Directed by George Simons Starring Guy Barnes Short film review by Lorenzo Lombardi Loss breeds hardship. It can also cause anger and loneliness. Secluded embodies this well by representing itself as a realist focus on a subject affected by loss, all the while transforming into a hard-hitting thriller. The short film follows Richard (Guy Barnes), a lonely man who wanders from secluded forests to empty bars for seemingly therapeutic reasons. Further in his visits, we slowly gather the cause of the sadness he conveys, as hints of a life-changing event appear in admirably subtle ways. These nuances are even seen at the beginning of the film, one of which is when we see a man putting down flowers next to a road, all from the perspective of Richard’s car. Speaking of perspective, the camera angles in this short are refreshingly varied and visceral. The audience sees through mid-shots, long shots, wide shots, and low-angle shots. Secluded’s wide and long shots, in particular, invoke the atmospheric bleakness of Richard’s world as he walks through empty forests. Guy Barnes is both delicate and tough in his role. He plays the character realistically and emotionally and his repressed sadness culminates to a notably heart-wrenching scene where he is clinging to a photo frame, distraught. A photo is not shown, as the short film occasionally leaves tidbits to visual interpretation. Following scenes then reveal more details about Richard’s personality, and the viewer can eventually see his other repressed emotion: anger. Those emotions then fester into a brief but intense final sequence that will have the audience saddened and horrified. They will most likely feel this way because the plot and protagonist’s intentions finally unfold, and the audience will have a sudden and shocking realization concurrent with the sequence. George Simon's film boasts a grounded performance, promising cinematography, and a pleasing piano-heavy score. Secluded trusts the audience’s intelligence and creates a quiet but effective realist thriller that makes you question how you yourself would fill the void of loss, and to what extent? We have more Film Reviews here. #LorenzoLombardi #filmreviews #filmreviewsUK #Shortfilmreviews #ShortFilm #Thriller #Shortfilms

Zack Snyder – A defining moment? Filmmaker Feature by Alexander Halsall The greatest filmmakers often court controversy by their actions. They buck the trend, swim against the tide and relish the insistence of the majority that what they’re trying to do is wrong so that they may rise above such criticism triumphant. Zack Snyder, whatever you may think of him, is a talented individual who makes films as he wishes, and does not seem to have much time for compromise. A visually flamboyant director, with a lot of creativity, and the desire to be different, it’s no surprise that DC saw fit to select him as the de facto creative leader of their universe, to guide his fellow DC comrades to success on the big screen. His past filmography seemed to suggest as much, his hyper stylised adaptations of graphic novels in the past such as 300 and Watchmen had been highly divisive, especially in the case of the latter, but always interesting and, more importantly, popular. The first long heralded glimpses of Snyder’s Man of Steel caused fans to salivate at the prospect of finally seeing Superman on top of the cinematic landscape now that superhero films are being released at a bi-monthly rate. However once again Man of steel split opinion with critics and at the box office. With the follow up, Batman V Superman: Dawn of Justice, being released this week I feel that this could define Snyder as a filmmaker, and how successful he can be in the future. In 2004 Snyder burst onto the cinematic radar with a remake of George A. Romero’s Dawn of the Dead. As thankless tasks go remaking a classic genre film is pretty close to the top. Imagine having to helm a remake of one of the most iconic horror films of all time, and some would argue the finest feature of Romero’s career. The 2000’s saw dozens of horror films being remade, being a famously cheap genre to produce, and most were uninspired repeats of what had come before. Dawn of the Dead however surpassed expectation with a frenetic reimagining which, whilst paying homage to its predecessor, felt like a separate entity. I enjoy both films, and find them so different in style, narrative and theme that I find them fulfilling for different reasons. As a first feature it was a highly promising debut, and it propelled Snyder into the limelight as a visually pragmatic director. Snyder then turned his attention to a long standing ambition of bringing a pair of his favourite graphic novels to the screen, 300 and Watchmen. This period saw Snyder establish himself as a modern day pioneer of visual effect driven filmmaking. His use of green screen (or blue screen, if you prefer) has heavily influenced how films are made in the 21st century. Others are equally worthy of recognition, James Cameron being one of the obvious mentions, but Snyder’s reliance on digital effects to define the aesthetic of the worlds he creates within his films have made him a catalyst of creativity. That other less adept directors/producers have tried to imitate his highly stylised techniques, and digitally devised backdrops, with less success, has possibly tainted Snyder’s name more than his actual filmography. Much like how the Wachowski’s work on The Matrix led to numerous films attempting to recapture the style and imagination of the action and tone that they were able to produce. Snyder himself utilises slow motion in a manner that owes thanks to what the Wachowski’s were able to accomplish with their technical prowess. As Snyder’s career has progressed I feel he has attempted to develop his own style to encompass deeper themes and more diverse optical dynamism, with variable results. 300’s narrative was quite simple, but its appeal of a legendary pyrrhic victory told with an almost fantastical relish by a soldier spared from the battle by the protagonist, Leonidas, was entertainingly executed, and emotionally resonant. Watchmen attempted to dig deeper into the complexity of the social historical setting of its period, and the concept of what it means to be a superhero? Anti-hero? God, or vigilante? Aided by the phenomenal source material Watchmen delves into the delicate psychosis of the character of the superhero and at times Snyder’s cinematic adaptation translates to film remarkably well. However Watchmen was long described as impossible to bring to the screen, and despite Snyder’s best efforts he cannot replicate the depth and complexity of Alan Moore’s graphic novel as well as he did with Frank Miller’s 300. With a complicated multi layered narrative, and a complex characterisation of multiple superhero archetypes, it was too much of a challenge to be faithfully realised on screen. His attempt however took great courage. Without pushing boundaries, even without succeeding, how can we ever expect to develop in our crafts? Despite Watchmen’s flaws it posed intriguing questions, and was an admirable attempt, his name was not tarnished and his reputation as a filmmaker continued to be enhanced. His next two features Legend of the Guardians: The Owls of Ga’Hoole and Suckerpunch continued to augment Snyder’s reputation as a visual stylist, so much so that he began facing criticism as being all bark and no bite. There was plenty of style, flourishes of colour and impressive digital effects, I consider Ga’hoole to be one of the finest looking computer animated films of modern times. However they lacked in substance, weak unsupported narratives, or confusing, unclear storytelling. Suckerpunch in particular seems to have a lot going on, exactly what that going on is, I cannot say. It raises the issue of whether I, as a viewer, struggled to understand exactly what Snyder’s intent was, or whether his narrative, direction and screenplay, were unclear, over complex, and well, a bit of a tangled mess. I don’t consider myself an expert in film, I’ve seen only so much and have so much more to see, experience and learn, but I have seen more films than the average person, a fair few more, I would hope. So if I find the narrative unclear, I would assume others would too? Suckerpunch is my least favourite Zack Snyder film, in terms of entertainment and aesthetic. However I could see enough ambition within the film to not hate Suckerpunch, or to dismiss Snyder as someone who is untalented, or has no voice of his own. I feel it’s his most personal film, seeing as he wrote, produced and directed, and he clearly has something to express over the representation of gender roles within society and media formats. That he is thwarted by the limitations of the finished project is a disappointment, but not something he should be dismissed for out of hand. Man of Steel didn’t quite go to plan. It forgoes colour and vibrancy for a harsher, icier tone and, in my opinion, never finds its footing. Even with a lengthy running time and slower pace than most films in the genre, it seems to live in the shadow of Christopher Nolan’s Dark Knight Trilogy, but lacking the pace, wit, and tightly co-ordinated direction that keeps the narrative focused and clear. I know Man of Steel has its fans. Its tone contrasts sharply with the Marvel formula that has dominated the superhero genre since a certain Iron Man leapt onto screens, and I’m glad that it has found an audience who find merit within it. However for all the talk of Snyder as a ‘visual director’, something I have continually referred to throughout this feature, the uniqueness of his style is now a thing of the past. Imitators inspired by what he has accomplished have aped his style, with varying success, and, despite my natural inclination to be positive towards his work, I find myself questioning how much of a ‘visual film master craftsmen’ Snyder is? His films have developed little in way of texture over the years, feeling shallow, and the digitally created worlds, colour graded to death, seem to be sapping any filmic extravagance out of the cinematic realms he creates. With every film the palettes feel less spectral, and the experience more dour and lifeless. I don’t think every film should be lit up like Blackpool in November, but even films that encompass darker themes and narratives find a way to use light and colour to emphasise or deconstruct the world they have invented. The Dark Knight embraced the darkness, whereas the Man of Steel embraces the desaturation of colour. This week Batman V Superman: Dawn of Justice opens in the UK. There has been much discussion over whether the perceived failure of Man of Steel prompted Warner Brothers to send out their bat signal and call in the big box office guns of DC’s most historically profitable character. It’s been denied by all involved and explained to us that this was always the plan of action to begin the DC cinematic universe, with Snyder as helmsman. Whether this is true or not I am left hoping that Snyder, by uniting two very different characters, can use the conflict of two such opposing forces to form some kind of resolution in developing his own directorial style into something unique once more, something that will once again define him as a ‘visual storyteller’. The film is billed as God vs Man, Day vs Night, but for me it is Style vs Substance and I hope, as a film fan, that Zack Snyder can emerge victorious. For more Filmmaker Features click here. #FilmmakerFeatures #Filmmaking #Superheroes #ZackSnyder #AlexanderHalsall #Marvel #DC #Filmfeature #filmmakers

Directed by Mark Battle Starring Dean Temple, Andi Morrow & Tim J. Cox Short film review by Monica Jowett Here Lies Joe brings together two lost souls in an unlikely way. Following dark and difficult themes of depression and suicide, the film, directed and written by Mark Battle, explores them with a light hearted humorous touch but never strays from the seriousness of the issues at hand. The opening sequence shows Joe (Dean Temple) taping up his car and attaching a pipe to the exhaust before sitting in his car and turning the engine on. No dialogue or music is heard in this short time, and that sets the tone for the rest of the film. The film is clever in bringing together two very different people. Joe finds it difficult to express his feelings and Z (Andi Morrow) is flippant and quirky in her attitude to life. Despite their differences they find common ground, which is an honest and real trait for people in their situation. The two leads have obvious chemistry. Temple portrays Joe as low key and the pain he suffers is bubbling away at the surface. Morrow however makes Z funny yet we notice that her blunt exterior helps to hide her pain much deeper. Though they are both suffering, the performances show very different approaches on how to deal with it and it is impressive to see this variation. The cinematography reflects the themes and plot in the film. Everything is shown in muted tones, there are no bright colours and at times the world seems grey – much like how it is for people suffering from depression. Each scene feels dark, and at times sad. By using humour in the dialogue, there are hints at some sort of hope for Joe and Z. The clever way the two respond to one another, as well some good visual gags of Joe lying against a headstone shows that there can always be a humorous way to look at serious issues without removing its poignancy. Here Lies Joe is a touching film which carries the perfect balance of drama and humour. The performances from Temple and Marrow brilliantly convey the way people approach and respond to the matter of suicide, and Battle has produced an emotional short film that is indie filmmaking at its best. Get more Film Reviews in your life. #Shortfilmreviews #filmreviews #MonicaJowett #Indiefilmmaking #filmmaking #Indiefilms

★★ Directed by William Brent Bell Starring Lauren Cohan, Rupert Evans, Jim Norton & Diana Hardcastle Film review by Alexander Halsall What is worse? A movie of no substance floundering and failing with a baffling array of inept sequences one after the next, or a film which shows moments of promise, even executing scenes of both a comic and dramatic nature with skill only for these flashes of potential to evaporate into obscurity leaving you frustrated and disappointed? I apologise for the ‘wordy’ opening, I found the synonyms setting on Microsoft word and am running amok like a drug fuelled Oscar Wilde. Greta (Lauren Cohan) is a young woman from Montana who has been hired by Mr and Mrs Heelshire (Jim Norton & Diana Hardcastle) to act as a temporary nanny for their son Brahms whilst they take a vacation. When Greta arrives she discovers that Brahms is actually a porcelain doll made in the image of the Heelshire’s son who died over twenty years earlier. Once the Heelshire’s depart strange happenings lead Greta, and the grocery man Malcolm (Rupert Evans), to suspect the doll may in fact be possessed/real/something? I was left wanting slightly by the opening act of The Boy. The narrative lacked in originality and depth, and the quality of the dialogue was nothing short of inconsistent. I found myself laughing at a couple of moments I don’t believe I should have as the film flailed in desperation to latch onto some form of tonal consistency. This coupled with a pair of attention shanking dream sequences began to sour my generous attitude towards the film. The saving grace was that of some reasonably astute direction, and some fine work by the actors involved who all committed to their roles with admirable aplomb. Cohan finds her footing following a shaky opening and gives all she has, and more so, to make Greta a sympathetic and understanding character. One scene in particular in which she discusses her tragic past with Malcolm was one of the highlights of the film, the finest myriad of acting, screenwriting and direction I think The Boy has to offer. Norton and Hardcastle are both terrific in their small, underwritten, parts. They utilise all of their experience to effortlessly portray the disturbed, emotionally wrought, couple to brilliant effect. Evans is also charming, and occasionally humorous, as Malcolm and watching his and Greta’s burgeoning relationship forming around her caring of Brahms is the strongest aspect of the film. At times I couldn’t help but be reminded of the early work of Guillermo Del Toro from a thematic perspective. I wouldn’t say The Boy comes close to executing something of that standard, but it did begin to surprise me with the route it was appearing to take. The Boy was at its most unnerving when it wasn’t trying to focus on making you jump, and it began to concentrate on building a tense, unsettling narrative which was beginning to pleasantly appeal to me. Then the third act happened. I felt like a parent having to give their child a stern telling off. “I’m not angry, I’m just disappointed”. I saw glimpses of quality, through the acting and direction, and some small parts of the narrative, only to watch these moments dissipate before my eyes in a most catastrophically appalling fashion. I’m sorry to say I can’t really recommend The Boy despite the positives I have listed above, as it implodes into nonsense in the last twenty minutes. The experience has left me saddened, distressed, dismayed, demoralised, downcast, perturbed and altogether unsure if even Microsoft word has enough synonyms to articulate how disconcerted The Boy has made me feel. More Film Reviews this way. #filmreviews #TheatricalReleases #AlexanderHalsall #Horror #UKfilmreviews

★★★★★ Written and Directed by Robert Eggers Starring Anya Taylor-Joy, Ralph Ineson, Kate Dickie Film Review by Hannah Sayer “What went we out into this wilderness to find?” This question from Ralph Ineson’s William resonates throughout the narrative of The Witch (AKA The Vvitch: A New-England Folk Tale). The darkness of the wilderness surrounding William and his family encompasses many forms, and it seems that out of nowhere a new filmmaking talent has emerged. After receiving its world premiere at the 2015 Sundance Film Festival, where Robert Eggers won a Directing award, the release of The Witch over a year later has proven that the initial rapturous praise the film received was well deserved. Set in New England in the 1630s, The Witch follows William’s Puritan family who have been excommunicated from the community on a Puritan Christian plantation. They begin to start their new life on a remote and isolated farm, which happens to be located beside a large, ominous forest which has an instant and looming presence. William’s wife Katherine, played by Kate Dickie, gives birth to her fifth child, Samuel, after a few months of the family living in exile. The eldest daughter Thomasin, played by newcomer Anya Taylor-Joy, is playing with Samuel when he suddenly vanishes when she covers her eyes for a brief moment. The disappearance of William and Kate’s youngest child sets in motion the suspense filled tale that is to come. Fears of isolation, religious extremism and witchcraft play major parts in allowing for Eggers to experiment expertly with the horror genre in a new and refreshing way that is not often seen in recent cinema. Jarin Blaschke’s cinematography is extremely powerful and effective in conveying the hysteria and chaos amidst this desolate and brooding landscape. Lingering shots on the horrific events that unfold enable this thought-provoking piece to truly flourish as Eggers builds up the tension and reinforces an uncomfortable tone throughout. The film was shot mostly with available and natural light to create a realistic visual landscape but with many frames looking drained of colour this created a rather gloomy and bleak aesthetic which suits the events unfolding within the narrative. Eggers is successful in getting the most out of his actors, and by casting unknown actors to play the children there is a sense that the viewer is watching real events unfold. Anya Taylor-Joy is a revelation as Thomasin as she brings an equal mix of vulnerability and threatening malevolence to the role. The phenomenal acting in The Witch isn’t only limited to human roles in a film which boasts an astonishing yet surprisingly terrifying performance from a goat in the form of Black Phillip. Rather than relying on cheap jump scares and other conventional horror tropes like many modern horror films, Eggers defies genre restrictions and his vision of this New England folktale is so much more compelling than a generic piece intent on scaring its audiences. What is truly frightening about The Witch is the place it bears in America’s history. With the film being based on writings from the time, the sense that no-one was safe from familial accusations of witchcraft is very unsettling to comprehend. This is certainly a film which transcends its initial viewing and it is meant to provoke discussion. Eggers’ debut marks him as one to watch if his next film, a Nosferatu remake, is anything within the realm of The Witch. An unsettling and groundbreaking masterpiece. We have more Film Reviews here. #filmreviews #TheatricalReleases #HannahSayer #5StarFilm #Horror #filmreviewsUK

★★★★★ Directed by Byron Howard, Rich Moore and Jared Bush Starring Ginnifer Goodwin, Jason Bateman, Idris Elba, J.K. Simmons & Jenny Slate Film Review by Jack Bottomley Disney Animation Studios have prided themselves as being the makers of dreams, the explorers of creativity and the bringers of magic over the years. Indeed their core-animated filmography is known as ‘The Disney Animated Classics’, starting with Snow White and the Seven Dwarves (1937) all the way up to last year’s awesome Big Hero 6. And in many ways these beginning and end bookends, tell a story wholly appropriate in starting off this review of the house of mouse’s latest work. Disney for years was best known for their hand drawn works, with only the occasional foray into the digital but in the early noughties, starting with the mixed received Dinosaur (2000), Disney Animation Studios embarked into the world of CG Animation. It was a slow progression, with the likes of Chicken Little (2005) and Meet The Robinsons (2007) going down as lesser Disney efforts but since 2010s Tangled the studio has had a handle on the format and seemingly improved with every foray into computer animation. So it is, that with Zootropolis (known as Zootopia in the states), Disney Animation Studios have got to the point that they are now knocking on their CG animation masters brethren Pixar’s door! Zootropolis tells the story of aspirational rabbit Judy Hopps (Ginnifer Goodwin), who aspires to be the first ever rabbit policeman. Through training and determination she achieves her dreams and heads to the big city of Zootropolis, however once there, she lands traffic warden duty (oh joy). But as a big case, of 14 missing individuals, comes calling, Judy leaps into action and, alongside streetwise fox Nicholas “Nick” P. Wilde (Jason Bateman), she finds herself involved in the heart of a case that could have huge implications for her and the city. Zootropolis, for this writer, came with no expectations but from beginning to end is a flooring animated picture that offers practically everything you could want in a family film. Directed by Byron Howard, Rich Moore and Jared Bush, with a screenplay by Bush and Phil Johnston and 7 individuals credited to the story, this could have been a case of “too many cooks” but this broth is far from spoiled, it is bubbling, warm and tastes beautiful. Zootroplis is a delightfully written piece of animated filmmaking and will appeal to any age group, with some references for adults to the likes of Breaking Bad, Hollywood film noir and Chinatown and some gleeful action for the kids. This is a film that, like The Lego Movie, Rango and Big Hero 6, is loaded with references and innovation and it is a film that deserves the utmost love in return. The story subverts and often openly refers to Disney convention and cliché, offering an unexpected final twist and even the Shakira sing song at the end (she plays pop star Gazelle in the film) is fun enough. The animation is of course sublime, and the various animal characters are charismatic and varied, with the buzzing opportunities the film exudes leaving the door welcomingly open for sequels. The city of Zootropolis itself is an outstanding creation, being a diverse setting, segregated into desert, snow, rainforest and city sectors, with equally impressive citizens and lifestyles. However for all the visual grace and pretty scoring by Michael Giacchino, it is the ideology that strikes at your core the most efficiently. In a world that we all can regularly feel is broken and more politically turbulent than ever, Zootropolis tackles this very notion in unpreachy fashion. Filled with heart, the film is a timely stance on racial, social and gender equality and how we should never let prejudice rule, nor let it flourish in times of crisis, nor let powerful people cause such injustice (why hello there Donald Trump). This narrative punch makes an already exciting and fun investigative yarn, even more excellent and creates even stronger connections to the vast array of characters. Goodwin’s Judy is a perfect protagonist and a wonderful example for children, offering a feministic determination and imagination and she meshes wonderfully with Bateman’s charismatic Nicholas P. Wilde, another fine example for kids. Both are imperfect but learn from those very imperfections to make themselves true heroes and each develop as deep and superbly structured characters. The voice work is enthused across the board and makes these animal characters even more lovable, with so many characters fizzling with energy from Idris Elba’s all business ZPD Chief Bogo to J.K. Simmons’ temperamental Lion mayor Leodore Lionheart and his suffering assistant mayor Dawn Bellwhether (Jenny Slate). And kids will love the antics of the adorable tubby desk officer Benjamin Clawhauser the Cheetah (Nate Torrence). For all its successes, it is pretty hard to find a flaw in what is an often emotive (Nick’s backstory), regularly hilarious (a trip to a naturist club) and absolutely inspirationally motivated film. True some may think the closing Shakira track is a tad much, as well as the odd reference may be but there is nothing here that up skittles a joyful and wild adventure. Plus, we dare you not to laugh at the sloth scene, which has to be one of the most hilarious sequences in an animated film in years. Zootropolis is a winner and shows that Disney Animation Studios is still the king of the animated jungle. Click here for more Film Reviews. #filmreviews #Animation #animatedfilmreviews #JackBottomley #Disney #JasonBateman #JKSimmons #IdrisElba #GinniferGoodwin

Directed by Luke Armstrong Starring Johnny Sachon, Holly Georgia, Katie Goldfinch, Michelle Orpe Short film review by Sarah Smeaton Shadows is a dark dystopian film that cleverly plays on the current insecurities of society. In a world plagued by the fear of terrorism and yet equally of the government being all seeing and all knowing, in a ‘Big Brother’ type setting, it’s not hard to buy into the extreme world that is portrayed in Shadows. It is, in effect, only a few steps removed from where we are today. Writers Luke Armstrong and Johnny Sachon have masterfully created a world here that is close enough to our own that we can still identify with it, yet far enough into a tortured setting that the result is quite believable and disturbing. We meet main characters, and revolutionists, Lee and Jess (Sachon and Georgia respectively) and as they try to coexist in a world that is so overly controlled by government intervention and surveillance that living a normal life is impossible. I have to say that the opening sequence of this short film is nothing short of sublime. The panoramic views of London and the edgy shots in the Underground, set this up to be a potentially fantastic film. The overarching plot is also well thought out, it’s very professionally edited in the main and it has all the intrigue you could ask for, set up right from the start, to make this a great dystopian short film. I have to say, however, that the acting on too many occasions was lacking, and this in turn made any attachment to the storyline or characters fall to the wayside. I found myself particularly annoyed by this. I’d already bought into the storyline, the setting and the environment these characters find themselves in. What I couldn’t buy into, no matter how much I tried, were the relationships between the characters. The chemistry was barely there, and in moments of sheer tragedy, I was left disbelieving of character reaction. Johnny Sachon has taken on a massive task here, doubling up as writer and lead character. Even though this is his first foray into screenwriting, there is huge potential here for him in this field if Shadows is anything to go by. But to take on lead as well, was perhaps a bridge too far, and I’m afraid to say this really shone through. The use of music to create atmosphere in the film would have worked well, but at times it felt as though it acted as foreshadowing rather than complementing the action on screen. To have dramatic instrumental music in a club scene instantly alerted of danger to come, and yes it does arrive eventually, but the shock factor has already been lost about thirty seconds prior, which dramatically lessened any impact from this. Sachon does, however, nicely show off his acting abilities in this scene, it’s just a shame that this doesn’t follow through for the rest of the film. More of the fast-paced action, less of the unconvincing heart to hearts, and I think this would have been an all-round winner for me. For more Short Film Reviews, click here. #Shortfilmreviews #SarahSmeaton #Dystopianfilms #ShortFilms #filmreviews #JohnnySachon #LukeArmstrong

★★★ Director: Magnus von Horn Writer: Magnus von Horn Stars: Sven Ahlström, Mats Blomgren, Stefan Cronwall Film Review by Andrew Moore Magnus von Horn’s impressive Swedish/Polish debut The Here After (a Golden Camera nominee at the Cannes Film Festival) is a film about how an act of violence in the past can dictate the present. The film’s central teenage character John (played by Swedish pop star Ulrik Munther) has committed the ultimate act of transgression in his local community, the murder of a girl he was in a relationship with. The film is thus about John’s struggle to return after two years in a youth detention centre and assimilate back into the very community (and family) this act of violence removed him from. Unlike for instance Michael Haneke’s 1992 film Benny’s Video (also about a teenage murder) here John’s victim exists in the film only as a presence two years after the crime that permeates everything. Initial hints of a natural, warm welcome back from his father (Mats Blomgren) after picking him up (there is no mother) slowly dissipate. Other than this general sense of awkwardness and simmering unease he is assimilated back into the familiarity and routines of the farm he lives on with his father and little brother Filip (Alexander Nordgren) who accepts him very much like a little brother would. The family dog still remembers him when he arrives (he’s not been gone long), but the trouble of course isn’t just this bucolic snow globe they inhabit but the wider community and this equilibrium is shattered on their first trip to the local supermarket. What seems like a normal scene of a family doing their weekly shop isn’t, this is hinted on by a variety of distanced shots of the family (and others) and the unease is violently confirmed when John bumps into Bea (Ellen Mattsson), a relative of his victim, in one of the aisles and she compulsively attacks him (eventually being pulled off by John’s father). A murderer back in the community, in the shrine of urban consumerism, a supermarket (the most normal of places), isn’t this wrong? As the film progresses we are left with further questions. Other than the wider community does his family really want him back? We are constantly shown lingering shots of the father, hypnotically staring out of windows, only jolting himself out of this trance-like state upon the arrival of John or Filip. How sure is he of the role he’s supposed to take in this situation? The only other addition to the family is a somnambulant grandfather (Wieslaw Komasa) who almost appears as an external representation of the family’s repressed, shocked inner-state. Cinematographer Lukasz Zal often films the family from distance or behind glass heightening this sense of separation or alienation. John’s return to his old school is painful to watch. Some students passionately express not wanting him there (he killed their friend) while others are just incredibly uncomfortable around him (as are many of the staff). How could they let him come back here? Of course John has been released, in institutional eyes he can return, but in actuality he never can, this is a teenage pupil who carries the mark of Cain. John’s either shunned or bullied (often with brother Filip looking on). The film asks the question of us, is this type of bullying ok? It’s not for the sake of cruelty but is it still cruel? Is its reason just? Should John simply not be there? But of course, for John this is the familiar, it’s where he wants to be, His family, His house, and His school. The only school pupil who eventually accepts him is Malin (Loa Ek) who has arrived in the community after the murder. Through perspective shots she thus witnesses the distain towards John from the view of the observer (she’s not involved). After suggesting he defend himself and later helping him fix his motorbike, they become close and then boyfriend/girlfriend, to his father’s (and maybe the viewer’s) unease. In his defence John is of course a teenager (with teenage genes) but also one who has killed. He will always be analysed from an additional perspective. How believable this sudden emerging relationship is within the narrative and its events is debatable of course. It seems almost perverse but then isn’t that the point of much of Magnus von Horn’s film as the attempts at fitting John back into societal equilibrium prove incendiary. How does society feel in saying he doesn’t have a right? What Malin does allow (from not living there when the crime took place) is primarily the ability to ask him the questions we want to ask, and through her we get to find out more about events of two years ago. Of course John’s return to school and his new relationship are doomed to eventually capitulate. Cue the granddad to come out of his trance to kill the ailing family dog, Filip sees this, won’t accept it, and argues with John too. At one point Filip asks John if he’ll “kill her too” whilst looking at Malin. A tense argument ensues and John aggressively shouts at Malin. From herein Filip rejects his own family in favour of his brother’s bullying tormentors, John gets into a violent fight with one of them (after they attack his family home) and is severely beaten. Back at school his shocking visual appearance furthers the feeling of there is something unnatural, a bad seed amongst them. Things quickly deteriorate, Malin has also rejected him and it’s revealed that in a petition 270 out of the 330 students don’t want him there (noting the signatures were countersigned by parents) – and thus the wider community. The Here After is an intimately observed film shot against a stark, wintry agricultural environment by Polish cinematographer Lukasz Zal, well known for his work on award winning film Ida (2013), with plenty of lingering point of view shots of key characters augmented by distanced observational shots that assimilate the viewpoint of the wider community. The performance of Ulrik Munther is subtle, nuanced yet compelling when needed against the structured and understated performances of his family and supporting cast as the film slowly ticks towards its ending of irresolution (as resolution) but without absolution. As John rides towards his ex girlfriends house with a shotgun in a bag several scenarios could play themselves out (I’ll not say which one). The film ends with John riding his motorbike towards a retreating camera (and what hasn’t backed away from him) in the knowledge that he can never be accepted back here anymore, it’s too painful. Click here for more Film Reviews. #filmreviews #AndrewMoore #WorldCinema #TheatricalReleases #MagnusvonHorn #filmreviewsUK

★★★★ Starring: Martin McCann, Mia Goth, Olwen Fouere Director: Stephen Fingleton Film review by Colin Lomas As a species, us humans have a curious fondness for grim and gloomy art. From skull tattoos to death metal bands, there is an unrelenting fascination with the macabre and morbid, and films are no exception. It’s surprisingly difficult to recall a genuinely gloomy film which didn’t get inexorable approval. From the true life horrors of Hotel Rwanda and The Elephant Man through to the fictional bleakness of The Road, Nil by Mouth and Tyrannosaur, there is something peculiarly fascinating about watching unrelenting despair and observing the malevolence of humanity on the big screen. Intentionally set in an undefined year of the near future in an indeterminate part of the world, the human population has grown exponentially to the point of saturation; food is at a premium and from the movie’s sporadic intimations, society has regressed back to packs of hunter/gatherers. The survivalist (as we never learn his true name) has managed to create a small farmstead in the middle of a dense wood just large enough to keep himself self-sufficient. When mother and daughter couple Kathryn (Fouere) and Milja (Goth) appear at his door asking for food and shelter, the survivalist’s controlled unaccompanied existence is threatened as his morals become confused; to keep himself safe or to assist his visitor’s needs. A sound method to keep costs low when producing a movie is to isolate the action to a restricted area, keep the number of actors limited and construct a simple and focussed story line. The risk with this technique is that the movie becomes more of a theatrical production where each moment becomes intensified and less freedom is given to procrastination. It is unsurprising therefore that the lead character is given to an actor with an education in walking the boards. The film devotes a significant amount of time to building McCann’s character, devoid of dialogue and with extensive intense close ups. Due to the utter desperation of The Survivalist’s plot, it requires total commitment to its audience and at times starts to meander yet manages to pull itself back every time just before the bleakness becomes tiresome. There are enough plot and character surprises to keep the movie interesting, the acting is excellent and the limited scope of environment constantly feels claustrophobic but never artistically restrictive. The Survivalist demonstrates the way, once the whiteboard of social acceptability has been wiped clean, intimacy and sex become acceptable tradeable commodities. The Survivalist is grim, depressing and about the least life-affirming film you’re likely to see this year. Yet it is tense, wonderfully acted and a fascinating illustration of the instinctive brutality of humanity’s will to survive. We have more Film Reviews here. #filmreviews #TheatricalReleases #ColinLomas #StephenFingleton #MartinMcCann #MiaGoth #OlwenFouere #Dystopianfilms

Film Feature by James Stephens Many people might have heard of Gothenburg, Sweden and some may have even been there, but this past February it proved to be the birth place of Alicia Vikander. The 2016 Academy Award winner for Best Supporting Actress for the film The Danish Girl (2015). Whilst people may have heard of Gothenburg, even fewer people would know who Alicia Vikander is. In terms of female Actress Oscar winners from Sweden there have only ever been two. The iconic Ingrid Bergman and now, the more recent, Alicia Vikander for The Danish Girl. One big difference however are the seven nominations, including the wins, that Ingrid has compared to the one nomination and one win that Alicia has. Catapulting Vikander into the public eye by way of a Best Supporting Actress Academy Award has officially made the Swede one to watch out for. Which is something very strange to say about an actress following an Oscar win but still at a young age and a burgeoning career ahead, the 27 year old is showing no signs of slowing down having taken up residence in the heart of London with fellow actor and boyfriend Michael Fassbender whilst working on four new films, one of which just so happens to be the latest instalment in the Jason Bourne series. 2016 could well be the year that proved to be the first of many Academy Awards for a future iconic Swedish talent. Vikander was born and raised in Gothenburg where she began her acting career from the tender age of seven, appearing in various productions and musicals. Vikander even appeared on a popular Swedish show called Småstjärnorna performing a song in front of a panel of judges which she won. This was her first recognition as an actor and performer and one which pushed her to achieve more and pursue a career in the arts. From here she began to train as a ballet dancer but this passion was sadly cut short due to an injury but it proved to have a silver lining. Due to her injury it allowed her to focus on acting and after a few short film appearances, Alicia landed a role on the popular Swedish TV drama Andra Avenyn. Gaining fans and critical acclaim Vikander landed the lead role in the 2010 Swedish film, Pure. This led to Vikander’s second glimpse of award acclaim and stardom in the form of the Rising Star award in 2010 at the Stockholm Film Festival, the Shooting Star Award at the Berlin International Film Festival and the prestigious Guldbagge Award for Best Actress. Vikander and Eddie Redmayne drinking cocktails in The Danish Girl After winning such awards at globally recognised film festivals it was only a matter of time before Hollywood came calling. In 2012 Vikander appeared in the British historical romance, Anna Karenina alongside Keira Knightley, a film which gained worldwide acclaim including four Oscar nominations and six BAFTA nominations. Quite an achievement for Alicia's first film away from Sweden. She followed this up with A Royal Affair (2012) which culminated in earning an Oscar nomination for Best Foreign Language Film. Hollywood had taken notice. Following up A Royal Affair with The Fifth Estate (2013) and Son of A Gun (2014) Vikander began to add to her already impressive credentials. 2015 however proved to be her biggest year. Ex Machina (2015) featured not only some of the best visual effects seen to date but it was also one of the most thought provoking films to be released in recent memory. Starring as Ava, a robotic humanoid with Artificial Intelligence, Vikander garnered critical praise for her portrayal and ability to act in a heavily laden special effect atmosphere. Along with Ex Machina roles swiftly followed in The Man From U.N.C.L.E (2015), Testament of Youth (2015), Seventh Son (2015) which was temporarily shelved for several months upon completion and The Danish Girl (2015). Having amassed such a career film reel at only 27 years of age, it's something that would make any actress jealous but the best years in terms of acting are yet to come from Alicia Vikander, Oscar winner. Dancing with Armie Hammer in The Man From U.N.C.L.E Click here to read our film review of The Danish Girl, and our glowing words on Vikander’s sterling performance. Or click the image below to read our review of The Man From U.N.C.L.E #Filmfeature #JamesStephens #AliciaVikander #Oscars #Acting #Filmmaking #AcademyAwards #EddieRedmayne #ArmieHammer

★★★ Directed by Ross Munro Starring Ross Munro, Robert David Duncan Indie film review by Lorenzo Lombardi Time changes many people. This particularly applies to the older people of society. As the world evolves, elders naturally “get with the times”. In A Legacy of Whining, though, middle-aged protagonist Mitch (Ross Munro) deliberately goes against this in a most evidently cringe-worthy way. He uses archaic words, makes references to age-old philosophies and, terribly, sports a jacket that went out of style decades ago. Mitch is the embodiment of the film’s main themes: clinginess, datedness and identity crisis. Initially, it seems like A Legacy of Whining’s humour would be better executed in an adult animation. The first 10 minutes follow Mitch waiting for a high school friend he has not seen for decades. Whilst waiting, he encounters an assortment of colourful characters that ultimately are tools for some jokes of poor tastes. We see this when a tramp is seemingly ordering dog meat for dinner and a wheelchair-stricken woman asking Mitch for a graphic kind of intercourse. On top of that, a procession of porn stars appear! Again, all in 10 minutes. Sadly, this will push away a lot of viewers, especially ones looking for a more mature comedy. Although, if they stick around, they will find an entertaining and sometimes witty buddy film. The film’s best quality is the script, written by main star and director Munro. Mitch makes frequent references to films and they are quite amusing to well-watched viewers. His strident of verbose vocabulary makes for some interesting conversations too. These conversations are mostly between him and his old-school friend Dunc (Robert David Duncan). Duncan plays the character with a cynical undertone but is ultimately outshined by his co-star. Dunc is mostly there to undermine Mitch’s personality. Sometimes, though, there are nuances of his mutual discontent for the youth of today --- his misplaced expectations for his later stage of life. Mitch shares this, too. The viewer can see that in his ramblings of things like teenage vampire films or the lack of cinnamon coffee nowadays. I did not laugh out loud once at this film, and like the first 10 minutes, the last 20 minutes would better belong in a cartoon. This is because of the eloquent and drawn-out execution of the jokes. Maybe if it were done in a more grounded way, it would be funnier. Overall, though, this film works better as part of the buddy and midlife crisis subgenres. One Birdman-esque scene near the end impresses, with Mitch saying he does not know who he really is. Maybe he wanted to meet his friend to reclaim a bit of his early life. Therefore, while it is not a funny comedy, it is a gem of a commentary pertaining to how people from a bygone era deal with the new world. Even if these two guys deal with it through disparaging Twilight and hiring Marxist prostitutes. Click here for more Film Reviews. #LorenzoLombardi #Indiefilmreviews #IndieFilm #SupportIndieFilm #Comedy #Buddymovie #filmreviews

★★★ Directed by Alessandro Carloni & Jennifer Yuh Nelson Starring Jack Black, J. K. Simmons, Randall Duk Kim, Bryan Cranston, James Hong & Dustin Hoffman Film review by Alexander Halsall We re-join China’s premier fighting panda for the third film of the Kung Fu Panda series, now eight years old and a billion dollar franchise covering multiple media platforms (not too shabby by any Panda’s standards). Po (Jack Black) is reunited with his real father (Bryan Cranston) however his joy is short lived as Kai (J.K Simmons), a supernatural kung fu warrior, has escaped from the spirit realm by stealing the Chi of deceased warriors, including Oogway (Randall Duk Kim) our favourite, possibly stoned, turtle, outside of Finding Nemo. To defeat this new opponent Po must master his own chi with the help of his father, his adoptive father, Master Shifu (Dustin Hoffman), the Furious Five, a village full of various pandas, and a large selection of various anthropomorphic kung fu masters, including my favourite, Master Chicken (whose wisdom I bow to). With a lot of plot going on, and a running time of only 95 minutes the animated film moves along at a brisk pace, keeping the narrative and conflict simple as to maintain cohesion within the story. Jack Black’s high energy performance style has always been perfectly suited to the martial arts loving panda, and even as he continues to learn, and discover new abilities and skills, at his core he is a fan, and his enormous enthusiasm for kung fu is highly infectious and difficult to dislike. With a large ensemble there is not much breathing room for a lot of the characters to make an impact, the Furious Five, Tigress aside, do little more than cameo. Whilst Bryan Cranston is both heartfelt and amusing as Po’s long lost father. J.K Simmons brings as much to the part of Kai as he can, and is a powerful presence for Po to try and overcome. The surprise of the film was the amount of time given to Po’s adoptive father Mr. Ping (James Hong), who I assumed would take a back seat in the narrative, but refuses to let the return of Po’s father get in the way of their paternal bond. This leads to a few hit and miss gags between the rival fathers, but culminates in some worthwhile dramatic moments later in the film and James Hong’s vocal performance was a highlight of the feature. The animation is delightfully colourful, with a rich texture to the backgrounds, the ‘Spirit World’ being a vibrantly designed arena full of splendorous colour. Hans Zimmer’s score complements the visuals with a heady mix of western and eastern influences, the fusion of strings and percussion in the action sequences is perfectly suited to the fast paced direction, and slick, amusing fight choreography. Zimmer co-scored the previous two Kung Fu Panda films with John Powell, but this time rides solo, and does a fabulous job of supplying the film with an excess of urgency and boisterous energy. Po’s enthusiasm makes him an enjoyable screen presence and there are enough amusing jokes, pulsating action sequences, and highly talented animators working behind the scenes to make it an enjoyable time. Dreamworks CEO Jeff Katzenberg has hinted in the past that he envisions Kung Fu Panda as a minimum six film series so we may yet see more of Po & co. I only hope that if they do decide to continue the series that they can maintain the standard they have set with this enjoyable trilogy of pandamonium. I’m sorry, I couldn’t resist. I’ll just go sit in the corner. Click here for more film reviews. #filmreviews #TheatricalReleases #AlexanderHalsall #Animation #animatedfilmreviews #JackBlack #BryanCranston #JKSimmons #DustinHoffman #MartialArts