Directed by Mike Clarke Starring Abigail McKenzie & Damien Ashley Short Film Review by Sarah Smeaton Love’s Innocence Lost is a dark tale confronting the nightmares of being told something so irrevocably life changing by your partner that things can not and never will be the same again. What’s refreshing about this short film is that it only deals with the aftermath. Something horrific and tragic has no doubt occurred…this is clear right from the very first line; “It can’t be the actions of a normal person.” It’s not, however, immediately clear who female lead, Dina, (played by Abigail McKenzie) is referring to. This provides such an interesting, unbiased viewpoint for the audience. We don’t know who to blame, we don’t even know what the crime is. The fact that Love’s Innocence Lost goes on to bend ingrained stereotypes is also a credit to writer, Paul McGowan. Main characters Dina and Aaron (Damien Ashley) have found themselves in an unenviable situation, of which Dina’s comment sums it up perfectly; “I don’t want to think about the past. I can’t bear to think about a future after this.” They are at that pivotal moment in time where an action has undoubtedly already occurred and the reaction, the consequence, has yet to catch up with them. Director Mike Clarke has chosen just two single scenes for Love’s Innocence Lost, drawing the audience’s focus exactly where it’s needed. One being the park, where this heinous crime has occurred, and one being Dina and Aaron’s lounge. The cosy setting here, with the roaring fire and lit candles, belies the tangible emotion of these two characters on the brink of a moment that will change everything. The combination of which is captivating. It’s never fully revealed what has happened to cause such a scene, and for me this is what actually makes this film so different and moving. Damien Ashley brings a real sense of intrigue and passion to the role of Aaron and most definitely draws in the most empathy here. At times, however, I found it difficult to buy into the character of Dina. Whether intentional or not, she came across as rather wooden in places and as though her emotion was forced and unreal somehow. Perhaps this was part of her character psyche and tied into her role, but I did not feel this was solidified throughout or cohesive enough during the full production to make this clear. Overall, this a beautiful snapshot in time that has such a minute focus you simply won’t be able to look away. Click here for more Short Film Reviews #Shortfilmreviews #SarahSmeaton #ShortFilms #FilmReviews #Drama #IndieFilmreviews

UK Film Review managed to catch up with filmmaker Usher Morgan, whose short film Prego has been featured on the site. During his interview with Chris Olson, Morgan reveals a little bit about his career, filming in New York City, and his influences as a director. Tell us a little bit about yourself and your film career thus far My name is Usher Morgan, I'm a writer, producer, director. I started my career in the book publishing business and made my way into the world of film. I am currently working on my first feature film entitled, Pickings. Check out www.PickingsFilm.com for more info. What can you tell us about your short film, Prego? Prego is a cute little short that offers a humorous take on unplanned pregnancies, it follows the story of Emily (played by Katie Vincent), a young woman confronting a one-night stand (played by Taso Mikroulis) with the revelation that she's pregnant. Things go from bad to worse when she comes to grips with the realization that the man may not be a suitable father figure to her unborn child - it's got some sad moments and funny moments - and overall, plenty of heart. I wrote, produced and directed the film in early 2015, the film was finally released to the internet in December of 2015 after a 9 months festival run. The short won some awards which helped us "stir up" some buzz for its release. We had a lot of fun making it and hopefully people will have as much fun watching it! Why did you want to make this film? I have friends who were in a similar situation on both sides of that conversation and I thought that many people could relate and find the humour in it. You have two 'kids' who don't really know anything about each other, aside from a drunken one-night stand, and now they are forced to come to grips with a new, life-altering reality and be adults about it. Prego was my "introduction" to the world of film and the art of writing, directing and producing a film from thin air, it will always have a special place in my heart. Did you face any limitations making this film? We only had access to our location for a single day (15 hours) so we had to constantly fight against the clock. Our crew getting a parking ticket 20 minutes into the shoot didn't help, but hey - we were filming in New York City. As far as time goes I guess that's just the way of the indie, it's a pretty common problem. Who are your filmmaking influences (if any)? And do you have any favourite films? I adore both Quentin Tarantino and Wes Anderson, two very different filmmakers with very different styles but still, my absolute favourites. I've watched and read anything they ever made or wrote, I take the time to study their films when I can. You can see a lot of Wes Anderson in Prego and a lot of Quentin Tarantino in my upcoming feature film, Pickings. I am also a big fan of Sergio Leone, Howard Hawks, Alfred Hitchcock and the Coen Brothers. I love almost anything and everything they do. As far as favourite films are concerned I can compile a top 500 list if you'd like and send it to you, but I bet we'll add a few names to the list before this year is over. What would you say is your main motivation for making films? I LOVE movies, cinema, motion pictures - whatever you want to call it, the art of telling stories via images moving at 24 frames per second - there's magic in it! I love watching films almost as much as I enjoy making them and I hope and pray to have the opportunity to do this every day for the rest of my life. I just love it so much! That pretty much sums it up, doesn't it? What would you say if you were a dolphin? Oh wow! Look at all that sea weed... Check out Morgan's short film, Prego, at the film's website - www.pregofilm.com #Interviews #ChrisOlson #Shortfilms #Filmmaking #FilmmakerFeatures #QuentinTarantino #WesAnderson #SergioLeone #HowardHawks #AlfredHitchcock #CoenBrothers

In an interview with Taso Mikroulis, star of short film Prego, we explore the filmmaking experience, character acting, and...of course...what he would say if he was a dolphin... Interview by Chris Olson Tell us a little bit about yourself and your film career thus far. I’m originally from Chicago and lived a few years in Greece for college. I live in Manhattan and am a big fan of doing indie work and theatre. What can you tell us about your character (Mark) in the short film, Prego? The character was initially molded after on of Usher’s acquaintances. We worked hard on finding the perfect resting “is anybody home” face for him and decided to make him as ridiculous as I can be but being as true as I can to my circumstances. And defending what ridiculous things this guy was saying. I wanted to give him a heart on top of everything written. Why did you want to feature in this film? Was there anything that drew you to the character? Or was it more the project as a whole? Katie originally recommended me to Usher when he was looking for an actor. She talked me up so I had to make sure I didn’t suck. I submitted a video audition and booked the role the same day. Thank God he liked what I did because there were so many ways this character could have gone. I love characters you can play arbitrarily and really have fun. How was the filmmaking experience working on Prego? Were there any highlights or hardships? We shot Prego in one day. It was my first time working opposite Katie and first time working with the director Usher. We shot for 15 hours in one location and had no idea how things were going to turn out. We had a lot of fun filming it but because everyone on set was professional and talented, we made it happen. I was pleased with the end result. I built a great relationship with the team and we’re already working on our next project. Do you have any favourite actors or directors? Who would you most like to work with? I would give anything to work Guillermo del Toro. I’m infatuated with his work and love the way he tells his stories. Have him put me in a movie with Kate Winslet, Al Pacino and Meryl Streep and I wouldn’t be upset if I died the next day. What’s next for you? Pickings the feature with Usher and the team again. I’m working on a few independent shorts films, one of which is in the festival market called “The Weekend”, and two features that are currently in pre production. I’m really excited about writing my short film “The Girl at the Door”, with my writing partner. Hopefully I can get back on stage at some point. Let’s see where these roads lead me. What would you say if you were a dolphin? Here fishy fishy… You can find out more about Taso on his website - www.TasoMikroulis.com #Interviews #ShortFilms #Filmmaking #Acting #GuillermodelTero #KateWinslet #AlPacino #MerylStreep

Star of our Short Film of the Month "Prego", Katie Vincent, took some time out her busy schedule to talk movies, characters, acting and yearning to be the love child of Hollywood royalty. Interview by Chris Olson. Tell us a little bit about yourself and your film career thus far I’m Katie Vincent and I’m an NYC based actor, writer, songwriter, and visual artist. I’m a total film buff, so naturally, I do mostly indie film work. So far I’ve done a good amount of features, shorts, episodic work, and commercials. Went to NYU Tisch. For specifics you can visit my website, www.katievincent.com. What can you tell us about your character (Emily) in the short film Prego? Emily is the ‘Little Engine That Could’. We all make mistakes, and throughout the film she is trying her best to make the best out of her really crappy situation. She’s sassy, and honest - so far as I can see, a true-blue fighter. Sure, she has moments of weakness, but she seems pretty damn determined to make it work. After all, she’s having a baby! And that comes first…Granted, the ending is a bit of a twist, but maybe it’s truly a blessing in disguise (no spoilers!). Why did you want to feature in this film? Was there anything that drew you to the character? Or was it more the project as a whole? When I got the script for the audition, I thought it was really funny. I love a good comedy, especially when it’s chemistry dependent. I have worked with Taso on other projects, so right away I knew that the dialogue would absolutely open up if we two were the one’s to do it. Similarly, it’s a comedy, but it’s based in real emotions. Being funny and being truthful are two traits that are surprisingly rather closely aligned. If I can make someone laugh because I’m crying over real life stuff that stings…what’s better than that? That’s downright Chekhov right there. How do you approach a role? Do you have anything specific you want to achieve? Or do you evolve with the filmmaking? When I approach a role, my number one goal is to make sure that ‘I’ am the one approaching the role; not my idea of what the role should be, or what someone else thinks they’d like to see. This is a person in a circumstance - honour both of those things, and more often than not, it’ll all be okay. Do you have any favourite actors or directors? Who would you most like to work with? In a perfect world I’d be the seemingly impossible love-child of Joaquin Phoenix, Jim Carrey, and Marlon Brando: awkward and dark, but kinda sensual. Now that’s understood, if I could then have Tarantino or Kubrick direct something that I’m in with any (or all) of these actors…I’d be smitten. I don’t know, maybe I could make this into my own feature, “It Happened One Night”…I’m sure everyone will get on board…Brando and Kubrick might be a little hard to get a hold of though. That actually sounds pretty amazing! What’s next for you? Next I’m working with Usher and Taso again! We’ve got ourselves a bit of a film family at this point. We’re a little more than halfway through with principle photography for a feature called ‘Pickings’. We’ve been working on this thing for close to a year now. Usher was/is terrific enough to bring me on as a writer and a composer for the project. I’m also co-starring in it with some other fantastic talent! It’s been such a labour of love and a creative adventure. I consider myself very lucky. Aside from that…I’ve got another short coming out called ‘Hotel’ with Manmade Productions. I’ve also got a feature, that I shot with Manmade, in the festival circuit that’s doing pretty darn well called, ‘Before The Snow’. What would you say if you were a dolphin? Probably something more intelligent than anything I’ve just said… Dolphins are supposed to be reeeaaaaallllllll smart. Check out Prego on the film's website - www.pregofilm.com #ChrisOlson #Interview #Shortfilms #Acting #Filmmaking #IndieFilms #JimCarrey #MarlonBrando #JoaquinPhoenix #StanleyKubrick #QuentinTarantino

Directed by John Perivolaris Starring Miranda Langley Written by C.J. Lazaretti Short Film Review by Monica Jowett Short comedy film Mona and the Stations of the Cross, written by C.J. Lazaretti and directed by John Perivolaris, shows a young woman struggling with her boyfriend’s issues and subsequently turning to Jesus as a way of getting through. Miranda Langley stars as Mona, who is confused and upset by the way her boyfriend has been treating her. Entering her room, she is clearly at a low point, and her continuous monologue that goes on for the 9 minutes of the short film portrays the chaotic life of a young woman in love. The dialogue ranges in emotions, to the point the viewer wants Mona to be quiet, and not think out loud. She is her own enemy, alternating between hysterical, sombre, agitated and sometimes calm; the monologue is a tumultuous account of what is going on inside Mona’s head. For a young woman with One Direction posters on her bedroom wall, she seems to be thinking very seriously about her relationship. The film is set in just one room: Mona’s. The sparse decoration doesn’t feel that homely or as though it is a real bedroom of a young woman. However, the small space is used well. Mona, in her long rambling of feelings, moves around familiar with the features of the room, from lying on the floor, leaning against the wall to curling up on the bed. The inclusion of the crucified Jesus on the wall seems odd, especially as Mona talks to it as though he is her long term friend, but you discover Mona is Catholic and finds comfort talking to the symbol of her religion. Despite the fact it does not respond, she looks to it for guidance, and though she never gets an answer, her non-stop obsessive flow of words comes to the conclusion of what to do - as though the crucifix has been talking to her the whole time. One of the highlights of the film was the clever use of the lighting. The bedroom setting utilises the overhead light, but as Mona goes on her obsessive unravelling of her boyfriend’s actions, the lighting has subtle changes that reflect her emotion. Toward the end, when Mona feels enlightened by what she must do, the lighting is brighter, almost like a sun ray highlighting her face, but her mood and her actions change dramatically, making the room darker, and her face goes into shadow. For such a small space, and in a small amount of time, the lighting and cinematography techniques are used well. The inclusion of religion gives what could have been an average film about a young woman’s torment some edge. It creates a new angle by which to look at her problems, and adds another layer of comedy to the film. Click here for more Short Film Reviews #Shortfilmreviews #MonicaJowett #ShortFilm #Religious #filmreviews #Shortfilms

★★★ Directed by Bryan Singer Starring James McAvoy, Jennifer Lawrence, Michael Fassbender, Oscar Isaac and Nicholas Hoult Film Review by Chris Olson One giant leap for Mutant-kind...backwards. If you can remember the two films preceding this latest addition to the X-Men franchise (First Class and Days of Future Past), and we wouldn't blame if you didn't - there have been a lot of superhero films along the way - then you may have some fond memories of some brilliant sequences which restored your faith in these characters, and made you excited about more mutant movies. True to its name, X-Men: Apocalypse is completely destructive chaos and manages to tear everything down which came before, whilst blasting the viewer in the face with a familiar smorgasbord of super powers and action thrills. Set ten years after Magneto (Michael Fassbender) picked up the football stadium and nearly killed the president, X-Men: Apocalypse sees in a new decade (the 80's) where most of the characters are dispersed across the planet attempting to carve a new life for themselves. Erik aka Magneto, is living a quiet life in a Polish village with his wife and daughter. Raven (Jennifer Lawrence) is a rogue force attempting to prevent anti-mutant violence and avoiding her new-found status of hero after saving the world at the end of DOFP. Professor X (James McAvoy) is at his school for the gifted, shaping the lives and abilities of the newest mutant recruits, including the visually dangerous Scott (Tye Sheridan) and the mysteriously troubled Jean (Sophie Turner). When a mutant of centuries past (Oscar Isaac) is awoken by a group of adoring groupies, the end times are nigh as he has a rather terrifying ability - he can absorb the powers of other mutants and enhance them; which is the superhero equivalent of having a wish and wishing for more wishes. To further the drama, Erik's cover is blown after a factory accident leads to a terrible tragedy, setting him on a course for some heavy metal antics against humans. As far as set-ups go, for a superhero film it's not too awful. Aside from the all-consuming baddie, there was a lot to work with here and much of the groundwork had been placed in previous films. Regrettably, X-Men: Apocalypse fails to bring its own meat to the table, and instead pilfers from other movies whilst delivering the bare minimum. There are some great visual sequences and a few of the newer characters are at least compelling, but overall there is no depth, no smart filmmaking, and dialogue that sounds like it was lifted from an actual comic book. Simple one-liners and massive exposition litter the movie and treat the audience like it's 1999. Kudos to some of the newcomers, especially Turner, who gives the most grounded performance of the cast, and Sheridan is a delight to watch. The top billing members, however, look as bemused as the audience, unaware of why the franchise has taken a turn for the cheesier, and scraping through each scene with the ridiculous dialogue whilst planning their exit strategy. The obvious element which is missing is emotional depth. Whereas the previous films really grappled with the tumultuous backgrounds to these characters, and anchored their respective stories to them with gripping scenes of pathos (such as Erik's time in Auschwitz or Xavier's crippling wound), this story takes passing glances at those elements and then quickly continues with the bludgeoning visuals. Rarely are we left to contemplate the drama on screen, which makes the action sequences far less visceral when they come. Everything feels superficial and tepid, like drinking lukewarm water through a bright pink curly straw, fun to look at for a few seconds but does nothing to improve the taste. The highlights were the newer raw talent and, to some extent, the visual spectacle. The downsides were a completely lazy dialogue, lack of depth, and a shameful waste of past achievements and stellar cast. There is a post-credit teaser for more to come, but the makers will be, much like in the film, needing to do a lot of rebuilding. Click here for more Film Reviews #filmreviews #Superheroes #ChrisOlson #TheatricalReleases #BryanSinger #JamesMcAvoy #MichaelFassbender #JenniferLawrence #TyeSheridan #SophieTurner #Marvel

Directed by Connor O’Hara Starring George Mackay, Elliot James Langridge, Rory J. Saper & Alex Esmail Short film review by Kurran Sohanta Infinite is a heart-warming short British film by independent company Lowkey Films, centred around a group of male friends as they come together to make memories of their dying friend ‘Infinite’. The immediate impact of the slow strumming of the guitar in the opening scene, coupled with the sepia-toned lighting of a fire, creates a rather poignant and emotional mood for the viewer. Director Connor O’hara draws on personal life experiences to create a truly honest and powerful short film which is the biggest project for the Surrey-based film company yet, requiring a crew of over 70 people, including three time Oscar winner, Peter Young. The young cast are terrifically led by BAFTA nominated George Mackay (Pride, 2014), who portrays a terminally ill young man with an incredibly uplifting, heartfelt performance. This coming-of-age drama follows the story of five friends who fulfil the wish of their dying friend (George Mackay) by planning to burn specially chosen items on a fire to make memories attached to the items ever-lasting for them all in some sort of ritual. From here, we learn of the wonderfully refreshing take on dealing with the sensitive subject of death by a 21-year-old, who has a surprisingly positive attitude towards life-changing news. The casting is impeccable as the tangible chemistry between the group captures the strength of friendship in the face of adversity. The exchange between Digs (Elliot James Langridge) and their dying friend when they discuss his unusually optimistic outlook, conveys a powerful message of living life to the full and “realising what actually matters” which is particularly moving. What is noteworthy is that Infinite doesn’t feel like a short film. What director O’hara and the writers have done here, is to create such a meaningful narrative, that it completely reshapes the scarily terrifying notion of death into an opportunistic and door-opening experience post credits, which is a rarity. This short film tugs at the heartstrings in such a way that you can’t help but feel an abundance of warmth from the characters. Death is certain, but what matters is how you choose to experience life that precedes it. We have more Short Film Reviews this way #Shortfilmreviews #ShortFilms #KurranSohanta #IndieFilms #Britishfilmmaking #SupportIndieFilms

Written and Directed by Jim Rothman Produced by Jose Alvarez Starring Andrea Mueller, Zailee Madrigal, Jose Alvarez, Jim Rothman, and Christian Witte Cinematography by Alex Simon Music by Tim Beck Short film review by Euan Franklin In this stumbling cavalcade of horror movie homages, Scythe follows a fretful American teenager as she is pursued by a local serial killer known as ‘The Grim Reaper’. Set in California, Amy (Andrea Mueller) is chased through a suburb in Pasadena until she finds refuge in her own home. She soon realises that nowhere is safe. The film opens with Amy and Tracy (Zailee Mandrigal) two teenage schoolgirls smoking weed in a clinically lit bedroom and discussing life after school. Amy leaves and the other turns the TV on to a Breaking News broadcast announcing the escape of the Grim Reaper Killer. Tracy attempts to phone Amy and warn her, but the line cuts out. Amy is left to fend for herself. It fills a film fan with joy and snobbishness whenever a shot or a scene is visibly stolen from another film. Many directors take pleasure in their thievery, knowing their story will be enhanced by another director’s technique. Jim Rothman, with his favourite horror movies projected across his cinephilic eyeballs, attempts to employ the methods of John Carpenter, Stanley Kubrick, and Alfred Hitchcock into this fourteen-minute short. The methods from the masters work to the film’s benefit, but they cannot support it. We have the Escaped-Psycho-From-A-Local-Asylum premise from Halloween (1974), replacing the intriguing Michael Myers with the unidentified Grim Reaper Killer. The famous Halloween wide tracking shots are stolen for Scythe during the chase sequences in the Suburban streets, providing an uneasy atmosphere. The cues from Eyes Wide Shut are also noticeable during this scene, using amplified piano keys to heighten the tension between cat (Grim Reaper) and mouse (Amy). Credit has to be given both to Alex Simon for creating this eerie tone using colourful, low-key cinematography and Tim Beck for his chilling music score – working together to create a half-decent anticipatory sequence. These two artists manage to elevate an otherwise amateur production, scratching the skin of professionalism. Penetration is stunted, however, by Rothman’s unkempt screenplay, which is simply too long. The film opens with Amy and her stoner school-friend smoking weed in the latter’s bedroom, before the former breaks into a tediously extraneous life monologue in one long static shot. The film continues this trend of superfluity with further shots and scenes that could have been ripped away in preproduction: The chaser in the streets is revealed to be an arbitrary man wearing a hoodie; Amy opening the door to the basement and not going inside; The killer is left unseen, unheard, and unsought until the thirteenth minute. The film runs over fourteen minutes long and feels far longer. Cutting Scythe to half its length would make the story more impactful and engaging than its current manifestation. As it is, I felt slumped in my seat instead of perching on the edge. If you’re a horror fan and you don’t mind a basic effort (music and cinematography aside), then I would suggest Scythe – but don’t blame me for your inevitable disappointment. Click here for more Short Film Reviews #Shortfilmreviews #ShortFilms #EuanFranklin #Horror #filmreviews #IndieFilms #AlfredHitchcock #StanleyKubrick #JohnCarpenter

Directed by Eduardo Jed Camara Starring Connie Shelton, Marcus Payne, Joseph Campion & Elle Redshaw Short film review by Sarah Smeaton Somewhere in the Universe is a beautiful short British film set on the idyllic Somerset coastline. The standard of shooting is impeccable, and teamed with dramatic and imposing music throughout, this is a striking piece of artwork here. The juxtaposition of wide shots of Clevedon Pier with the close ups of mundane tasks in the opening sequence, such as the wiping of a surface and the tying of an apron, cleverly depicts what is at the heart of this short film. It is a message of how even though the everyday tasks take hold, the bigger, wider picture is always trickling on by in the distance, sometimes with us not even being aware that it is. We meet Charlie (Marcus Payne), a twenty-something guy, working in a beach café when a blast from his past literally walks through the door. From here we have a sequence of moving flashbacks that focus on when he was child with his best friend Mona. The casting here is particularly noteworthy, with young Mona (Connie Shelton) and young Charlie (Joseph Campion) both showing fantastic potential as fresh acting talent. It is quickly apparent that the young redhead from Charlie’s childhood is the lady who has walked into his café and ordered a coffee. For Charlie his life hasn’t moved very far from where he grew up. He’s only yards away from where he used to play with Mona as a child. And here is the girl he fell in love with all those years ago but who was taken away from him. One of the most poignant moments in Somewhere in the Universe is, when in the flashback, young Charlie is struggling for breath and Mona reaches out to him with his inhaler. This is a motif that is used throughout to signify the strength of their friendship, Charlie’s gratitude and ultimately his love for Mona. A heart-breaking story of how two best friends were separated by Mona having to move away from the area with her parents. Mona (Elle Redshaw) has lived an unknown life away from where they grew up as children, and where Charlie still lives now. You will be on the edge of your seat waiting to find out how Charlie will react to Mona inadvertently coming back into his life after so much time and distance has passed between them. Writers Eduardo Jed Camara and Robert Swithenbank have created a really originally piece of work here. They could have stuck to the age-old story of unrequited love but they’ve taken this much further and entered into newer, more engaging territory. Somewhere in the universe is that person we all still think about but for whatever reason has left our life; be it a friend, a family member or a long-lost love. This short film taps into all the emotion surrounding this in such a way that you can’t help but be swept up in the events that unfold for Charlie. #Shortfilmreviews #SarahSmeaton #Shortfilms #Britishfilmmaking #SupportIndieFilms

★★★★ Directed by Brett Harvey Starring Ben Dyson & Simon Harvey Indie Film Review by Lorenzo Lombardi “What happens on the moor… stays on the moor” is the tagline for indie film Brown Willy, and serves as an ultimate reminder of its quietly relatable and entertaining effectiveness. Brown Willy invites the viewer on a voyage of existential contemplation and uproarious comedy as it follows two old school friends as they have a stag do (a party held shortly before a man enters marriage) in Bodmin Moor. Groom-to-be Michael (Ben Dyson) plans to reach the titular Brown Willy, the peak of Cornwall, alongside friend Pete (Simon Harvey). However, after a stop-off at the pub and another sort of consumption, they are left battling the elements as well as each other. The granite moorland is a scenic sight filled with horses, rocks, and nothing much more. This was a great place for the story to be set in then, as it parallels the mental isolation of the characters from the world. Ben Dyson plays Michael solidly as a reserved, mature-if-dissatisfied character while Simon Harvey’s Pete is an unpredictable clinger to the past and to adolescent ideals of their teenagehood. Viscerally, Brown Willy achieves things most micro-budget films cannot, under the careful direction of Brett Harvey. The cinematography, shot by Adam DJ Laity, of whom obtains a very promising photographic eye for beauty. Extreme long shots of landscapes and the black & white’s emitting bleakness make this film a pleasure to behold, cementing its unusual style. Brown Willy’s themes are told in black & white frames for a reason. Pete feels disconnected from the society as others’ expectations overwhelm him. He also thinks Michael has changed since school, and not for the better, pertaining to the sense of longing in this film. On the other hand, this type of relationship has been done many times before that it feels slightly familiar. Thankfully, though, the onscreen chemistry of Dyson and Harvey make up for that, as they have many conversations and quarrels that are entertaining to watch. Speaking of which, the script is both humorous and poignant. Themes are executed through begrudged dialogue between characters that reminisce the past and cynically look down upon the pressure and responsibilities of adulthood. Michael and Pete seemingly represent a voice inside multitudes of individuals who have not come to terms with the obligatory conformities of self-image, or the nostlagic longing to return to happier days. These desires should resonate with viewers and provoke meaningful thoughts after their experience. Brown Willy is a beautiful and funny journey. Even in moments of near-slapstick, the film manages to keep its calm sensibility, boosted by entertaining performances and a solid script. Implementing mostly steady but incredibly stark camera angles, the viewer will feel Michael and Pete’s alienation, but also get an amusing giggle out of it. Click here for more Indie Film Reviews #Indiefilmreviews #LorenzoLombardi #IndieFilms #SupportIndieFilms #filmreviews #Comedy

★★★ Directed by Clay Kaytis & Fergal Reilly Starring Jason Sudeikis, Josh Gad, Danny McBride & Sean Penn Film Review by Alexander Halsall When Finland based Rovio Entertainment, the group behind the Angry Birds videogames, announced a film adaptation of its headline series it probably made sense at the time. Angry Birds had become a cultural flashpoint of the mobile gaming industry and following the successful development of a cartoon show based on the rage fuelled birds their decision to take a leap into the cinematic arena seemed plausible when you consider the incredible success of titles such as The Lego Movie. However since work on the film had begun the popularity of Angry Birds has declined resulting in Rovio Entertainment laying-off (no bird-based pun intended) forty percent of its employees. Interestingly this venture to further illustrate the multi-media potential of the Angry Bird franchise may now be saddled with the responsibility of saving it. Having invested at least $80 million in producing the film, and another $100 million in marketing, it is by far the most expensive Finnish film ever produced and a box office bomb could lead to the capitulation of the entire company. Red (Jason Sudeikis) is a bird with an anger issue. Following yet another rage-fuelled incident he is sentenced to undertake an anger management class ran by Matilda (Maya Rudolph). At first Red doesn’t get along with the other members of the class which include the Speedy Chuck (Josh Gad), Self-conscious Bomb (Danny McBride) and terrifyingly huge Terrence (Sean Penn). However when some pigs arrive on the Island, led by Leonard (Bill Hader), Red believes they are up to no good and with the help of his fellow birds attempts to find out what the pigs are after. Angry Birds throws a lot of jokes at you, and their quality is very mixed, from a frankly exhaustive amount of bird and pig based puns (seriously, if you enjoy poultry based puns you will love this film) to a range of visual and sight gags that some of the younger viewers won’t understand, and some of the older viewers won’t find amusing. Having said that there are plenty of jokes that do hit the mark, and the frenetic pace of the film keeps you engaged with the action. Sudeikis is charming enough as Red to be likeable and is ably supported through the incessant energy of Gad and the, surprisingly lovable, Danny McBride. The story is kept very simple, and moves along with such speed that it never really allows any of the emotional moments the film does have time to breathe. Therefore Angry Birds does not offer as much pathos as films like Zootropolis, or the best work of Pixar, or even The Lego Movie but is still serviceable enough as an entertaining experience. Sony Pictures Imageworks have done a great job animating the film with a lush colourful atmosphere and nicely designed characters even if the world in which they inhabit seems a big rigid. Overall I feel this is a pleasantly engaging movie with enough comic weight to yield a few laughs from even the staunchest objectors. Though not a masterpiece, or close to overcoming the better animated features of recent years, it is certainly not the cringe inducing film some had expected it to be when it was first announced. In fact, with little true competition, Angry Birds may be the best videogame to film adaptation of all time, though with Warcraft and Assassins Creed out later this year it may not hold the title for long. Film Reviews this way, if you please #TheatricalReleases #filmreviews #Animatedfilmreviews #Animation #AlexanderHalsall #JasonSudeikis #JoshGad #DannyMcBride #SeanPenn #VideoGameMovies

Directed by Ben Mallaby Starring Richard Herring and Rachel Stubbings Short film review by Alfie Shaw While You Were Away is an amazing, bleak comedy. Building quickly to the central premise and gag, the film then expertly mines it till it’s conclusion. The story of While You Were Away is that of a simple argument between a married couple. To say what the argument is about would be to spoil a fantastic punchline, but where it leads touches lightly on many themes, from the nature of masculinity, to how we justify decisions to ourselves and others. As it builds, the justifications given by both characters get more and more absurd and the jokes start coming thick and fast. However silly the lines get, the whole piece is grounded by superb performances by Richard Herring and Rachel Stubbings. Visually, the film is stunning. The lighting in particular is used to great effect. Herring’s Mark sits mainly in the dark, reinforcing the dark nature of his dialogue. Stubbings’ Susan is conversely in the light, making her visually enlighten which ironically juxtaposes her role in proceedings. All of the lighting is done via the lamps in shot, grounding the film firmly in reality. This doesn’t feel like it’s happening in a sanitised film home, this feels like it could really be happening next door. It also makes great use of close ups, placing the viewer in the position of almost active participant in the argument as though to examine each and every word the characters say. The frequency of close ups greatly increases as the couple become closer through the argument. The film benefits from brilliant direction (Ben Mallaby) building on a hilarious script. You can’t help but feel attached to the couple very quickly which really pays off when the jokes become more and more frequent. By investing in the mundane, it heightens the humour of the comedy. The film suffers from some minor audio issues. Some of the dialogue clips and this really breaks your immersion in the short film. It’s by no means a deal breaker, the performances quickly re-invest you in the narrative, but sits at odds with the rest of the film which is produced to such a high standard. If you are fan of comedy, especially black comedy, you have to watch While You Were Away. It manages to be much funnier than most Hollywood comedies of the past few years in a fraction of the run time. Beautifully shot, constructed and acted, it’s easy to see why it’s already claimed a few awards. I cannot recommend it highly enough. More Film Reviews this way #Shortfilmreviews #filmreviews #AlfieShaw #BenMallaby #RichardHerring #RachelStubbings #IndieFilms #Comedy