously used cutaways. They focus on imagery that no viewers will understand on a first-time viewing as those are from later scenes. Mysteries such as Memento have used this method effectively while also being understandable afterwards, while Beyond the Bridge does not. One cutaway is simply a still image that is used over 5 times and does not represent the film’s budget greatly. There are a few strengths of this film, however, worth mentioning. Schenk plays Maya with believability and modesty (albeit amongst an uncompelling cast of supporting characters), displaying emotions of fear and realization with raw power. What is poignant as well is the twist towards the end and its execution. It ties the otherwise seemingly messy structure into an understandable directorial decision as well as being superbly heart-rending and frightening. The film’s disturbing images also serve as profound analogies that parallel the main character, giving the film a little sophistication. Most of the time, though, the purposefully “scary” scenes make you feel like you are watching a video game, with the protagonist gallivanting as she walks through empty corridors, all with a high-angle tracking shot from the back, resulting in stone-faced reactions. With all its messiness and off-putting techniques, this is an admirable showcase of Lynchian horror and includes a great performance by the main actress Maya Schenk. Perhaps giving Beyond the Bridge the second viewing it is vying for may be worth it, but most likely it will not. Click here for more Indie Film Reviews #Indiefilmreviews #Indiefilm #LorenzoLombardi #filmreviews #Horror #Lynchian #SupportIndieFilms

★★ Directed by John Carney Starring Ferdia Walsh-Peelo, Lucy Boynton, Jack Reynor, Mark McKenna, Percy Chamburuka, Conor Hamilton Film Review by Colin Lomas It’s 1980s Dublin and times are tough. Fourteen-year-old schoolboy Cosmo (Walsh-Peelo) is taken out of his posh public school to attend a hard-line Christian education facility due to his parents' struggle to make ends meet. Cosmo’s older brother Brendon (Reynor) is having difficulty making any sense of life and spends his time smoking dope in his room and obsessively watching Top of the Pops. While Cosmo’s parents are constantly arguing about money and mortgages, he spends time in his bedroom playing guitar and dreaming of a better, music related life. During the daily abuse at his new school he notices new girl Raphia (Boynton) sitting opposite the school gates and approaches her to ask her if she will be in his band's new music video, to which she surprisingly agrees. The only issue is that he doesn’t yet have a band. Cosmo then sets out to create a band with the help of school mate ‘producer’ Darren (Carolan) in an attempt to bring himself closer to his new sweetheart. As Cosmo fretfully assembles the band it’s like witnessing a casting executive's dream come true in a single thirty-minute section. Guitarist Eamon (McKenna) has the looks, genius comedy timing and uber-geek cool of Cory Feldman from the days before nerd was hip. Bassist Larry’s (Hamilton) cheeky little skinhead is the perfect cocktail of council estate intelligent wit and toughness. The band soon approach Ngig (Chamburuka), the only black boy at school, because ‘all bands need a black fella’. When Larry starts to talk slowly to him so he can understand, Ngig asks the rest of the band in a broad Dublin accent what’s wrong with their mate; it’s just pure teenage-naivety comedy gold. At this point Sing Street has all the initial makings of the classic teenage boy movies of the eighties; it sweats Goonies and Stand by Me from every pore and it is impossible not to be sincerely excited by how the film is developing. However, and it’s a big however, there is a huge paradigm shift halfway through, at which point The Goonies hideously mutates into Dawson’s Creek. The rest of the band woefully become silent session musicians as Cosmo witnesses the fragile, lost little schoolgirl magically reappearing from behind Raphina’s make-up as it is wiped away in extreme close-up. The two lovebirds then become so utterly soppy that it’s surprising they can still stand upright with such a complete lack of bone mass. Lazy derivative romantic comedy then rears its ugly head as the two poignantly consider their own shortcomings and struggle with their need to be together. It is such a crying shame that the pace, vibrant humour and strong supporting characters are all abandoned in a single instant. Imagine if Chunk had decided to abandon all that Goonies adventure nonsense to go off with Mama Fratelli for a coffee and spent the afternoon in a meadow musing lost opportunities and the bleak future of unrealised dreams. It really is that much of a disappointment. The one utterly unforgivable ingredient of Sing Street is how absolutely terrible the music is. When the band first start out, they sound like a crap school-band mash-up of all their influences (The Cure, Joy Division, Duran Duran) and it is wonderful in that innocent adolescent sonically challenged way. The sheer unreserved excitement of young members of a band producing something vaguely coherent in their mum’s front room will be beautifully romantic to anyone who has been in that situation. When Cosmo goes flat, he makes up for in passion. Anything out of time is masked with great hooks and melody; just how it should be. After a few rehearsals however, the drummer is playing complex triple paradiddles, the bassist has morphed into John Paul Jones and Cosmo seems to have horribly mutated into Olly Murs. Suddenly the artistically gifted imperfections of Ian Curtis and Robert Smith vanish in an instant. And here lies the film's major problem; take any self-realising successful underground musical genre and throw in a trained drama-school singer to gain teenage bums-on-seats and what do you get? You get McFly. And how many McFly’s does the world need? Zero. It’s possible that if you have no romance in your musical life or just don’t care about such things, it may not affect how you view the film and you will hopefully be all the better for it. If this kind of corporate mechanical creative demolition irks you in the slightest, Sing Street will rapidly start to annoy. Sing Street eventually makes such a complete hash of itself that it is genuinely anger-inducing. With more balls and less of an eye on the Friday night wine-and-chocolates market, it could have had the makings of real cult classic, yet it dumbs itself down and panders to an easy demographic which will ignore its initial majesty. It feels like a truly sad lost opportunity. Click here for more Film Reviews #filmreviews #TheatricalReleases #ColinLomas #Britishfilmmaking #JohnCarney #FerdiaWalshPeelo #LucyBoynton #JackReynor #MarkMcKenna #PercyChamburuka #Musicfilms