Directed by Chris Quick Starring Duncan Airlie James, Amy E. Watson, Steven Patrick, Chris Quick, Andrew O'Donnell, Neil Francis, Euan Cuthbertson Short film review by Chris Olson A bleak and funny short film, populated with puppets and people, that offers a sardonic view on the fickleness of life through the end days of an ostrich called Danny McGuire (voiced by Duncan Airlie James), whose unfortunate life circumstances are shadowed by the most depressing season of the year, with tragic results. With a poetic opening of seasonal musings, The Greyness of Autumn never pitches its tent in any particular genre field. Instead, we are met with a smorgasbord of conflicting emotions that means the audience for this short film never knows whether to laugh, cry or raise an eyebrow. After losing his job and his girlfriend Katie (Amy. E. Watson), our ostrich protagonist attempts to keep his feathers together, leaning on the help of his foul-mouthed monkey roommate Nelson (voiced by Chris Quick, who also directed the film). However, poor Danny quickly learns that in autumn, when it rains it pours, and he quickly sees only one way out. Given that the plot of the film is so bleak, with a backdrop of recession, puppets seem like a brilliant idea to inject an element of fun into the proceedings. And what is great is that Quick manages to utilise Danny and Nelson without resorting to cartoonish distraction. In fact, Danny’s woeful descent is pretty captivating, and Nelson, whilst playing fast and loose with his language, does actually offer quite a lot of sanguine advice. Films that have dealt with the economic recession (see The Company Men, The Big Short) typically take on a balanced measure of human interest and banker villainy, whilst The Greyness of Autumn takes the former and displaces it into comical farce with huge undertones of tragedy - a difficult feat. There is a lot to like about Quick’s film, including the witty script and some impressive editing - the soft fades between Danny’s various scenes are well executed, as are the quick cuts during the office scenes - but there are also some areas where it lets itself down. A couple of the supporting cast, ironically, come across a little wooden, seemingly unprepared to deal with acting with puppets, and the numerous characters which are introduced into a short running time makes the pacing seem a little chaotic. That being said, the final sequences are very poignant, and both Quick and Airlie James’ performances are noteworthy. It seems a shame that the production company behind The Greyness of Autumn, Quick Off The Mark Productions, are now no longer making movies. This is an ambitious and genuinely funny example of what can be achieved by daring short filmmakers. Even if it does have a few loose threads in places, there is a huge amount of entertainment and quality here. Click here for more short film reviews. #ShortFilms #Shortfilms #shortfilms #ShortFIlms #shortfilmreviews #ChrisOlson #filmreviews #filmreviewsUK #Comedy

★★★★★ Directed by Tom McCarthy Starring Liev Schreiber, Michael Keaton, Rachel McAdams, Brian d’Arcy James & Mark Ruffalo Film review by Amaliah S. Marmon-Halm Spotlight, directed, written and produced by Tom McCarthy and co-written by John Singer, tells the amazing true story of the Boston Globe’s Pulitzer Prize-winning “Spotlight” team of investigative journalists, who in 2002 shocked the city and the world by exposing the Catholic Church’s systematic cover-up of widespread paedophilia committed by more than 70 local priests. All of this exposure comes about when newly appointed editor Marty Baron (Liev Schreiber) immediately directs the team, comprised of editor Walter “Robby” Robinson (Michael Keaton), reporters Sacha Pfeiffer (Rachel McAdams) and Michael Rezendes (Mark Ruffalo), and researcher Matt Carroll (Brian d’Arcy James), to follow up on a column about a local priest accused of having sexually abused dozens of young children over the course of 30 years. As they interview adults who were molested as children, and pursue the release of sealed court records, it becomes clear that the Church’s systematic protection of predatory priests is far more wide-reaching than any of them ever imagined. This truly is a remarkable and moving story which is sure to affect a lot audiences. From the cinematography, to the screenplay, it’s easy to see how such a film can be made with such passion. Simply put, it’s a very beautifully made film, with a hard-hitting story. The desire to get the truth and tenacity of the Spotlight team is absolutely awe-inspiring and that is incredibly portrayed by the likes of McAdams and Ruffalo. As well as having a brilliant cast representing the team, Stanley Tucci gives a great portrayal of attorney to the victims, Mitchell Garabedian. As McCarthy states, “Spotlight serves as a shining example of what professional, top-flight journalists can accomplish. I want to ring the bell about how essential this kind of journalism is, because to me, these reporters are straight-up heroes.” Almost 14 years later... “the Church is now paying a lot of attention to the issues raised in our film and much of the change in the institution can be traced to the work of the Spotlight team,” says producer Michael Sugar. Every so often, we need a film like Spotlight. Despite coming up against so much resistance, the fact that they managed to break this story wide open reminds you what power journalistic media can have when it’s telling right story. To spur further progress, a website has been set up with information about how viewers can take action regarding issues raised by the film. To learn more, visit www.TakePart.com/Spotlight Check out more film reviews. #TheatricalReleases #amaliahsaramarmonhalm #filmreviews #filmreviewsUK #TomMcCarthy #LievSchreiber #MichaelKeaton #RachelMcAdams #MarkRuffalo #5StarFilm #InUKCinemasNow

★★★★★ Directed by Paolo Sorrentino Starring Michael Caine, Harvey Keitel, Paul Dano and Rachel Weisz Film review by Amaliah S. Marmon-Halm Paolo Sorrentino’s critically acclaimed masterpiece, Youth, stars Michael Caine and Harvey Keitel as Fred and Mick respectively, two old friends on vacation together in an elegant hotel at the foot of the Alps. Fred, a composer and conductor, is now retired. Mick, a film director, is still working. Both of them know that their time is quickly running out, and they decide to face their future together. Mick and Fred seem to be on two ends of a spectrum - while Mick scrambles to finish the screenplay for what he imagines will be his last important film, Fred, who gave up his musical career long ago, has no intention of returning to it. But there are a couple of important people who want, at all costs to hear his compositions and to see him conduct again – The Queen and Prince Phillip. While Mick and Fred are the stars of the show, other characters do an amazing job to add amazing substance to the film. From the nameless escort who helps to entertain the guests, an actor called Jimmy (Paul Dano) who wants to be known for more than just one role, Miss Universe and her amazing body and mind, the silent and mysterious couple with a secret and Leda (Rachel Weisz), Fred’s daughter and personal assistant, who is engaged to Mick’s son. It’s very easy to be completely absorbed into the world this film creates. As this story is about the joys and struggles of a retired composer and conductor, you’d expect this film to have some beautiful original music to accompany it and it doesn’t disappoint. Throughout the film, it’s hard not admire the beauty of songs like Third and Seneca and Cavatina ‘Figlia Ti Scuoti’. David Lang, who composed Mick’s signature piece Simple Song #3, which is highlighted throughout the film especially by a student learning the violin and played in full during the credits, explains why taking part in a film like Youth was so meaningful to him: "I loved writing the music…because [as] the main character is a composer I was able to write music that gets made by Michael Caine, onscreen, right before your eyes. The music plays a huge role in the plot of the film, which meant that I could use the music to blur the lines between the character's public life, as a professional musician, and his private life, as a thoughtful man.” And it’s not just classical pieces that heavily influence this film, but also quite a few mainstream hits. The film opens with a rather funky cover of You’ve Got The Love, and even stars UK pop starlet Paloma Faith as Leda’s fiancé’s lover and sexually-charged rendition of her hit I Just Can’t Rely On You during a dream sequence. I have to admit, that although it was interesting and entertainingly odd to watch, it did seem rather out of place with the overall tone of the film. Overall, Youth is a beautiful and thoughtful film. The kind of film where you want and need to stay as the credits start to roll, as that is when they finally play Simple Song #3. It was a wonderful depiction of something we all fear - impending old age and the fear that our uniqueness and talent don't always go appreciated. Michael Caine and Harvey Keitel make a wonderful double act, and the way they show the joy and pain of their characters definitely left me with a lump in my throat. Click here for more film reviews, or check out the movie trailer for Youth below... #TheatricalReleases #amaliahsaramarmonhalm #filmreviews #filmreviewsUK #MichaelCaine #HarveyKeitel #RachelWeisz #PaulDano #PaoloSorrentino #StudioCanal #InUKCinemasNow #5StarFilm

★★★ Directed by Jude Klassen Starring Jude Klassen, Kika Kay, T.C. Folkpunk, Wendy Sinclair, Brett M. Butler, Jayson G. Butler, Shay Steinberg, Lisa Sontonato Indie film review by Monica Jowett A genre defying feature film, Love in the Sixth combines elements of comedy, drama, musicals and a dash on romance, set against Toronto’s artistic community. Written and directed by Jude Klassen (who also stars), this dysfunctional romantic comedy is an example of artistic collaboration. Love in the Sixth follows the lives of a group of people all going through some difficult relationships with one another. At the centre is Dani (Jude Klassen) a single mother raising a pre-teen daughter Kat (Mika Kay), who is obsessed with the environment and politics. As well as the troubles of raising her daughter, Dani has a dysfunctional relationship with her boyfriend Sid (T.C. Folkpunk) a singer songwriter. Alongside Dani is Mavis (Wendy Sinclair) a polyamorous woman involved with two brothers Brett (Brett M. Butler) and Jay (Jayson G. Butler) and then Qalie (Shay Steinberg) and Tamara (Lisa Sontonato) a lesbian couple whose personalities are strikingly different. Love in the Sixth is a collaborative work between actors, editors, producers and friends. Though there is a clear feeling the people on screen are friends, this indie film feels as though too many ideas were thrown together making the outcome a mixture that is hard to follow. At times we are shown a musical, then a comedy breaking the fourth wall as a podcast is set up within the film. Fortunately, the teamwork put into this feature means that none of the characters shown are one dimensional; each and every one of them has an assortment of issues plaguing them which are intriguing and entertaining. Though they could be portraying a version of themselves, at least they are complicated, engaging characters. The music is a particular highlight of Love in the Sixth. Clever lyrics reflect on what has just happened on screen and provide insight to the characters Klassen has sculpted. A combination of filmmaking styles matches the combination of genres on offer. At times filmed like a documentary, then like a small budget music video, Love in the Sixth is a self-aware piece of filmmaking that its creators can be proud of. #IndieFilm #SupportIndieFilms #MonicaJowett #filmreviews #filmreviewsUK

★★★★★ Directed by Ryan Coogler Starring Michael B. Jordan & Sylvester Stallone Film review by Oscar (aged 15) “The gloves are on” I have always been a fan of the Rocky films so when I heard that the great Sylvester Stallone was starring in a new boxing film I couldn't wait to watch it. The film is a great addition to the Rocky Balboa and Apollo Creed story, and begins with one boy's journey of fighting his whole life and finds out his dad was the famous Apollo Creed and wants to follow in his father's footsteps. When Adonis Johnson [Creed's son, played by Michael B. Jordan] has his mind set on becoming a boxer leaving many valuable things behind he looks up to Rocky for guidance and coaching. He gets the boxing experience by challenging a few people who have good reputations. The film is not overly violent or bloody as the director Ryan Coogler has done a brilliant job in portraying the fighting scenes with grace. As Adonis starts winning fights and making a reputation for himself he decides to change his last name from Johnson to Creed and this brings in a lot more attention to his fighting career. With film locations including Liverpool the film is of true brilliance with a supporting role by Liverpool boxer, Tony Bellew, who becomes Creed’s boxing rival. Creed as a film though is not all about boxing and fighting, it also has some very poignant and emotional scenes which add depth and gravitas. The inspiration for audiences in this film is to continue to maintain personal strength and development, whilst being aware of the dangers of fighting. Overall I would recommend this film to boxing and Rocky fans alike, as well as newcomers to the genre. It is well directed and contains some brilliant performances. I hope Stallone wins an Oscar for his supporting role, It's just magnificent a five star film. Want to check out more film reviews? #SylvesterStallone #5StarFilm #filmreviews #filmreviewsUK #InUKCinemasNow

The Best of Emily Blunt British actress Emily Blunt has made a name for herself in Hollywood by consistently surprising audiences with her unpredictable choices- wildly talented, she’s able to make any role her own - whether it’s a sharp tongued fashionista, a fiercely determined Special Forces fighter, or anything in between. To celebrate the release of the thrilling, brilliant SICARIO (on Blu-ray, DVD, and digital platforms from February 1st, 2016, courtesy of Lionsgate Home Entertainment), we’re taking a look at some of her best work to date… Sicario (2015) Blunt stars opposite Josh Brolin and Benicio Del Toro in this searing, unflinching journey into the deadly, volatile and morally murky world of Mexican drug cartels from visionary director Denis Villeneuve. When FBI agent Kate Macer (Blunt) uncovers a Mexican cartel’s house of death, her shocking find causes shockwaves on a personal and global level. Kate is recruited to join a covert black ops mission headed by a mysterious Colombian operative known only as Alejandro (Del Toro) along with shadowy agent Matt Graver (Brolin). Even as Kate tries to convince herself she’s on a hunt for justice, she is thrust into the dark heart of a secret battleground that has swept up ruthless cartels, kill-crazy assassins, clandestine American spies and thousands of innocents. Into the Woods (2014) This humorous, brilliant musical follows the classic tales of Cinderella (Anna Kendrick), Little Red Riding Hood (Lilla Crawford), Jack and the Beanstalk (Daniel Huttlestone), and Rapunzel (Mackenzie Mauzy), intertwining them with an original tale of the Baker and his Wife (James Corden and Blunt), whose only wish is to have a child, and the Witch (Meryl Streep), who has cursed their family. Blunt once again proves her talent for comedy, whilst also boasting an impressive singing voice. Live Die Repeat: Edge of Tomorrow (2014) Blunt surprised her fans with an unexpected foray into action movies- a move that paid off in this thoroughly engrossing adventure also starring Tom Cruise. It follows the unrelenting war against an alien race, which seems unwinnable- until Major William Cage (Cruise), an officer who has never seen a day of combat, is unceremoniously dropped into what seems a suicide mission. He is killed within minutes- but then finds himself inexplicably thrown into a time loop, forcing him to live out the same combat over and over, with each fight culminating in his death. But with each battle, alongside Special Forces warrior Rita Vrataski (Blunt), their skills grow, and they get closer and closer to finally defeating the enemy. The Five-Year Engagement (2012) In San Francisco, after a year's relationship, Tom (Jason Segal) proposes to Violet (Blunt), and she accepts. She's an experimental psychologist, hoping for a post-doc at Cal, and he’s a sous chef with ambitions of owning his own restaurant. When a new opportunity arises for Violet, Tom agrees to support her by moving to Michigan- a move which requires postponing the wedding. In Michigan, Violet is in her element, but Tom, increasingly frustrated, eventually finds his stoicism waning- and when two years becomes four, on the eve of yet another wedding date, they are forced to make a difficult choice… Looper (2012) Combining sci-fi, time travel, and good old fashioned action adventure, this surprise hit features Blunt alongside Joseph Gordon-Levitt and Bruce Willis. Set in the not-too-distant future, it follows the ramifications in a world where time travel exists- but is illegal and only available on the black market. When the mob wants to get rid of someone, they send their target 30 years into the past, where a "looper" - a hired gun, like Joe (Gordon-Levitt) - is waiting to mop up. Joe is getting rich and life is good... until the mob decides to "close the loop," sending back Joe's future self (Willis) for assassination… The Adjustment Bureau (2011) Blunt stars opposite Matt Damon in this romantic thriller with a twist. On the brink of winning a seat in the U.S. Senate, politician David Norris (Damon) meets beautiful ballet dancer Elise (Blunt). However, just as he realises he's falling for her, mysterious men conspire to keep them apart. David learns he is up against the agents of Fate itself - the Adjustment Bureau - who will do everything in their power to stop David and Elise’s blossoming relationship. Faced with overwhelming odds, they are forced to make the choice between accepting a predetermined future, or defying Fate and risking everything to be together… Salmon Fishing in the Yemen (2011) Based on Paul Torday’s novel, this charming, offbeat romantic drama stars Blunt alongside Ewan McGregor and Kristin Scott Thomas. When Britain's leading fisheries expert (McGregor) is approached by a consultant (Blunt) to help realise a sheikh's vision of bringing the sport of fly-fishing to the desert, he dismisses the project as nonsensical and unachievable. But when the Prime Minister's overzealous press secretary latches on to it as a "good will" story, he is forced to put his reputation on the line and embark on an upstream journey to prove everyone wrong. The Young Victoria (2009) Blunt shines in this brilliantly crafted, hopelessly romantic account of Queen Victoria’s early years on the throne, directed by Jean-Marc Vallée. Tackling the tempestuous relationship with her mother and the constitutional crises she faced as a young monarch, Blunt is ably supported by Rupert Friend as Prince Albert, the suitor who charmed her, and eventually won her heart while helping her navigate a country in the midst of huge upheaval. The Jane Austen Book Club (2007) This charming romantic comedy charts the exploits and complicated love lives of six Californians- who start a club to discuss the works of Jane Austen. However, it’s not long before their relationships -- both old and new -- begin to closely resemble 21st century versions of her novels. Blunt takes the role of shy, non-confrontational Prudie, who finds herself contemplating an affair after her marriage hits the rocks... and ultimately has to decide whether to give up, or fight for her relationship. The Devil Wears Prada (2006) Arguably the role that really put her on the map, this brilliantly caustic comedy set in the world of a high-end fashion magazine was adapted from Lauren Weisberger’s novel, widely believed to be based on her experiences working at the offices of US Vogue. Blunt stars as the bitter, hilariously sarcastic assistant Emily, and steals every scene she’s in with her biting put downs and perfect comedic timing (no mean feat when her co-stars are none other than Anne Hathaway and Meryl Streep). *** To read our full film review of Sicario - click here. SICARIO is out on Blu-ray, DVD, and digital platforms from February 1st, 2016, courtesy of Lionsgate Home Entertainment #EmilyBlunt #Filmfeature #TomCruise #EwanMcGregor #KristinScottThomas #MattDamon #JosephGordonLevitt #BruceWillis #JasonSegal #AnnaKendrick #MerylStreep

Directed by Jun Bung Lee Starring Alexander Arnold, Kate Little & Leo Wringer Short film review by Chris Olson Written and directed by Jun Bung Lee, Nighthawks is a smartly interwoven tale of urban isolation that throws together three characters for whom the night brings various opportunities to connect with someone else. This is a short film which plays in both the light and the shadows, delivering a tense plot in the frame of a modern love story. Jack (Alexander Arnold) is a charming yet nervous guy, for whom connection seems to be an elusive dream. We see him engaging with multiple endeavours in order to strike up a relationship with someone, even calling a sex line from a public phone and trying to make small talk. His antics soon put him on course with Miranda (Kate Little), a polite and attractive girl who happens to leave her wallet in a laundrette, only to be found by Jack who calls her and the two end up on a date. Full of initial spark and subtlety, Jack and Miranda’s blooming romance soon hits a hurdle when a drunken lout on a bus humiliates Jack, emasculating him in front of Miranda. At a diner, the two start to pick each other apart in terms of their characters and behaviour, leaving a bitter taste on what was such a promising start. A third character operates somewhat connected to Jack and Miranda’s love story, Louis (Leo Wringer), a reclusive blind man who leaves tape recorders on buses in order to capture intimate dialogue. There is a sumptuous depth to Nighthawks that becomes increasingly arresting as the short film develops. By the end you could be utterly craving a second watch, demanding a closer inspection of the intricate plot. Moreover, the performances, in particular from Arnold and Little, are exceptional, delivering scene after scene of brilliant dialogue with a hell of a lot of style. The aesthetic of Nighthawks is also really impressive, capturing a delicately balanced tone between darkness and light that manages to reflect the nature of the story. Lighting is used particularly well during the diner scene which seems to cast an unwanted vibrancy on this cautionary tale of opening yourself up to new experiences, allowing Jack and Miranda’s tragic spiral into disconnection to be fully illuminated. Most scenes are allowed to breathe with longer takes, and then mixed up with some quicker cuts which removes any unnecessary bulk from the film, at no point will audiences feel like they are lingering on a scene. There is a degree of messiness from the middle section of the movie, where the story becomes a little more chaotic than it can handle, opting to confuse instead of intrigue. That being said, Jun Bung Lee builds his short film to a deliciously biting climax that is most certainly worth any wait. Nighthawks is a stylishly shadowy and poignant short film, harking back to noirish movies but with a modern twist, and brought to exuberant life by great performances. Click here for more short film reviews. Or click here to check out Nighthawks' IMDb page. Alternatively you can watch the whole of the short movie below... #Shortfilm #ShortFilm #ShortFilms #Shortfilms #shortfilmreviews #filmreviews #filmreviewsUK #ChrisOlson

★★★★ Written and Directed by Mark Brown Documentary review by Gabi Habib ‘Voices from the New Jungle’ is a documentary which teaches us about the ever-growing issue of migrants coming in to Calais, a port city in Northern France. While the migrants come from a variety of different countries facing crises, the focus is on those whose countries are war-torn or are amidst huge political unrest. It would seem though that these people now face a new kind of war in Calais as the town wrestles with the influx of migrants seeking refuge in what was, until recently, a popular tourist town. There are a few refugees who agree to engage with Mark Brown, director and interviewer, giving him an insight into their stories, hopes, and life in Calais From the onset the feeling of alienation experienced by the migrants is apparent. Most are not interested in talking to the crew but three or four are willing. For the majority it seems the goal is to get to the UK where they believe opportunity and a fresh start awaits. Getting there, however, is no easy feat. The port is where the migrants aim to leave France and enter England, but with security increasing daily and police on high alert, chances are slim and attempting so is very dangerous. A couple of migrants who are interviewed talk about being injured having tried to leave, but despite the fact their will to try appears strong. Brown speaks to a wide range of people which gives the viewer deeper insight into the situation on a broader scale. These people include Calais town residents, Town Councillor Lauren Roussell, and British born writer Kristina Howells (now a Calais resident). While there is immense sympathy for the refugees and the hardships they’ve had to face, the overwhelming feeling is one of frustration and fear amongst the public. Councillor Roussell speaks about two kinds of reactions from Calaisiens, the first being one of resistance with disrespect shown to migrants, seeing them as outsiders and undeserving of receiving welfare from the town. The other shows people as more accepting and making great efforts to help, for example we see a clothing distribution site and a charity centre opening its doors every day to the migrants to offer food, a shower and assistance with processes such as asylum applications. To emulate some of the thoughts mentioned by Roussell later in the film, it is upsetting that the town of Calais has been negatively affected in terms of deterring tourists from coming in and inspiring residents to leave. This seems especially unfair when, for the majority of migrants, Calais was meant to be a stopover and not a destination. The notion of a better life in England feels like an illusion, and one which only a small percentage of migrants may get to realise in a bleak situation with no immediate solution. Brown’s film manages to dissect and shed light on a topical issue in a delicate way. The cinematography deserves a mention with some captivating footage shown of makeshift campsite living in Calais. Commentary from different sources adds to an overall feeling of neutrality about the issue. As the subject matter is of a sensitive nature, the documentary's approach needed to respect and match this quality, which it does beautifully. ‘Voices from the New Jungle’ is honest, thought-provoking, and well worth a watch. Click here for more film reviews. #GabiHabib #Documentary #IndieFilm #filmreviews #filmreviewsUK

★★★★★ Directed by Alejandro González Iñárritu Starring Leonardo DiCaprio, Tom Hardy, Film review by Oscar, Young Blogger at FACT aged 15 “I’m not scared of death, I’ve already done it” This is a line from the Oscar nominated and action packed film The Revenant directed by Alejandro González Iñárritu (also director of Birdman). The film is inspired by true events based on the life of Hugh Glass, a fur trapper (played magnificently by Leonardo DiCaprio) and his epic journey set in 1823 in the American West. Hugh Glass is left for dead by his party and seeks revenge. It is a terrifying journey and story, brought to life by outstanding filmmaking. The story itself is blood filled, action packed and thought provoking. The acting is the main eye opener due to the true greatness from DiCaprio and supporting actors (Tom Hardy as Fitzgerald and Will Poulter as Jim Bridger as well as a cast of great Indians and fur trappers) with DiCaprio and Hardy both strong contenders for an Oscar award. The locations used for The Revenant's cinematography provide non-stop breathtaking backdrops; for example - the treacherous snowy mountains of Louisiana. The terrifying violent scenes are necessary for the retelling of the story but amaze with their true brilliance in making it so real for the audience (you may have to look away in one scene!). Iñárritu really wants you to feel the visceral effect of every scene and does this with great success. There are numerous emotional scenes in the film - with a lot of hurt, anger and betrayal among the fur-trappers party making you think about the characters and their actions. As the film progresses you begin to understand the main character’s view of everything and you really begin to understand what type of person he is and empathise with his emotions. The Revenant contains very strong language, violence and has copious amounts of blood, but this should not discourage audiences from seeing the movie. It is visually stunning, the beautifully shot scenic locations were filmed in many countries such as Canada and Australia. There is very little dialogue in many parts of the film but this has no impact on the enjoyment. Overall this is a truly remarkable, epic film which is very likely to win more than one Oscar award - and deservedly so. Highly recommended to audiences who enjoy adventure, American history, true stories or lovers of epic films on the big screen. I’m not scared of this film, I’ve already watched it! Click here for more film reviews, or check out the movie trailer for The Revenant below... #TheatricalReleases #filmreviews #filmreviewsUK #OscarBascombe #Oscars #LeonardoDiCaprio #TomHardy #AlejandroGonzálezIñárritu

Directed by Luke Armstrong Starring Katie Goldfinch, Sol Heras, Brian Bovell and Johnny Sachon Short film review by Chris Olson In the same style as Spooks or the Bourne franchise, Luke Armstrong’s short film The Service is an intricate and stylish thriller, boasting some daring filmmaking and excellent performances even if the storyline feels all too familiar. Katie Goldfinch plays Jenny, an MI6 agent who becomes the unwitting victim of a complex case when she goes to pick up her colleague one morning. On the unassuming suburban streets Jenny waits in her car calling a phone which will not be answered, as it lies inside a house where a bloodbath has recently occurred. Investigating the crime scene, Jenny finds several dead bodies, including that of her colleague, and is then further surprised by the arrival of Alex (Sol Heras) another agent who seems dubious to say the least. Bring on the CSI squad and superior officer Peterson (Brian Bovell) who hope to get to the bottom of the killings, whilst Jenny is stalked by a suspicious looking blonde man (Johnny Sachon) who could hold the answer to this captivating crime. With soft, slow zooms to begin with and some impressive high angle framing, director Luke Armstrong (who also wrote the film) pulls out all the stops in his short film, which is visually excellent. The use of lighting is particular arresting; during one scene where Jenny is flooded with natural light pointing her gun at Alex coming unannounced through the door being a memorable highlight, as well as a great sequence between Goldfinch and Sachon with a London river bank backdrop. Other strengths include the brilliant music, from Vince Cox, adding a tension and fraught atmosphere which captures the tone of the story and the intrigue of the characters. The cocktail is slightly spoiled though, by a wooden script which hunkers along in certain scenes. Given that this is only a short film of around 10 minutes, some bits of dialogue felt bulky and tedious, especially considering the household nature of the genre which demands originality in order to stand out. That being said, special mention must be given to Goldfinch, in particular her more kinetic sequences which were far more believable and entertaining. Bovell also delivers the best performance of the lot, seeming to cope with the script the best. It certainly won’t feel like anything new, but Armstrong’s film is definitely exciting - if only from the point of view of being bold behind the camera. There is a confidence which emanates from his filming which is sadly lost in the writing, but if presented with the right story, or even if The Service had more time to flourish, we could be looking at a very promising UK filmmaker. Click here to read more short film reviews. #Shortfilms #ShortFilm #Shortfilm #filmreviews #filmreviewsUK #ChrisOlson #CrimeThriller

★★★½ Directed by Rob Letterman Starring Jack Black, Dylan Minnette, Odeya Rush, Ryan Lee and Amy Ryan Film review by Chris Olson In a quasi-biopic surreal fantasy children's film, Rob Letterman's silver screen take of the beloved book franchise, Goosebumps, is a riotous and chaotic adventure film that is made up of so many moving parts that audiences could be forgiven for missing the broken ones. Set in Madison, Delaware, Zach (Dylan Minnette) and his mother Gale (Amy Ryan) have just moved to town from New York, hoping to escape the tragedy of living with the death of Zach's father. Upon arrival, all seems quaint and boring in the small town, with only a suspiciously surly neighbour and his curious daughter proving to be any kind of intrigue. The neighbour is none other than R. L. Stine (Jack Black) though, who hopes to remain anonymous and unbothered with his daughter Hannah (Odeya Rush). One night, after hearing disturbing noises next door and calling the feckless police who offer no assistance, Zach's intrigue gets the better of him and he calls his new school mate Champ (Ryan Lee) to come help investigate. What they find is a spooky house laden with booby traps which protect Stine's back catalogue of Goosebumps manuscripts. Unlocking one of these books releases one of the author's abominable creations and sets in motion a night of terror on this small town. One that only the Zach, Champ, Hannah and Stine can stop. Given Letterman's hope that his Goosebumps movie would have a lot in common with a classic like The Goonies (1985), and that it is based on one of the most popular sets of books ever made, it seems odd that more attention was not given to the script. Starting relatively strong the scenes quickly descend into hackneyed silliness as the plot is thrust forward at a million miles an hour to a predictable and rushed ending. Black as Stine is fantastic to begin with, creating a curmudgeon with a penchant for rudeness that is brilliant. However they soon develop his character into a hapless loser who just needed more friends growing up. Minette as the lead is fine if a little bland, and Rush swoops along admirably, but Lee as the comic relief is repetitive and irksome, churning out clichéd boy themes and childish theatrics. The need for balancing the scares with jokes, perhaps to attract a wider audiences, proving too much for a film with so much else going on. Amy Ryan is also sadly underused. That being said, the monster mayhem is fantastic fun, offering up an array of spectacular spectacle that is utterly creative and charming. The delights of Stine's creations are brought to life with so much energy and battering violence that sequences with them in are far better than any with human actors. From the army of lawn gnomes to the super spooky ventriloquist doll (voiced by Jack Black), the real nuggets of enjoyment in this movie can be found sprawling across each scene in the form of naughty nightmares. There is a sense of reverence which accompanies Goosebumps, paying homage to an author like Stine, and also Stephen King is mentioned several times. Literary adaptations are synonymous with troubled results, so presenting this as a new story and borrowing Stine’s characters is probably the best road to travel. Fans of the books will probably enjoy the plethora of miscreations on offer which will evoke fond memories, and newcomers can certainly indulge in the spectacle, however the lacklustre script remains a potent problem and the unfortunate reliance on comedic relief suppresses any chance of capturing the original terror of these traumatising tales. Goosebumps is out in UK cinemas February 5th. Check out more film reviews, or watch a clip from Goosebumps below... #ChrisOlson #JackBlack #filmreviews #filmreviewsUK #TheatricalReleases

Directed by Phil Newsom Starring Timothy J. Cox and Kristi McCarson Short film review by Monica Jowett Simple Mind is a short mystery film about a man, Bob (Timothy J. Cox), who through the help of therapy discovers parts of himself and a life he never imagined. Written and directed by Phil Newsom, Simple Mind is a film of no budget, filmed over two days, yet the twisting story line and careful camera work makes it an intriguing watch. The film follows Bob, who is in love with a woman called Samantha (Kristi McCarson) yet this woman does not reciprocate those feelings, and is also unaware of Bob’s existence. He is relaying his actions to a therapist, and describing his feelings for this woman as the therapist helps the man uncover what is really going on. As his conversation with the therapist develops, we come to learn that Bob has a troubled and dark past, yet it feels like something is missing. We are clued in that everything Bob says is not what it seems quickly. The intensity in the way he speaks about the woman Samantha is just too creepy and often strained. The constant use of extreme close ups that tightly frame Bob’s eyes or mouth, as well as the therapist whom he is talking to, is used to emphasize the mystery of his story and the passion of his subject. Filmed and edited by Paul Nameck, the cinematography and editing is cleverly used and effective within the short film. The close ups and off centre framing builds tension and certain low angle shots present Bob with having power and strength. The quick cuts between Bob’s features show his tormented emotions as he talks with the therapist. However this is used to trick the viewer so the last scenes have a greater impact. The music, from Keith Campbell, plays another role in creating the mystery surrounding this man. The music rises and falls throughout; at times it is cheerful, music to fit a romantic comedy but will change pace suddenly. This adds another component to scenes for better effect. Simple Mind’s only downfall is the dialogue clarity, as when the actors speak, at times it sounds as though the conversation is over a phone. This small detail is the only tell of the lack of budget, as the film’s strengths lay in other, more noticeable areas. Cox portrays with ease the conflicted and mysterious Bob, and McCarson gives enough class that we can understand the man’s infatuation. This short soars on the clever editing and camera work, which utilises the simple plot twist into full effect. Click here for more short film reviews. #ShortFilm #Shortfilms #ShortFilms #filmreviews #filmreviewsUK #MonicaJowett #shortfilmreviews #Shortfilm