Filmmaker Interview by Chris Olson Hi Xiwen, many thanks for chatting with us. How has the pandemic been for you? First of all, thank you very much for the interview. The pandemic has definitely been a tricky time for everyone. Being Chinese, my community was and is still going through a tough time because of Covid. As a filmmaker, I felt obligated to use my skills and speak out. Using the time I had, I wrote a script dedicated to the people who had suffered from the pandemic and addressed the incidents that happened to the Asian community. Luckily, this film, Cha, was made with the help and support of many lovely and talented people. Your filmmaker career spans multiple mediums (commercials, music videos, narrative cinema). Which is your favourite and why? I enjoy all of them because you have different experiences every time. The beauty of directing is getting to know new, talented, interesting people and, of course, the creative process. The workflow for commercials and music videos is much quicker than for a narrative piece, which trained me to think on my feet, always engage with others and stay active. What can you tell us about your film, Cha? Cha is a very personal film. My films always address personal or social issues, and I believe Cha perfectly represents that. Seeing all the attacks and assaults towards Asians and Asian Americans on TV just profoundly hurt me. I have lived in the U.S. for a decade now and had never seen so much hatred towards the community. Out of that, I wrote the script; with the help of my producer, we launched a crowdfunding campaign and received tremendous support from so many people. We reached out to some of the donors, and found so many who saw the value and message of Cha and didn't hesitate to help us make it happen. When we needed a traditional-looking American farm, I reached out to one of my friends, who owns the perfect place for the story we wanted to tell. He was happy to let us shoot there for free. Our crew was fantastic as usual. The location was pretty far from Chicago (where we were based at the time), but everyone involved was more than happy to make that trip to help us bring these issues to life. I truly appreciated everyone's effort. Now, Cha has reached distribution, and it will hopefully reach more people around the globe. How did you get into filmmaking? I have always loved films, but I didn't get into filmmaking until college. When I was a kid, the ritual in my family was to eat pizza and go to the movie theatre every Friday night. This ritual ended about the time I went to middle school. When I went to college, I took a film class, and the feelings and memories all came rushing back. After graduating undergrad, I decided to pursue my filmmaking dream. I have been doing it since then, and I love it! Who are your filmmaker heroes and why? As a director myself, a couple of people I look up to are David Fincher and Terrence Malick. You might say they have very different styles, from the stories they tell to how they approach them aesthetically. For me, that's the beauty of filmmaking, how unique people are, and how creatively fulfilling every project is. What's next for you? I have different projects going on, both in the music video/commercial sphere, and a couple of narrative pieces. I have a feature script about a young Chinese gay man who lives in New York City who struggles to come out to his mother, due to their cultural roots. Meanwhile, I am collaborating with other creatives on a short film about organ trafficking. And, of course, I am making music videos and commercials for artists and brands across the States. Read our Cha film review here.

Filmmaker interview by Patrick Foley Thank you for speaking with us! Give us a brief overview of your short film Cha Thank you so much for having me! Cha is about heritage, family, and belonging. Our goal was to create something that resonates with people and shows the impact of racism and violence on those most affected by it. Grandma’s story is one of heritage, family, devotion, fighting for your place in the world, and we treated this film as a celebration of all of that, as much as we talked about the pain caused by racism and violence. What does the film mean to you – why did you want to tell the story of Jiho and his Grandmother? Stories that have a social impact have always interested me, especially revolving around immigration and the struggles of fitting into a new society. With Cha, we also explored the idea of generational gap and how different people are reacting to these issues, especially during the Covid-19 pandemic, that has brought to life the hatred that Asians have suffered for so long. Working to tell this story with a diverse group of people, to shine a light on this conversation, has been an honor for me, and I'm proud to have had the chance to help bring Cha to the screen. This is the fourth film you have produced with director Xiwen Miao. What is special about your partnership and how does the filmmaking and creative process work between you? Xiwen and I have a close professional relationship that has developed over the last few years. So far we have made four shorts that have received 30 festival selections and numerous awards. We have now worked on six music videos together in the past few months alone. Her directing style and the stories she is interested in exploring have always been captivating to me. She is an incredibly talented artist and I am proud to collaborate with her in any project she will have in the future. Joy Sung Kim and Thomas B. Tran have a marked chemistry in the film as grandmother and grandson, with plenty of endearing moments which demonstrate their close bond – despite some significant differences of opinion. How important was casting the roles to show these differences, whilst maintaining the familial love the pair share? Joy Sung Kim worked with Xiwen and I on Farewell Symphony, and we knew that the character of Grandma was perfect for her. Her poise and talent fit the ideal person we wanted to play such an important role. Thomas came on shortly after we casted Joy, and they started working together immediately, with Joy helping Thomas with his Korean, teaching him the proper pronunciation of the lines he had in the script. I give full credit to Xiwen and the talent for creating this chemistry and bringing to light such a tight and difficult relationship on set, despite not having any in person rehearsals. They did such a great job, I was very impressed with both of them. Jiho and his grandmother hold different opinions on fighting back against the hate they are subjected to from some in their community. Do you think that there has been a generational shift in the Asian-American youth of today and their willingness to speak up and fight back against injustice and intolerance? The generational gap spans multiple issues, especially when it comes to socioeconomic and racial struggles. Our film hopes to inspire a conversation about these matters. What role can cinema play in pushing back against intolerance? Cinema can inspire conversations, and conversations can help change the way the world works. With Cha, we really hoped to do just that. The film borrows techniques from the horror genre during an intense chase scene. Was this a deliberate decision from the director and what were the purposes behind this? I personally love the allusion that the aggressors are as scary as any on-screen monster Xiwen wanted to show a duality of terror and overwhelmingness caused by such a heinous and horrific attack. She wanted to really make the audience understand the monstrosity that it takes to carry on something so disgustingly evil, and at the same time she wanted to point out the larger than life nature of a blatantly racist attack. I think she delivered on that, leaving a very impressionable feeling on the audience. It is notable that we never meet Jiho’s parents. Given the close bond with his grandmother, what was the meaning behind what feels like a very symbolic omission? We wanted to leave out Jiho's parents to have one more degree of separation between the two protagonists, furthering their divide in opinions and life experiences. Xiwen also wanted to strengthen the idea that younger generations should not only be respectful of their elders, but to also engage with them in better understanding their origins, something that was as part of the story as anything else. It felt like 2019’s Parasite was a watershed moment for English language-speaking audience’s perception of foreign language films. With language playing such an important role in Cha, have you noticed a changing trend in audience’s interest in multi-lingual films? Parasite and The Farewell really changed the landscape of Asian centered stories in mainstream American cinema, especially when it comes to foreign language films. We are seeing audiences opening up about the idea of these stories being worth exploring. With Cha, we really wanted to push how language is not only part of the culture, but it also defines the relationship the characters have, and it affects how it evolves. The deliberate use of certain words and expressions in the film set major moments for our characters and the story. What do you love the most about short films? Shorts present the opportunity to make meaningful work, explore different narratives and styles. Having the chance to work with incredible artists like Xiwen allows me to support important stories that can hopefully spark change and interesting conversations. Shorts give you the possibility to push the boundaries when it comes to storytelling and filmmaking as a whole, and that is something that I would love to keep pursuing. What is the one thing you want audiences to take away from Cha? With Cha, we really try to inspire conversations and show them how racist attacks leave a long lasting impact not only on those directly affected by it, but also on the ones that are around them. Our goal is to also celebrate Asian culture, in the hope to bring people together and explore these wonderful traditions, especially around tea. What are your next projects? I am still working closely with Xiwen, and we are developing a few projects right now. Along with that, I have been working as a producer and in production for a number of companies in both the music video and commercial world. Over the next few months, I am planning to produce more shorts, while also continuing to collaborate with the clients and artists I have had the pleasure of working with lately. I have a few projects in the works for this coming year, and I am always trying to expand my network for more opportunities. Finally, what do you love most about being a producer? I am passionate about my work in everything I do. Each project gives you something new, it's an opportunity to learn a lot, and the people I have the pleasure of working with are incredible. I am really proud of all the jobs I have had so far, with the hope that they will continue on this level. Being able to help artists in this field and collaborate with so many people in things that excite all of us is truly a pleasure and an honor.

★★★★ Directed by: #GabrielBrown Written by: #GabrielBrown Starring: #RobbieFallon, #SarahBulmer Film Review by: Emily Davison An encounter with some potential new friends gives an isolated young man the chance to get more out of life as he tries to break away from his controlling brother and a traumatic past. Finding Your True Self (2022) is a slice of life drama/romance feature, shot in Newcastle and it received its premiere in the latter half of January. The film has already gained glowing reviews from its reception at film festivals, being nominated for various awards and winning for Best Feature Script at the Calcutta International Cult Film Festival; Best Drama and Best First Time Director at the Falcon International Film Festival. The movie opens strongly with establishing shots of our central location in Newcastle and we are introduced to our protagonist, young James (Fallon), who lives an isolated life with his overbearing brother, Charlie (Shepsi Haider). Through brief flashbacks, we discover that the brothers are orphans and James was adopted by an abusive couple. When he meets outgoing, fun loving best friends Rosalind (Bulmer) and Dave (Anthony Ford), he sees an opportunity to make new friends, despite Charlie’s constant pessimism. The film’s cinematography is vibrant and inviting, giving a crisp professional quality to the visuals and the on location shooting is taken full advantage of, with some lovely shots of the Tyne bridge with fast motion photography. The city feels alive and lived in and the vivid colours contrast with internal locations during conversations between cast members. There is a memorable, intense argument between the brothers in their claustrophobic apartment where the lighting is bleak and heavily contrasts with a sweet, warmly lit scene between James and Rosalind, where they open up to each other about their darkest secrets. The blossoming tender romance between James and Rosalind is the heart of the film, with an endearing central performance from Robbie in his first feature film role. He is completely believable as the quiet, introverted James and works well with all his co-stars. The excellent screenplay is emotive and not afraid to explore dark themes of child abuse and PTSD, with a chilling scene during James’ doctor appointment, where something shocking about his family is revealed. This twist is cleverly alluded to by a line spoken earlier in the film and really enhances the entertainment factor going forward, as we see what this means for James and his romance with Rosalind. The film is true to the ups and downs of life, with a liberating and hopeful ending for James and a positive look to the future. The characters are easy to identify with, especially for young adults going through different stages of their lives and being able to come together to form bonds. The movie is also original and admirable for its location in the North East of England, which is not often focused on and highlights the filmmaking talents that this area has to offer. Overall, Finding Your True Self is a heartfelt, tender narrative brought to life by compelling direction and strong performances from all around, especially by the talented Robbie Fallon. Go give this gem a bit of love! #EmilyDavison Finding Your True Self (2022) trailer:

★★★★ Directed by: Jeff Tremaine Starring: Johnny Knoxville, Steve-O, Danger Ehren Film Review by Robert Stayte Jackass, the MTV reality series, might not have as much value now that YouTube makes videos of people performing stunts or injuring themselves so easily accessible, but it and it’s 3 movies still work as both reflections of the insane things people are willing to do for entertainment and how entertaining the end result can be. Jackass Forever is the 4th film (the first in 12 years) and it continues that trend like it never stopped. There’s no point doing a plot synopsis, like the other films in the series, the entire thing is a feature length series of scenes featuring Johnny Knoxville and team (which has typically been made up of Steve-O, Wee Man, Chris Pontius, Dave England, Danger Ehren and Preston Lacy) trying to pull off large, risky, disgusting and overall humorous stunts. A couple of new members have been added. Jackass Forever is definitely the most entertaining one since Jackass Number Two. From the beginning, which might be the most ambitious and well produced of the series, and all throughout, each of these situations and stunts gets a reaction (improved by seeing it with others) and the 96-minute runtime does not drag or let up at all. What also helps is that unlike the other films, there are only a couple of short sketches. Most of them are lengthy enough to have a proper setup and payoff. The filmmaking has never been a noteworthy aspect of the Jackass film series, but the editing is good enough to make you forget that there is not a narrative structure. What is interesting to note is that this is the first film that acknowledges just how long this series has been going on for. Whether it be Steve-O directly mentioning that it’s been 20 years since they started, a couple of re-takes on former stunts or a flashback, there is a subtle sense that this group have aged and know that they’ve created history together. There is even footage of Knoxville being injured and having to be taken to a hospital, a reminder that these stunts don’t always go right. All of this as well as the fact that there are a few acknowledgments of the filming process make Jackass Forever surprisingly self-aware. But largely Jackass Forever keeps being fun and these men are still like young friends who like messing with each other. The new additions to the group fit in nicely with Zach Holmes being the standout in terms of how he is used in these skits, though Steve-O and Knoxville steal the show with their energy and charisma. The film also has maybe the most well used celebrity cameos in any of the Jackass films, since they feel like they add to the scenes they’re in rather than just being random. If there are any flaws, it is that there are one too many sequences involving testicular torture. Whilst each sequence is thankfully inspired and not outright the same, many of them do come down to that concept so there could have been more variety. Not to mention, the film does open with a few of it’s best moments, so it can feel like the rest is not as fun or shocking, but thankfully it still stays funny. Jackass Forever is in many ways another Jackass movie, but it’s fun and gratifying to see the team continue doing what they are good at. It manages to be an entertaining return as well as a nice ode to their history. Fans will no doubt enjoy it, newcomers might want to prepare themselves for the insanity.

Film Feature by Chris Olson The Microchip that Ruined Halloween is an upcoming comedy film co-written by Miriam Bavly and Peter John. Slated for release later in 2022, the film, which Bavly also directs, stars Torae Carr, Jackie Hoffman, Princess Love Norwood, and Jimmy Palumbo. The film's plot follows a dangerous inmate called Robert Kewass (played by Carr) who undergoes an experimental procedure at the hands of his psychiatrist, Dr. Judy Keplach (Hoffman). The doctor implants Robert with a microchip and then sends him off to college, where he is given a second attempt at his wasted life. However, his experience soon becomes compromised, leading to a bizarre Halloween evening on campus. "The Terminator", "Elysium", and "Gamer" are all films that include microchipping. In "The Terminator", the villain, Skynet, implants a microchip in the protagonist's head to track him down. In "Elysium", the wealthy elite use microchips to control the population. And in "Gamer", the protagonist is forced to play a game in which he is implanted with a microchip that allows his controllers to monitor and manipulate him. Each of these films explores the implications of microchipping and raises questions about what it could mean for our future. Are we headed for a world in which all of us are controlled by machines? Or is there a more sinister agenda at play? These are questions that we will need to answer if we want to avoid a future in which we are all slaves to the machines. These films, and most of those that have a plot involving microchips, are often serious science-fiction movies. The Microchip That Ruined Halloween may very well be the first that combines microchipping a person with Halloween and comedy! Production company BreakOut Music is behind The Microchip that Ruined Halloween and they look to impress audiences with an array of musical talent from their books dropping into the movie. Miriam Bavly and Peter John are co-founders of BreakOut Music, making this a very personal endeavour, and the promotion has thus far promised twists, comedy, and horror in this upcoming release. The studio has released several other films in the past, with Bavly at the helm, including The Drone that Saved Christmas, and The App That Stole Christmas. This upcoming release appears to be the first to be set in the festive season of Halloween! Hoffman, who plays a lead role, has featured in a number of impressive films across the years. Some of the small parts in big films she has produced include 2014's Birdman or (The Unexpected Virtue of Ignorance) where she plays Mary - or Lady on Balcony - as well as Aunt Sylvia Largeman in 2004's Garden State. She was nominated for a Primetime Emmy in 2017 for playing Mamacita in Feud - a TV mini-series. It will be fascinating to see how she connects with the material here. Fans are still waiting for a trailer to drop for The Microchip That Ruined Halloween but will still be excited to see how this interesting premise is delivered by this promising cast. #ChrisOlson

The murder mystery genre has a unique place in the film lexicon. A suspicious death tracked by a tenacious sleuth; teasing clues and a throwaway comment that could be so important. A study in misdirection and sleight of hand that makes the audience work to find the solution. I have always been drawn to the genre; a self-indulgent excuse to play detective from the comfort of my armchair. Insulated from the badness and danger of the real world, we can watch hapless characters dispatched by a cruel and calculating assailant. Find the means, motive and opportunity and you've cracked the case. Arthur Conan-Doyle laid the template with the legendary Sherlock Holmes. The pipe smoking sleuth with a fondness for opium first appeared on film in 1921. Ellie Norwood starred in the Hound of the Baskervilles at the height of the silent era. Since then countless actors have donned the deerstalker; but none finer than Basil Rathbone who played Holmes in 14 films between 1939 and 1946. With Nigel Bruce playing trusty sidekick Dr Watson he set the gold standard. The protagonist or person who solves the crime might be a private investigator, amateur sleuth or more logically a police officer. Strangely, the cop doesn’t show up as often as one might expect. They have often been portrayed as bumbling fools trailing in the wake of a superior sleuth. However, there are ultra-cool cops who’ve broken the pattern. Like Sidney Poitier who led the way as Virgil Tibbs, a detective who overcame naked racism in the Deep South. In the Heat of The Night (1967) was a seminal murder mystery that explored much more than just the ‘who, how and why’. But the classic formula remains the whodunit popularised by the delightfully English Agatha Christie. There have been over 40 film adaptations of her stories with the first, The Passing of Mr Quinn released in 1928. Two of literature’s greatest sleuths came from the pen of Christie; the inscrutable Miss Marple, so memorably portrayed by Margaret Rutherford; and Hercule Poirot, the Belgian detective with impeccable manners and deportment. Peering over half-moon glasses and a delicate moustache Poirot has been a gift to our finest character actors; Peter Ustinov became the common reference point with three big screen outings as Poirot. The whodunit is also known as a ‘closed mystery’, where the killer’s identity stays under wraps until very late in the story; thus allowing the protagonist time to gather evidence and make their deductions. In contrast, an ‘open mystery’ reveals the culprit at the beginning, with the hero unravelling the mystery and presenting the solution. This is essentially a howdunit as the logistics of a crime are studied to prove the villain’s guilt. Alfred Hitchcock often used this technique and was exemplified in the 1954 classic Dial M for Murder. Here, smooth and slippery Tony Wendice (Ray Milland) plans the murder of his wife Margot (Grace Kelly) in the opening scenes. But it’s up to the dogged Chief Inspector Hubbard (John Williams) to work out exactly how he did it. The second limb of an open mystery is the whydunit; a tense and psychological exploration of the killer’s motivation. This treads on Hitchcock territory again as Psycho inevitably looms into view. The fabulously creepy Norman Bates dominates this black and white classic from 1960. More recent examples include The Constant Gardener (2005) directed Fernando Meirelles. Here, a widower played by Ralph Fiennes is determined to expose a potentially explosive secret involving his wife's murder, big business, and corporate corruption. So if all this thinking hasn’t got you reaching for the Fast & Furious box set, you might need some pointers to the films that best exercise those little grey cells. In no particular order here are ten of the best films in the murder mystery genre:- Murder on the Orient Express (1974) Agatha Christie was famously dismissive of the actors that played Hercule Poirot. But she enjoyed Albert Finney’s portrayal except for one detail, ‘I wrote that my detective had the finest moustache in England, but he didn’t in the film. I thought that was a pity. Why shouldn’t he have the best moustache?’ Schoolboy errors aside director Sidney Lumet packed this gem with style and glamour. A triple ‘A’ list of stars were recruited including Sean Connery, Ingrid Bergman and Lauren Bacall as a multi layered plot stretches across a spectacular backdrop Poirot is on his way to England aboard the Orient Express which is halted by a massive avalanche. When a fellow traveller is murdered he uses the stoppage to question the suspects. With the killer trapped on board he discovers they all have a common link, but will he join the dots in time? Kenneth Branagh directed and starred in a highly creditable revival in 2017, and his moustache was so impressive it probably had its own agent. Agatha Christie would certainly have approved. The Negotiator (1998) A vastly underrated film sees Samuel L. Jackson in the title role as police negotiator Danny Roman. Framed for his partner’s murder he is also accused of defrauding the pension fund. Roman is subject to an internal affairs inquiry and suspended from duty. Facing charges he storms into their office and takes hostages. He demands that Chris Sabian (Kevin Spacey) be placed in charge of negotiations. Knowing Sabian will talk at length buys him time to work out exactly what has happened. Chris Sabian is from a different precinct and the only cop with clean hands. Roman uses his skill and experience to investigate the crime from the inside while police snipers nervously watch and listen for his next move. It’s an exciting and unpredictable ride for the audience that manages to incorporate elements of ‘who, how and why’. Murder by Decree (1979) The fascinating tale of Jack The Ripper and deductive powers of Sherlock Holmes combine perfectly in this excellent Victorian conspiracy. Christopher Plummer portrays the sleuth with cool conviction and a delicious line in sarcastic asides. With James Mason as Dr Watson they investigate the Ripper’s activities in the late 1880s. A pot boiling plot is assured as it builds to a slow and teasing reveal. Conspiracies fit the genre like a glove as established facts mingle with plausible theory. The film offers the requisite clues and opportunity for solution but never makes it obvious. By exploring the royal connection in more detail it adds credibility to why the killer started and stopped so abruptly. The Usual Suspects (1995) ‘I am Keyser Sose!’ was the phrase uttered in every school playground during the summer of 1995. It became an obvious response to the film’s tagline and launched the most stylish and compelling of mystery thrillers. Dean Keaton (Gabriel Byrne) lies wounded on a ship docked in San Pedro Bay. A mysterious figure called Keyser kills him and sets fire to the ship. Verbal Kint (Kevin Spacey) is one of only two survivors from the fire. Customs agent Dave Kujan (Chazz Palminteri) arrives from New York to interrogate Verbal, a cerebral palsy sufferer but con artist of some repute. He gradually recounts the story in flashback. A complex but engrossing tale emerges of career criminals, double dealing and corruption. It is one of the best films of the 90s with a twisting, winding plot that constantly challenges the audience. There is also a sting in the tale that few would predict. To Live and Die in L.A. (1985) One of William Friedkin’s greatest creations tells the compelling story of two Secret Service agents tracking counterfeiters in Los Angeles. Agent Richard Chance (William Peterson) swears revenge when his partner is killed. Paired with new partner John Vukovich (John Pankow) they set about tracking down master counterfeiter Eric Masters (Willem Defoe). Chance’s love for base jumping reveals how reckless and driven he can be when chasing the bad guys; a quality cop thriller in every sense of the word. A Few Good Men (1992) Like so many murder mysteries this cracking film originated on stage. Based on the Aaron Sorkin play its primary focus falls on the courtroom where navy counsel Lt. Daniel Kaffee (Tom Cruise) tangles with Col Nathan Jessup (Jack Nicholson). Poster marines Dawson and Downey stand trial for murder; but the suspicion of a ‘code red’ hangs over the case. Were the defendants following a direct order that led to death of Private Santiago. A professional soldier is drilled with discipline and obedience but is there a limit to the sacred oath? Few films have better captured the tension of a courtroom and generated unforgettable scenes between Cruise and Nicholson. A magnificent ensemble cast including Demi Moore and Kevin Bacon help fashion a classic of the genre. Witness for the Prosecution (1957) Another courtroom drama that was blessed by the film gods. Three icons of the classic Hollywood era joined director Billy Wilder in the dream team. An adapted Agatha Christie stage play bristles with atmosphere as semi-retired barrister Sir Wilfrid Robarts (Charles Laughton) is drawn back to court. He defends the smooth Leonard Vole (Tyron Power) who is accused of murder. However, their chances of an acquittal suffer a blow when Vole’s wife Christine (Marlene Dietrich) gives evidence against him. Despite its age, the film doesn’t feel dated and works effectively as a period drama. An engrossing plot bears the motifs so typical of Christie’s work; the payoff kicks like a mule and a literate script easily holds the attention. While Dietrich and Power add considerable star weight, it’s Laughton who delivers a towering performance as the cantankerous barrister. Sleuth (1972) This one is more of a challenge for the audience; a basic two hander that makes no secret of its origins in West End theatre. Written by Anthony Shaffer and directed by the legendary Joseph L. Mankiewicz this intricate thriller pitches two film knights against each other. Andrew Wyke (Laurence Olivier) is a crime writer who lives in a manor house filled with elaborate games and machines. He invites his wife's lover, Milo Tindle (Michael Caine) to discuss the situation. Wyke seems to have no problem and suggests Tindle hook up with his wife. But the price of consent is an insurance scam involving the theft of jewels from the manor house. Tindle agrees but what lies behind this arrangement; revenge, blackmail or plain murder? It’s a brilliantly constructed psychological piece that was nominated for four Oscars. It throws all kinds of possibilities at the audience but once hooked it’s difficult to avert the eyes. The Maltese Falcon (1941) One of the greatest films of all time brings together Humphrey Bogart as private investigator Sam Spade and John Huston in his directorial debut. The story follows Spade and a mysterious train of events following the death of business partner Miles Archer. All roads lead to a jewel-encrusted falcon statuette but will Spade stay ahead of the curve? JFK (1991) Yes, the ultimate murder mystery that was played out for real and still fascinates almost 60 years after the event. Kevin Costner stars as district attorney Jim Garrison who investigated the assassination of John F. Kennedy. Director Oliver Stone takes the audience on a breathless journey through the conspiracy theories, separating fact from fiction and evidence from circumstance. It’s pretty much straight from the text book of crime writing – happy sleuthing!

★★★★ Directed by: Crane Wilbur Written by: Crane Wilbur, Mary Roberts Rinehart, Avery Hopwood Starring: Vincent Price. Agnes Moorehead, Gavin Gordon and John Sutton Throwback Film Review by: Rachel Pullen The Bat (1959) Film Review I like to watch the movies of the past, I like to confuse my brain about when people can solve problems without constant access to the internet and you see stuff like phone books and people accessing public records in libraries, it’s a wild ride in the old times. There is something soothing about the whole affair, but that aside, I am actually quite a fan of the old pictures, and one of my favourite stars of the silver screen is the one and only horror gent, Vincent Price. So, this week we are going to be diving into my favourite of Mr Price's movies, The Bat…think nothing like Batman and everything like films that are not Batman but involve bats…ok, got that? Let’s go. Mrs Gorder is a mystery author, she comes to town to stay in her rented summer house, straight off the bat; she has coin, flexing all over town with her summer house and hats that she wears…she has so much money swag that as soon as she comes to town, she insists on going to the bank to probably to get a load of single dollar bills to throw at poor people for her own entertainment, but wait someone has robbed the bank! Drama. No wait that’s not the only drama, because at the same time some dude in a costume, not a bat one but hey we have to deal with copyright I’m sure, is murdering women at night, everyone is like damn the bank, but ignore that, some bat dude is stabbing chicks, oh wait is there a fire, oh wait the bank…this town is going to get like 0 stars on Tripadvisor as a holiday destination that’s for sure. Mrs Gorder is like hold up guys and gals, maybe these bank/fire/murders are all connected, I’ve written books, I should know, and damn right she should because she soon figures out that the house has a secret room in it, (sure she nearly suffocates in it at one point, but she found it, so…you know, good on her) thanks to people who work at the bank that was robbed who had blueprints, and they figure that’s where stuff is being stashed…right in her summer rental, I’m sure it will be on fire soon. No wait the garage is now on fire, but the ladies of the town have all ganged together in fear of the killing bat dude and decided to wait inside to catch the bat as he tries to access the secret room, and sure enough, they do, he gets shot, falls to the ground and they unmask the man who has been doing the robbing/killing/fires…busy bat indeed. Now, I know it seems that the storyline is a little all over the place, but The Bat is a classic whodunnit story, with twists and turns that constantly keep you guessing, and I will say I actually had no idea who the bat was! Each character has great arcs and development, everyone plays a solid role within the small cast, and no one just floats around in the background, they are all essential to what feels more like a play than a movie - which it was based on. The Bat is dynamic, captivating and well written, so if you are not one of those odd people who can't watch things that are in black and white, then strap yourself in for some non-Batman, bat-based crime adventures. So this week we have learned… If you flex ya cash someone is going to try and set you on fire. Not all bats are here to save you. And holiday rentals are a great place to commit crimes in the winter seasons. #RachelPullen

★★ Directed by: #AbirAyon Starring: #RazMollik Short Film Review by: Alexandra James This film depicts the life of a young boy through various conversations over the phone. With each interaction he has with others, the audience discover that he has alternative sides to his character. Through these small conversations there was always a strong, emotional response to each person, which highlighted the young boy’s changing personality. One Day Afternoon was an extremely short film with a very restricted budget, which made it interesting to see how the director worked around these limitations to be able to tell a story. One Day Afternoon had some beautiful shots scattered throughout. Wide shots were used to accentuate the vast blue sky and the soft, foamy clouds delicately placed over the top of this magnificent backdrop. The young boy looked like he was on top of his building, oblivious to the scenery around him as he makes a phone call. Whilst the audience listen in on his conversations, this breath-taking scenery becomes the centrepiece that draws our focus in. There were some shots when taken from inside the home which did not match up when compared to the stunning views which we are first introduced to. These cuts could be considered clunky and out of place and in some ways, unnecessary to the short film. It may have been a wiser move to prolong the wide shots on the roof and capture the sky at different elements of the day, to show the moving of time as well as produce a serene setting. It was fascinating to see how the director wanted to convey the character. It was clear that through the variety of phone calls, the young boy had a different reaction to each person whether this be family, partners, work or enemies. From what I can interpret, the director wanted to suggest that we as humans adjust our personalities depending on what kind of circumstances we are facing. Within this short film, the characters personality adjustment, suggests to the audience that this can happen every moment of the day. We are persuaded to adapt slightly to people whose personality differs from our own, which is a basic element to becoming an adult. A gentler tone is often adopted when we are met with a quieter more reserved person and a more aggressive and forceful manner is needed to reach out to those who come across brutish. Many of us may not change our personality entirely, but there are many occasions in our everyday lives which cause us to tweak our mannerisms. I could see that this is a message that the director was heading towards, however, it was very unclear at times, and it was difficult to understand the point of the short film at face value. A lot of critical thinking and interpretation was necessary to discover the hidden meanings from this short. It would have been useful to have some form of a backstory to the character and the conversations he was having, this was not clear for a large majority of the film. In order to boost this rating slightly, further details were needed to help the audience connect with the character far better.

★★★ Directed by: #DennisCahlo Written by:Dennis Cahlo, #BethanyWatson Starring: Bethany Watson Short Film Review by: Corey Bulloch I believe it is safe to say we have all experienced our share of isolation, alone in our home just trying to mind our own business. Then you hear it, a noise, a noise you’re not too sure of and then just as quickly as you heard it, curiosity becomes paranoia. Doors, a short film from writer-director Dennis Cahlo and writer-star Bethany Watson, captures that journey with efficient camerawork, music and a shocking ending. Primarily the work of minimal filmmaking, Cahlo keeps the film's action entirely within Watson’s home as she attempts to make sense of the audible disturbance. Though Cahlo’s cinematography makes Doors more than just wandering through an apartment, making use of the space in memorable visual ways. The standout sequence is a one-shot that glides through various rooms as the music ratchets up for maximum effect in building intrigue. One room and one actor is a typical formula for forgettable short films but Cahlo doesn’t let the simplicity of the premise allow for a mundane execution. The majority of the apartment is a white colour scheme, possible clinical imagery or even angelic as the final scene definitely allows for interpretation on what exactly ails the character. A maddening illusion or inescapable damnation? Cahlo and Watson don’t give a straight answer but the mise-en-scène clues into possibilities. The notable visuals are not just the rush of the one-shot but also in the contrasting colour schemes. The calm white walls against striking reds, chiefly represented through Watson’s red checkered shirt and baseball bat before the whole image is engulfed in red light as seen in the supplied screenshot. Red itself is a very emotional colour; linked to both passion and anger but also reminiscent of the visual style of Giallo cinema, where deep reds are used to signify moments of horror and evil. Now Doors isn’t what I would define as Giallo but it’s another example of how Cahlo’s direction makes the premise more interesting. The tension of the noise is also heightened by the use of music as Doors uses tracks from musicians Kadir Demir and Spearfisher. The track “The Scent” by Spearfisher is especially striking as it builds dread in the character, as if whatever taunts Watson is about to give chase. Now doors themselves represent the passage from one place to another, symbolically it can be a gateway to a whole different world as seen in famous pieces of literature and film. With Cahlo and Watson’s screenplay the doors opened within the character speak to menacing trauma and fears; horror within herself or terror of what lies outside. Again perhaps it's both because Cahlo’s direction certainly inspires examination as Doors evades that feeling of random imagery in hopes of depth and puts across a clear intent of thoughtful artistry. Trailer: #CoreyBulloch #shortfilm

★★ Directed by: #MarkLakatos Written by: #MarkLakatos Starring: #SzilárdTopánka, #AndreaNagy, #MárkNagy Indie Film Review by: Corey Bulloch Despite intentions to be a slick action thriller, The Siege 2 is, unfortunately, a forgettable affair except for the shows of promise in director Mark Lakatos’ ability to craft action sequences. Following from Lakatos’ 2020 short film The Siege, this second instalment certainly, aims to be bigger and bolder, as the death of kingpin Péter Kuruc ignites instability and opportunity for the criminal underworld. Operating through parallel storylines on both sides of the law, Zalán Barta, a tough cop on task force taking on the criminal element and Áron Székely, son of a slain crime boss seeking to regain his rightful place. The film resembles a standard crime revenge film; lots of shootouts, dealings, power plays, but nothing really stands out in Lakatos’ film besides the use of physicality. Like the 2020 film, the action appears to all be done through the technique known as Krav Maga. There are plenty of sequences where the cast wonderfully showcases their impressive skills in this form; the fight choreography in the film is impressive and is where Lakatos’ direction really takes form. At times it can feel awkward, some moments make it feel as if the audience is watching a demonstration of defence moves than a fluid realistic fight. However, when the elements click into place, the fight scenes can be quite effective; a sequence with Csaba Horváth’s Rózsa, and the final fights with Szilárd Topánka’s Batra being standouts. Lakatos’ eye for action will only improve with time but the film is held back by its generic story and characters. Most of The Siege 2 has the issue of verisimilitude in limbo but there is definitely a passion on and off the camera. Obvious foley sound effects and the imitation weapons and body armour does hit the ability to buy into the story and stakes. The actors are giving their all in these scenes, effectively showing their skills as martial arts performers but the acting and structure of the script leaves little to remember beyond these displays. That isn’t to say there aren’t smaller moments to enjoy such as a nighttime bout involving masked assailants featuring one wearing a Jason Voorhees’ hockey mask, another a replica of the infamous Onibaba mask. One of my favourite scenes was an actual in-story demonstration of knife disarming which ends with a smug trainee being put in their place. Overall, The Siege 2 is another standard low budget action film but its use of Krav Maga probably helps it stand out from a visual standpoint but all other elements keep this in mediocrity. Enjoyable in places, Lakatos and his team’s enthusiasm doesn’t let this turn into a slog but the lack of creativity in the screenplay and performances really dampens its impact. #CoreyBulloch #indiefilm

★★★★★ Directed by: #BrandonGotto Written by: #BrandonGotto Starring: #MargauxColarusso, #ThomasGomrée, #AnnickCornette Film Review by: Emily Davison After experiencing a tragic event, a couple struggles to navigate the emotional aftermath as well as come to terms with the outcome of their own relationship. GRAVIDAM (2022) is a one hour feature by Belgium director, Brandon Gotto, whose independent film is intended to offer an intense experience about the abyss of mourning to spectators who view it. The movie is yet to be released and has an expected completion date of January 23rd, but has already received a positive reception at film festivals, winning Best Feature and Best Actress at the RED movie awards. The film is an incredible achievement in dramatic storytelling and visual presentation, combining a sense of domestic horror and family drama to create a truly immersive, yet equally as disturbing viewing experience. A suspenseful, foreboding tone is immediately established during the film’s opening credits, with a heavy, oppressive score by Antoine Ligas accompanying striking red text. We are introduced to our leads, Rose (Colarusso) and Antoine (Gomrée), waking up together in bed and marvelling over their unborn child. Brandon Gotto expresses an admirable artistic flair behind the camera, with every shot in the film shown to have clear purpose and underlying intentions for plot beats later. The overall visual and audio quality of the movie is orchestrated to perfection and we get a very real sense of who Rose and Antoine are, with their excitement for their baby demonstrated through lovingly prepared nursery features and a displayed photograph of their latest ultrasound. However, the couple encounter a problem with Rose’s visiting mother (Annick Cornette), who disapproves of her daughter’s relationship and constantly finds ways to belittle both Rose and Antoine. The subtle build in heavy tension soon leads to one of the most shocking, harrowing scenes in the film when Rose experiences severe pain in her abdomen which leads to a miscarriage during the night. Gotto increasingly uses and refers back to the visual motif of the colour red throughout the film, appearing during this sequence and various others when Rose suffers from awful nightmares following the personal tragedy. The film charts the slow decline of her mental and physical health, as well as her crumbling relationships with her seemingly unsympathetic mother and distant partner, who cannot seem to understand Rose’s severe trauma following her miscarriage and simply insists she needs medical treatment. The nightmarish, unnatural visual of the undeveloped baby haunts both Rose and the viewer throughout the movie and we become very much aligned with Rose, understanding her need to bury the remains of her baby in the garden. A bleak, foreboding tone persists throughout, which only worsens as Rose becomes increasingly isolated and distanced from Antoine, who violates her choice to bury the box by taking it away to burn instead. Gotto incorporates disturbing horror elements into a very tragic, intimately personal narrative with the depiction of Rose’s unsettling nightmares and her mind attempting to cope with her loss by villainising Antoine and her mother. The increasing sense of dread and gloom all come to a crescendo during a very intense climatic sequence, with harrowing graphic visuals which is punctuated by a perfectly in sync score, as the red motif saturates the frame. Rose’s immense struggle with coping with her extreme loss and her isolation from those around her is captured incredibly by Margaux Colarusso, who manages to convey so much with few words. Both Gomrée and Cornette also deliver great performances in their respective roles, each embodying the villainised depictions of their characters well. All in all, GRAVIDAM delivers on its premise of offering an intense viewing experience for spectators, presenting an intelligent, shocking and moving examination of a couple falling apart after experiencing a tragic event. The filmmaking is on point throughout, with excellent direction from Gotto and impressive work from everyone involved: an inspirational achievement. #EmilyDavison GRAVIDAM (2022) trailer:

★★ Directed by: Wes Craven Written by: Kevin Williamson Starring: Neve Campbell, Courtney Cox, Rory Culkin. and David Arquette Film Review by: Rachel Pullen Scream 4 (2011) Film Review We are on the brink of something, something that since 1996 seemed like it would never happen, and that thing is we are about to have the release of the first Scream film in the franchise that is not directed by the late and great filmmaker Wes Craven. I hope it is a success, that's for sure, for the Scream franchise has really held its own in the long list of horror films that have well...a franchise to their name, but I'm not here to talk about Scream 5, oh no, we have a film podcast dedicated to that! No, I'm here to go back in time, not to the start because I'm sure a million other film critics have dipped their long finger-like toes into that pond, no I'm talking about Scream 4. Why you may wonder? Well, the answer is simple...Rory Culkin, yes my fav of the Culkin brothers, his massive hair and adorable blue eyes enchant me, but that aside he actually has done a number of sterling movies, with consistent and applaudable acting, in fact, he has carved himself a credible career away from the shadow of his brother's former time in the limelight. Scream 4 opens in the most annoying fashion, it's a film, inside a film, inside a film where people talk about how dumb people are in horror films, and I wanna die already, and of course, talk about the film within, scream, stab, and while this is annoying we are introduced to our ladies of the flick, the ones we are ready to watch get chewed up and well..stabbed by Mr Ghost Face, and we all point at the screen and go ''Hey is that the actress from t.v series Heroes?'' and the answer is yes, but we don't care about her after that really. They all go to high school, where we also meet some so-called cool guys, who are horror movie fans, like Randy from Scream 1 and 2 (why did they kill him off? He was legit one of the best characters) who are into filming their loves by having cameras strapped to their heads...I mean if you think that's gonna get you the ladies then go for it, but really they look like cheap budget versions of the Terminator. One of them is Sidney's niece, and oh look Sidney is back in town and is staying with her, I would get 50ft away from Sidney because she seems to be bad karma but hey, family am I right? No...I'm not, get away from me Sidney...and surprise surprise, I'm right, as shortly after she arrives, the killing begins all over again...just go home, Sidney. The gang battle with the annoying phone calls and comical ghost face bumbling around the town as they try to figure out who is behind the mask, and if there is 12 of them this time...come on Scream you play the 2 killer card all the time, I wanna see a cult of them come out the woodworks. So there's a party and of course, that's where the showdown takes place, maybe ghost face never gets invited to cool teen parties and this is the only way he can feel part of the crew, either way, he starts to rampage harder and it's not long before we find out that it's none other than Sidney's cousin....oh and the film nerd Rory Culkin. By this point I'm so bored, everything we are seeing has been played out over and over, and even with the family ties element and the sudden is-Sidney-dead-or-not ending, whereby she is sadly still alive, there is not a lot that makes this movie stand out from the others, in fact, I would say of all the scream movies, number 4 uses the same tropes and storyline structure of the first one more than any of the others. And on top of that they seem to have applied some odd glowing filter to the whole movie, kind of like it has been shot at the golden hour of sunsets but it's fake, like all the time, the whole movie wants to be at sunset...why I ask? And while this aesthetic can be nice in certain scenes, its consistency in this film is just off-putting. So what's my point? Well, my point is this; I pray for something more from Scream 5, maybe this was Wes Craven's last Scream movie, and maybe that would have been for the best, for it certainly felt like it had run its course in regards to keeping the storyline fresh, but with Mr Craven's passing and a fresh set of eyes cast upon the franchise, you have to hope we are going to get something that does not feel like a retelling of all the Scream films we have been exposed to in the past. So what have we learned? It can't always be sunset Sidney Prescott is a death curse And Rory Culkin's hair is the only reason to watch this Scream 4, like really it's amazing, so much poofy body. #RachelPullen