Directed by James Bushe Starring Darren Sean Enright, Richard Lee O'Donnell and Jenny Stokes Short film review by Chris Olson A quirky British comedy with about two carpet fitters, Colin (Darren Sean Enright) and Dean (Richard Lee O’Donnell) who…ahem…have the rug pulled from under them when one of their customers, a sweet old lady (Jenny Stokes), turns out to be hiding a ghastly secret beneath the floorboards of her Downton-Abbey-style abode. Set in a picturesque stately home, Cannibals & Carpet Fitters has a wonderful combination of quintessential British charm and comedy - it is witty and weird in perfect unison. Some of the one-liners are bust-a-gut funny - for example when Dean confuses Josef Friztl with a pretzel. There is an eeriness about this short film from Bushe that captures the darkness and wackiness of something like The League of Gentlemen. Bushe’s filmmaking skills are a true talent to observe, with a superb dedication to using a variety of framing methods, and the result is a film which looks utterly top standard. This is a vibrant and show-stopping comedy that would make a fantastic horror-comedy feature, which may well be the plan. It has excellent characters, a brilliant blend of guts and gags, and two lead performers who spark well off each other.The music is well chosen, adding to the light heartedness of the atmosphere, and it adds a great sense of joviality to the two main characters bouncing along in their van - reminiscent of Peter Kay’s Pheonix Nights. Some may find the barmy buffoonery of Colin and Dean far below their reach, and others may dislike the way the film blends genres, however, refined taste is all well and good, but whether laying carpet or making a film the same ethos is always true - always check your customer is not a psychotic maniac looking to feed you to her underground monster! And have fun doing it. #ChrisOlson #Shortfilmreviews #Horror #Comedy #ShortFilm

The Coen Brothers - Filmmaker Feature by Sarah Smeaton Joel and Ethan Coen have filled our screens with their original and gripping pieces of cinematography since the 1980s, and whether you’re a lover or a hater, what I think everyone has to admire is their diversity. What I personally love about them so much is that they’re clearly not concerned with staying inside safe genre territory. In fact, it would appear that over the years they’ve tried to do everything within their power to enter into as many genres as possible (whilst being epic at pretty much all of them at the same time). There aren’t many directors out there who can be so well-accomplished and admired in such a vast array of subjects. Here I take just a short look into their fabulously eccentric work to date. Early Career Joel Coen’s first break in film directing came in the early 1980s when he met Sam Raimi and took an assistant editorial role on The Evil Dead. It was thanks to this step up that in 1984 the pair were able to make their first film debut together with their own written and directed, Blood Simple. And what a way to kick off their career. This film was to be the marker for many of their films to come, ringing with film noir aspects throughout and ominous scenes that you just can’t look away from, even though at times you very much might want to. Three years later, the Coen brothers make it known they won’t be sticking inside genre parameters, with the fun, wry comedy Raising Arizona. And so the bar is set. Diversity and Raw Imagination The Coen brothers have gone on to create some of the most diverse, critically acclaimed movies of their time. On paper how on earth does Fargo and The Big Lebowski have the same director? And it’s not as if these two were turned out with a huge amount of space in-between, with just four years dividing them. Every single one of the Coen films pushes just into the right side of eccentric for me. These guys are not frightened to step away from ‘normal’ boundaries. They embrace this, and in doing so embrace their audience and encourage every single viewer into reimagining their morals, decisions and even life direction. Throughout their filmmaking, they’ve cleverly and excellently depicted real life, and it’s this play on ‘normality’ and the mundane that I think is so effortlessly captivating about their films. No Country for Old Men, is a brilliantly dark and macabre film based on the novel by the fantastically talented Cormack McCarthy, and what a combination. The Coen brothers and McCarthy. I’m not sure I could have dreamed up a more beautiful, disturbing combination had I had the choice. This film is ceaseless in style and merciless in content from start to finish. A true masterpiece that at the same time leaves you, as is so often with Coen brother films, somehow deflated at the ordinariness with which such brutal scenes can be carried out. The fact there’s even room for comedy in this morbid film is mind boggling. Take the scene where the rather large receptionist at the trailer park holds her own against Anton Chigurgh’s hold-no-prisoners attitude, right alongside another seemingly effortless murder. Juxtaposing horrifically violent scenes with elements of comedy is in itself quite an awkward thing to watch and to emotionally participate in as a viewer, but it’s through bold, honest techniques such as this that the Coen brothers will forever be standout directors. These films, no matter the comedic content are largely raw in form (refreshingly so) and all are extremely introspective, often following the lives of very ordinary people, caught up in strange/abnormal situations. Take one of their greatest works, Fargo. In such a saturated genre, Fargo stands miles apart from the crowd. It, like many Coen films, follows true events and everyday characters, holding the camera light on them for just that bit longer in order for the viewer to get a shockingly realistic glimpse into their lives. Marge Gunderson is as far as you can get from the badass, superhuman crime hunters that are forever coming out of US film. Yet this makes her more endearing to us and enables us to have open empathy for her from the word go. And in The Big Lebowski, The Dude is so laidback he’s horizontal yet comically lands himself into all sorts of mayhem over a ruined rug, on a day that started like any other in his bachelor lifestyle, where his biggest highlight of the day was drinking several White Russians. If he was actually an uptight, rich, successful guy, being extorted for money, would we engage with him as much as we do? Never. It’s for this reason, and all the Coen’s simple, unobtrusive characters that their films continue to stay oppressively buried within your mind for a lifetime. Recent Works Hail, Caesar!, the Coen’s latest work has a distinct film noir quality to it, and despite the myriad of sub-plots, which could have been distracting, I was held captivated throughout. For I think that’s what Joel and Ethan do so well; provide snippets into people’s lives, and add complex layers over the top of what are essentially simple baseline plots. It’s not a clean cut movie, but since when have any of their films been that? If anything, I found this to be one of the most openly self-reflective films that they have achieved, and rather brave with the topics that are covered underneath the humour, which admittedly is somewhat stagnant in too many places. Hail, Caesar! stars a passionate director with a complete lack of control on cast selection, poor writers and a lot of inward criticism against the bank rollers in the movie industry. This is far from a thoughtless comedy, delicately covering much deeper themes and therefore has to still generate respect to these guys. Will the likes of Fargo and The Big Lebowski ever be topped? Unlikely. But if these guys can keep on providing us with evidence of real life on the big screen, I know one thing’s for sure, I’ll remain an avid fan. To read more Filmmaker Features click here. #SarahSmeaton #CoenBrothers #filmmakers #filmmaking #filmreviews #Filmfeature

★ Directed by Babak Najafi Starring Gerard Butler, Aaron Eckhart, Alon Aboutboul, Morgan Freeman Film review by Colin Lomas Sometimes you get the impression that a movie has been composed entirely around the base premise of a trailer and the rest is simply an unwelcome necessary afterthought. When that trailer concerns itself with blowing London’s most famous landmarks to bits and Morgan Freeman looking dreadfully concerned, you suspect that the movie is not going to bother the Oscars too heavily the following year. The Prime Minister of England has just died from a suspicious heart attack, the subsequent funeral in central London attended by rest of the world’s leaders is a security conundrum of unprecedented scale. Unfortunately, the entire UK’s security, police, secret service and emergency response staff have been inexplicitly compromised by incensed arms dealer Aamir Barkawi (Aboutboul), seeking vengeance for the drone killing of his daughter on her wedding day two years earlier. The majority of leaders are killed in an attack on the capital apart from, surprise surprise, the US president Benjamin Asher (Eckhart), who is lucky enough to be defended by the most nauseatingly supercilious head of security in movie history, Mike Banning (Butler). What follows is a meaningless chain of silly action sequences as the endlessly irritating Banning tries to return his employer to safety. Saying there are plot-holes in London Has Fallen would unfairly suggest there is a plot, but the general narrative makes very little sense. The characters are pure stock and the tale is horribly strewn with the compulsory emotional family moments which instantaneously make you side with the terrorists. Morgan Freeman’s implausibly predictable wise old man role is becoming a distinct bore, a step out of his safety zone becoming more and more necessitous as each film and identical character passes by. There is a sadly unsurprising miasma of xenophobia littered throughout the film with jaw-dropping dialog moments; ‘Get back to Fuckheadistan or wherever you’re from’, all the more gloomier and surprising under the watch of Iranian director Bebak Najafi. Considering the movie was blatantly constructed entirely around the scenes of London’s destruction, a surprising amount of the visual effects are mediocre; the Thames water dispersion from the Chelsea bridge bomb blast in particular has the mis-scaled feel of the Warlords of Atlantis squid attack. There’s really no excuse for this kind of garbage anymore. Since Lethal Weapon and Die Hard thoroughly redeveloped and modernised the tenements of action movies almost thirty years ago, subsequent comparable films should require more than just gun-toting idiots, one-liners, gore and occasional underhand xenophobia. If you like films that allow the cerebral cortex to concentrate purely on hand-to-popcorn coordination, then London Has Fallen might just kill ninety minutes. If not, it’s one to steer clear of. Either way, this is on a one-way mission straight to Bargainbinistan. Click here for more Film Reviews. #ColinLomas #filmreviews #TheatricalReleases #1Star #MorganFreeman #GerardButler #AaronEckhart #BabakNajafi #films2016

Director: Denise Papas Meechan Writer: Denise Papas Meechan Stars: Jenn Halweil, Jane Dashow, Antonio E. Silva, Andrew Price Short Film Review: Andrew Moore Freckles is a fifteen minute US short film written and directed by Denise Papas Meechan about a 30 year old virgin suffering from chronic isolation, extreme self loathing issues . . . and of course freckles! The film initially hovers between these issues of alienation and distanciation on the main protagonist’s part through to a far darker revolt into introspection later on. The film’s production values are sound enough and Lizzie (excellently portrayed by Jenn Halweil) is believable as our central focus point for sympathy, derision and/or aversion throughout the film. Her emotive voiceover further authenticates this painful sense of solitude. Lizzie’s freckles almost serve as an external visual plot device reminding us that what’s really afoot is that things are actually deeply wrong inside (not outside). To quote Lizzie “My mom says my freckles are kisses from God . . . but they’re just a place where my demons hide.” When we see Lizzie showering at the start of the film it’s not to be considered a sensual scene, she’s trying to scrub away at those cursed freckles. That Lizzie looks completely normal but sees herself as far from it is signified in a short walk down the sidewalk in which a stream of pedestrians examine her a little too closely. We can of course see this from a couple of points of view. Firstly, that we are being shown these people from Lizzie’s very unhinged subjective viewpoint, that there really is something wrong with her (and so why wouldn’t they stare). Secondly, that she has internalised this paranoid point of view of herself to such an extent that her overly suspicious glances towards others and bizarre body language are what’s actually causing them to stare. Whichever way you choose to see it she’s clearly unnatural in public, goes out with her hoodie pulled up as tight as possible (which strangely enough exaggerates her facial freckles) and even lingers strangely behind a tree when Brody (Antonio E. Silva) beckons her over. To a further extent we can ask if Lizzie’s garrulous, over the top work colleague, who’s in complete contrast to the subdued, socially awkward Lizzie, is really thus so. Is this again how Lizzie subjectively sees her (hence the animation), or is Margo (Jane Dashow) really this way and so further serving as a visual contrast to Lizzie’s internalised alienation? I’d guess probably both. Margo isn’t young or slim yet this stops her not an iota in her night time liaisons! One obvious thing is that Lizzie’s pathology of isolation isn’t just about an inability to ‘hook up’ with someone. When Margo suggests using Match.com (which has proved successful for her as she volubly describes an evening’s passion) it doesn’t register with Lizzie at all, it somehow merely isn’t the point for her because these uneasy waters run far deeper. Maybe this is alluded to further in a later discussion when Margo is beaming proudly about her nephew’s potty training success and how if these windows of growth aren’t taken when you’re younger it leads to stagnation later in life. Then she asks Lizzie what she’s doing tonight. Of course the answer is nothing, except being at home alone . . . stagnating! Which windows of growth did Lizzie miss? Lizzie’s hoodie is finally removed in public in the final scene of Freckles, she has revealed herself! It’s a suitably dark finale which helps to pull the film’s reception away from notions of pubescent tweeness (as does an uncomfortably tearful dildo scene). Driven to a final distraction she despatches the (uninterested) love interest and we see Lizzie’s freckles replaced by the resulting splats of blood (further enhanced by the prerequisite melon attacking sound effects) as the credits roll to suitably Argentoesque music. The format of a fifteen minute short film serves as a good vehicle for this type of brief, dark, psychological tale of transgression from introverted, chronic loneliness to the outwardly psychotic. Whether sympathy is engendered towards the central character or not (as a victim of wider issues) isn’t gone deeply into other than the mother’s brief dialogue from the past (Lizzie’s past). This perhaps could’ve been alluded further to. I wonder how Lizzie’s character could’ve revealed herself to us if the point of violent transgression would’ve come earlier in the film, and thus served as a point of fulcrum for narrative and character development. That said I think Freckles serves as a great short film into a life psychotically unravelling on the other side of a very lonely, dark mirror until it finally crosses over to our side. What was truly hidden becomes unhidden, beware of the freckled masses (imagined or otherwise) for their bodies and minds carry ‘the star map to isolation and loneliness.’ If you want to read more film reviews, we can help! #Shortfilmreviews #ShortFilm #AndrewMoore #filmreviews #Supportindiefilms #Shortfilms

★★★★★ Directed by Charlie Kaufman and Duke Johnson Starring David Thewlis and Jennifer Jason Leigh Animated film review by Lorenzo Lombardi Anomalisa is a film that encapsulates struggles like lost love, alienation, ennui and midlife crisis in a profound way not seen much in cinema nowadays. A visual distinction the film has is that there are no humans in this film. There are only puppets. And yet, the film invoked emotion on a level most live-action romances are unable to achieve. Anomalisa is an impeccable technical feat as well as a pure piece of introspective cinema, and one of the best films of 2016 so far. The film follows depressed author Michael, voiced by a down-to-earth David Thewlis, as he travels to Cincinnati to showcase his newest book at a customer service convention. He has a wife and two kids, but decides to meet his ex, whom he keeps on seeing visions of. From the get go, we know something is wrong. Everybody else seems to be voiced by the same person, suggesting Michael’s perception of everyone around him is concurrent with his own life --- a grind. He then meets a woman named Lisa, gracefully voiced by Jennifer Jason Leigh. When her voice enters through the floodgate of the alienating voices by Tom Noonan, it really stands out. Lisa and Michael’s relationship is one of the most touching and unconventional ones in recent filmic memory. Insecure or simply shy viewers will instantly relate to Lisa’s character as she feels unwanted and unloved, all with a scar she conceals. Her gentle voice and humility makes her likable. Fuelled by the audience’s familiarity with Michael’s search for love and Carter Burwell’s emotionally charged score, it is ultimately a relationship that will leave you with a happy tear in your eye. Anomalisa is also a great character study of the main protagonist --- Michael. His midlife crisis is layered and his self-contained personality not fully expressed. Maybe his endless conferences and customer service work made every voice sound the same to him too; this is one of a myriad of theories Anomalisa suggests about its main character. Later on in the film, the viewer can also gather a sense as to why he had that bad relationship in the past. The film unfolds and more is told about his state. Nuances that suggest Michael’s distance from society are shown throughout the film. For example, he seems to sometimes ignore or go against whatever people are telling him (a taxi driver says try Cincinnati chilli or go to the zoo, and opportunities are right in front of him but he purposefully ignores them). I would not be surprised if this film was shown to a film studies class in the near future. Stop-motion is a delicate process and the results are usually charming. This film, however, strives for realism, something it inexplicably achieves. Not many animated features look as realistic as Anomalisa, and sometimes it felt like you are watching real people. Well, other than fluffy skin and the joins on the characters’ faces, the latter of which can be a metaphor for our identities and personalities, as shown in one scene where Michael’s face seemingly is falling off. Even the whole idea of a puppet society could be interpreted as our willingness to work, as shown through multiple plot points throughout. Overall, the film has an incredibly unique style. Thematically alike to Eternal Sunshine of the Spotless Mind (Anomalisa co-director Charlie Kaufman’s most famous screenplay), the film implies that imperfections are what makes us human, and that all of us should look for what makes someone special inside, and you’ll notice that in the title. Two lost souls looking for love has not been executed this well since 2003’s Lost in Translation. Ending with a bittersweet and cryptic ending, one character has a symbolic revelation that leaves you utterly happy. After you are done with the film, you start valuing your own life and others a tad bit more. Anomalisa shows us the importance of knowing who you are but also to be responsible for your choices in life. Otherwise, they will still haunt you, physically and mentally. Charlie Kaufman & Duke Johnson crafted an emotional odyssey that explores some of the most important issues of the human condition while also delivering a beautiful love story. You will be contemplating one of the film’s questions for ages: “What is it to be alive”? Want to read more film reviews like this? Click here #LorenzoLombardi #animatedfilmreviews #Animation #TheatricalReleases #DavidThewlis #JenniferJasonLeigh #filmreviews

Directed by Gareth Molan Starring Dan Wilson, Monty Roberts Documentary film review by Monica Jowett Short film Cornish Cowboy is a fantastic example of short documentary filmmaking. Director Gareth Molan has found a subject that is interesting and also fairly unexplored. Set against stunning Cornwall landscapes, this short film is the right combination of entertainment and education. The film introduces Dan Wilson, the eponymous Cornish cowboy. A horse whisperer, he uses his remarkable talent to train horses of all ages who exhibit all types of behavioural problems. He is a charming man, and shows ease with these magnificent animals; clearly he was born to do this job. Cornish Cowboy shows how important it is to choose an intriguing subject matter for a documentary, whether feature length or short. The subject of Dan Wilson and his horse whispering technique will be fascinating to all audiences, even if you have little knowledge of horses. The film is also helped by the cowboy himself. As he talks, it is easy to see his passion for the animal and the work he is doing and his stories are ones you yearn to continue listening too. Cornwall is a stunning county and is the perfect and only place for a ‘cowboy’ to be in the UK. The opening scenes of the film show the gorgeous landscapes and countryside with horses running across it. Though it is not a promotion for tourism in Cornwall, this film could double up as such. The editing is used creatively in the film. Along with Dan’s voice over we see a blend of shots incorporating scenery, horses, and Dan himself training. Through his narration and the shots, you get a feeling of what Dan’s life is like, doing this fascinating job. Though a short documentary film, you can see how the director and cinematographer have used the stunning visuals that surround Dan and his work to create an immersive, atmospheric film. The music in Cornish Cowboy is used emotively, and gives the audience a sense that they are watching an actual Western. The dramatic music further conveys the passion Dan has for his job, and the joy he shows for the horse world and the industry as a whole. Cornish Cowboy combines strong dramatic moments and educational points that are exactly what is needed for a documentary film. The director and subject should be proud with the outcome of this short film. #MonicaJowett #Shortfilmreviews #Documentary #filmmaking #Western #filmreviews

Directed by Lee Loechler Starring Timothy J. Cox and Rachel Lynn Jackson Short film review by Eleanor Hucklesby A five minute short film, Choosing Sides has a simple premise: a father and mother, the former a Catholic and the latter Jewish, try to persuade their disinterested son to decide how to celebrate his upcoming birthday. With this short film being directed and edited by Lee Loechler, the narrative has a brisk pace and the cinematography is good, the editing slick and unobtrusive from the story. However, the camera work is quite basic throughout and I did at times wonder if the filmmakers could’ve been a little more explorative in its camera work—even with the film’s short length. Where this short film really shines however is in its script, written by Yael Green. With its clear central conflict, the script of Choosing Sides is somewhat of a gem. Though it does not provide huge belly laughs, only slight smiles and brief chuckles, Green’s script does not just simply throw jokes at the audience in the hope that one of them sticks. Indeed, throughout this short film, Green seeks to interweave a high range of themes into the story. Not only is this a satire on the conflicts between different religions, but the script also contains biting observations on family dynamics; specifically, the script comments on the influence parents try to exert over their children. My only criticism for the script would be that occasionally, some characters start to sound the same and as a result, the action in the dialogue ends up falling flat before picking up again. However, the acting of all three cast members is fluid and consistent. As the father, Timothy J. Cox perfectly encapsulates the desperation of his character, bringing a level of frustration to the performance as well. Rachel Lynn Jackson, as the mother, brings a similar amount of frustration to her character which sparks well with Cox’s character, but Jackson brings a maternal edge to her performance, bringing an added element to the film’s humour. The skilful comedic performances quickly establish both the world of the narrative and the dynamics between the characters, making the payoff of the film’s entertaining final twist provide the short film’s biggest laugh. Overall then, Choosing Sides is a short film which contains a crisp, clear conflict throughout and despite occasional wavering moments in the script, it is a higher than average, entertaining examination of religion and family dynamics with a final twist that it is both sweet and humorous. We have more short film reviews this way. #EleanorHucklesby #Shortfilmreviews #filmreviews #Comedy #filmmakers #supportindiefilms

★★★ Written and Directed by David Farr Starring Clémence Poésy, David Morrissey, Stephen Campbell Moore, Laura Birn Film review by Hannah Sayer Having previously written the screenplays for the acclaimed film Hanna (2011) and the BBC’s new television adaptation of John Le Carré’s The Night Manager (2015), The Ones Below is certainly a bold directorial debut from David Farr, who is most well known for being the Associate Director of the Royal Shakespeare Company. Melodrama and theatricality of performance becomes an important aspect throughout the course of the thrilling The Ones Below, as Farr explores the modern day anxieties of pregnancy, with a horrific twist. Kate and Justin, played by Clémence Poésy and Stephen Campbell Moore respectively, are portrayed as content and successful individuals who are expecting their first child together. However, everything abruptly changes with the arrival of their eerie new neighbours who move into the flat below them. The couple downstairs, Teresa and Jon, played by Laura Birn and David Morrissey respectively, are also expecting. There is something sinister about them that is instantly apparent from the moment the camera lingers on the two pairs of shoes that are left neatly outside of the flat. Kate’s anxieties associated with becoming a mother are juxtaposed by Teresa’s excitement and visible joy at the prospect of motherhood. What begins as a story of friendship made stronger by the shared experience of pregnancy takes a dark and shocking turn at a dinner party hosted by Kate and Justin. Clémence Poésy is exquisite as Kate, effectively portraying her as a character plagued by dread and paranoia. Her vulnerability and uneasiness is sustained in the use of an urban but intimate and claustrophobic setting. There is a sense created that Kate is never alone and that she is always being watched. Farr moves away from creating a gory, bloody horror focused on jump scares and instead chooses to focus on psychological trauma. This can, in a way, be even more frightening to the viewer as the film seems very rooted in real life. However, Kate’s fearful nature and vulnerability does evoke an uncertainty as to what is real and what is imaginary. Farr sustains the suspense throughout the narrative, as the viewer is constantly striving to understand what is really going on in this tale of two couples. The over the top theatricality of Laura Birn’s and David Morrissey’s performances threatens to take away from the intensity of the film, as the couples actions and interactions with Kate and Justin and the outside world start to become unrealistic. Although there are slight issues with pacing and the ending seems rushed and abrupt after the intense build up throughout, The Ones Below is a promising first feature. For more film reviews, click here. #HannahSayer #filmreviews #TheatricalReleases #DavidFarr #ClémencePoésy #March2016films #reviews #films

★★★ Directed by Joel and Ethan Coen Starring: Josh Brolin, George Clooney, Scarlett Johansson, Tilda Swinton, Ralph Fiennes, Frances McDormand, Channing Tatum, Jonah Hill Film review by Yasmin Omar It’s no secret that the advertising campaign for Hail, Caesar! has been aggressive. Since the closing months of 2015, we’ve been bombarded with trailers for the new Coen brothers’ movie. Excitement mounted. Clooney’s back (obviously), cast once again as a slow-witted buffoon à la O Brother, Where Art Thou? or Burn After Reading. This time, he stands alongside a cast that is so superlatively star-studded, it fully illuminates the Beverly Hills night sky. My expectations had swelled to new heights. It was in this frame of mind that I went to see Hail, Caesar!, giddily clasping the helium balloon of my enthusiasm. It was swiftly punctured. My relationship with the Coens has to be filed under “it’s complicated,” jaggedly spiralling between love and hate. Conceptually, Hail, Caesar! should work. Through the weary gaze of overworked studio executive Eddie Mannix (Josh Brolin), we’re given an insight into the quotidian pitter-patter of Hollywood’s motion picture Golden Age, full of whimsical characters and farcical setbacks. It’s exactly this type of industry naval-gazing that has birthed some of cinema’s most memorable films from Sunset Boulevard (1940) to Singin’ in the Rain (1952) or, more recently, The Artist (2011) and Birdman (2014). Alas, in the case of Hail, Caesar! the spectators are overwhelmed with a mishmash of fraying subplots, which fail to stitch up satisfactorily. You’re not Jean-Luc Godard, guys, just give us a three-act plot and we’ll be happy. The mise-en-abymes are decidedly more entertaining than the movie itself. I loved the musical number, No Dames, which stages Channing Tatum as a wannabe Gene Kelly, dressed in crisp navy garb in the manner of Gabey in On the Town (1949), tap-dancing away on table tops as Kelly does in the song Moses Supposes. In all honesty, I’d rather have watched that. If Joel and Ethan had extended that sequence into a feature length film, they would’ve had my undivided attention. I couldn’t help but notice that the peals of riotous laughter from the audience of the film-within-a-film Lazy Ol’ Moon embarrassingly juxtaposed with the muted responses of my fellow moviegoers. There were sniggers, sure, and yet – given that Hail, Caesar! is reputedly a comedy – there was little audible confirmation of this in the Picturehouse I was in. The visual gags aren't funny. Frances McDormand gets her tie caught in a projector reel. Yawn. George Clooney sits on his sword. And what? You can do better than this, you two. We know. We’ve seen your previous work. As multi-Oscar winning directors, the Coens should also know by now that duplicating an actor rarely works. Tilda Swinton’s turn as gossip columnists Thora and Thessaly Thacker is less Armie Hammer in The Social Network and more Eddie Murphy in The Nutty Professor. It’s disappointing to see such capable directors flounder in Hail, Caesar’s! series of incongruous vignettes. My advice? Stay at home and re-watch The Big Lebowski. I really wish I had. Check out more film reviews, or watch the movie trailer for Hail, Caesar! below... #filmreviews #TheatricalReleases #YasminOmar #CoenBrothers #JoshBrolin #GeorgeClooney #ScarlettJohnasson #TildaSwinton #RalphFiennes #ChanningTatum #JonahHill #FrancesMcDormand

★★ Directed by Trevor Wall Starring Rob Schneider, Heather Graham, Bill Nighy, James Corden, and Ken Jeong Film review by Chris Olson The genre of animated movies has several ice-capers which have hit and missed in equal measure. Frozen (2013), Happy Feet (2006), Ice Age (2002), have found popular appeal, whilst sequels for the latter two have landed on thin ice. Norm of the North, regrettably, is a blizzard of environmental issues, pop culture references and slapstick comedy whilst failing to toe the line between childish silliness and adult appeal. Norm (Rob Schneider) is a polar bear in the arctic, who for some reason can talk “human”. An inexplicable trait which comes in super handy when a bunch of greedy humans turn up on his doorstep wanting to build luxury condos and spoiling the picturesque ecology. However, communication remains elusive so Norm finds himself journeying to New York where he hopes to sabotage the construction project from the inside by becoming part of the marketing. Heavy on the social commentary light on the plot, this is a by-the-numbers animated film that crowbars in fluffy references without any concern for delivering a quality script. Dance montages and camp villains are just some of the delights in store for viewers who will most likely be kids and their poor, suffering parents. That being said, there were a few times the movie managed to roar. James Corden turns up for a delightful cameo as an actor dressed as a polar bear, whose hand-to-hand combat skills and thespian ravings are genuinely funny. Also the onset of the Lemmings characters provide a Minions-esque comedy relief, easily providing the funniest moments in the film. Although even they feel like marketable material, like all the other "cuddley toy" characters. The action set pieces throw them into endless, cartoonish scenarios without any regard for complimenting the story any further than "oh that was cute". Animation cannot excuse itself from the strenuous criticism that other genres face, not after so many huge achievements have been made in the genre. The pioneers have raised the bar so high now that calamitous capers like this just simply won't do. The script is totally lacking and the fundamental characterisation, so prevalent in the success stories of Pixar, Ghibli and Dreamworks, is a stinking, wet fish. We have more film reviews for anyone who wants them, which is most likely YOU! #ChrisOlson #animatedfilmreviews #Animation #filmreviews #filmreviewsUK #RobSchneider #JamesCorden

Actress, martial artist and soon to be Hollywood talent Rachael Holoway leaves no ass un-kicked when it comes to loving life to the full. We recently reviewed short film Soulmates, in which Holoway plays a student questioning the idea of a one true love. UK Film Review caught up with her to talk movies, taekwondo and (of course) dolphins... Can you tell us a little bit about yourself and movies? I grew up around theatre as my dad’s an actor so I've been in love with the industry ever since I can remember. I started acting when I was 11 and haven't looked back since. I've enjoyed an awesomely diverse career so far including presenting my own extreme sports show on Sky, soaps such as Emmerdale, Doctors, Cloud 9, an array of films, most recently the gorgeous Soulmates. I'm also a black belt in taekwondo. I've been doing martial arts for about 15 years now. It started with kickboxing when I was younger but I instantly clicked with taekwondo which I still continue to train in twice a week with my awesome master Ali O.Saraei. So in a nutshell I'm a butt kicking actress with big dreams trying not to break my nose in the process! There’s not a huge amount of fighting in your latest film. What attracted you to Soulmates as a project? Were there any particular themes or character traits that fascinated you? There are lots of lovely, romantic movies based on the idea of Soulmates, but what attracted me to this film is that it approached the subject in a very matter of fact way without losing any heart. I'd worked with director Zaid Alkayat before and we'd been keen to work together again, so when he approached me with Soulmates it was an obvious yes for me. I loved his theory that a mathematical equation can prove the existence of soulmates. I personally absolutely believe in soulmates so to play a character that really doesn't was fun for me. During the read through we discussed whether we believe in them or not and I always find it fascinating to hear people's thoughts. For me, you find your soulmate (if you're lucky) and marry them. But for some, you can be very happily married and find your soulmate in someone other than your husband or wife. Whether you believe in soulmates or not, it's such a beautiful film that will leave you with a big smile on your face. As a performer, how do you find the genre of short films? Is it constraining or freeing? For me, if I love the script and I connect with the character, whether it's a short film or a feature I find the entire process freeing. That's why I love what I do. I get to become a different person, take on new character traits, explore my physicality, learn and grow as an actress with every role I take. Of course there's not as much time to tell the story in a short but it's the same process of understanding your character completely and perhaps more of a challenge to portray everything you need to in order to take the audience with you in the short time you have. How does your passion for martial arts fit in with your performances? Does the discipline of one complement the other? Anyone who does any form of martial arts will tell you that it requires a tremendous amount of discipline, hard work and dedication. Pushing yourself physically to grow and become awesome at what you do. It's exactly the same with acting and really, anything you want to achieve in life. My passion for both martial arts and acting compliment each other perfectly and I'm so lucky as both come together for me in some roles. I'm a reoccurring character in an ad campaign for Hewlett Packard in which I play the 'App Defender'. My days on set consist of beating up the bad guys. It's physically demanding but that's what I'm addicted to! A worthy foe! What are your favourite martial arts films? Ohh… Enter the Dragon! Bruce Lee is an absolute hero of mine. I first watched this film with my dad when I was 8 and was just mesmerised! The fight scene amongst the mirrors terrified me but I was hooked on martial arts films from then on! The Raid and The Raid 2...unbelievable films. The first one only had a small budget but what an awesome film. The fight choreography is insane and Iko Uwais is another hero of mine. I'd love to work with him and director Gareth Evans! Speaking of directors, If you could work with any other actor/director who would it be and why? Tough question as I have a huge list of actors and directors that I'd love to work with, but if I'm choosing one of each I'd have to say: Actor, Leonardo Di Caprio. I have adored him as an actor since I saw him in What's Eating Gilbert Grape when I was 11. He blew me away. I just think he's the most stunningly talented actor who literally commits everything he has to every role. I'd love to see what he's like on set, how he gets into character. I feel like I could learn a lot from him. Needless to say I literally felt like a proud mum when he won the much deserved Oscar for The Revenant! Director, Quentin Tarantino. He's directed some of the biggest cult films and is just so imaginative and brilliant at what he does. Big dream of mine to work with him. What do you have planned next? I signed with management in LA a few months ago and I'm going back out at the end of this month for some very exciting meetings! If you were a dolphin, what would you say? "I really struggle to find foundation in my shade" Check out our film review of Soulmates. #Interview #ChrisOlson #ShortFilms #LeonardoDiCaprio #QuentinTarantino #Filmmaking

Directed by Tofic Rzayev Starring Ethan Sancar, Sevgi Ucgayabasi & Alsen Buse Aydin Short film review by Sarah Smeaton What is so striking and captivating about this short film is how immediately you are drawn in, wanting to know more about the characters’ backgrounds and who exactly they are. I’m not sure you come anywhere closer to finding any of this out by the conclusion of the film, but what is remarkable is that in such a short space of time, just over thirteen minutes in fact, you will undoubtedly find yourself inexplicably identifying with the main male character who remains nameless throughout. Director Tofic Rzayev is not afraid to lean on the aid of silence in this film and as such has created an incredibly moody piece that has an all-consuming atmosphere throughout. The lack of soundtrack or dialogue in the opening scenes of Nihan: The Last Page (Turkish title - Nihan: Son Sofya) instantly draws all attention to the main character. Who is he? Where has he come from? What is he doing? Silence, apart from a distant thunderstorm in the background, perfectly encapsulates the tone of this film, and the delicate classical music that follows flows seamlessly throughout the subsequent scenes, leaving no room for doubt that this is, essentially, a love story. We meet the main male character at a point in his life where the unimaginable has happened to him and he’s lost the love of his life, Nihan. In order to find some kind of meaning to his life he’s taken to writing a story of their life together, but he cannot complete the last page for fear of shutting the door, or in this case the last page, on his beloved. The simplicity in this is so endearing and honest, that you cannot help but get lost in his emotions. Ethan Sancar plays this role fantastically. While I thoroughly enjoyed the character’s journey in this film, it was let down by one of the predominant scenes where the male is talking to a secondary female character. Whether a result of a lack in acting ability or from intended direction, there was a real distance between these two characters and no real chemistry. In fact I was left wondering who she in fact was as their connection was never solidified. She appeared unnecessary to the development of the plot and therefore left me feeling as though she’d just be written in to enable this man to have an outlet to speak his feelings to. What’s so refreshing about this short film, though, is that, yes, there is a very upsetting theme at the heart of it, but the focus is on the aftermath of this, not the actual event. The aftermath, as is so common in life, is not overly dramatic or noteworthy, but the everyday melancholy of this cannot help but make you want to watch more. Nihan: The Last Page is without a doubt a beautiful snippet into everyday life. More short film reviews this way. #Shortfilmreviews #filmreviews #SarahSmeaton #TofiqRzayev #WorldCinema