Awards season is upon us, and whilst the mainstream mega movies do battle, UK Film Review take a look at some of the best offerings from world cinema, in particular the films nomiated at this year's BAFTA Awards in the category for Film Not In The English Language. The Assassin Directed by Hou Hsiao-Hsien, this beautifully filmed martial arts movie has done phenomenally with the film critics, gaining 4 and 5 star reviews. The Plot: 9th century China, a 10-year-old general’s daughter Nie Yinniang is abducted by a nun who initiates her into the martial arts, transforming her into an exceptional assassin charged with eliminating cruel and corrupt local governors. One day, having failed in a task, she is sent back by her mistress to the land of her birth, with orders to kill the man to whom she was promised - a cousin who now leads the largest military region in North China. After 13 years of exile, the young woman must confront her parents, her memories and her long-repressed feelings. A slave to the orders of her mistress, Nie Yinniang must choose: sacrifice the man she loves or break forever with the sacred way of the righteous assassins. Here's a clip: Force Majeure Directed by Ruben Östlund The Plot: A family on a ski holiday in the French Alps find themselves staring down an avalanche during lunch one day; in the aftermath, their dynamic has been shaken to its core, with a question mark hanging over their patriarch in particular. Timbuktu Directed by Abderrahmane Sissako The Plot: A cattle herder and his family who reside in the dunes of Timbuktu find their quiet lives - which are typically free of the Jihadists determined to control their faith - abruptly disturbed. Here's a clip: Wild Tales Written and directed by Damián Szifron, Wild Tales is made up of six short stories that explore the extremities of human behavior involving people in distress. The movie stars Darío Grandinetti, María Marull, Mónica Villa. Theeb Directed by Naji Abu Nowar The Plot: In the Ottoman province of Hijaz during World War I, a young Bedouin boy experiences a greatly hastened coming of age as he embarks on a perilous desert journey to guide a British officer to his secret destination. Watch the movie trailer for Theeb below: #WorldCinema #AcademyAwards #BAFTAAwards #filmreviews #filmreviewsUK #movietrailers

Directed by Sami Abusamra Starring Tom Lorcan & Caroline Quentin Short film review by Chris Olson From the cheeky play on words in the title to the unabashed comedy which flows from a sterling script, Sami Abusamra’s short film, Love Me Tinder is hilarious from start to finish. Depicting a frightfully awkward encounter between a young man (Tom Lorcan) and an older lady (Caroline Quentin) who meet via some kind of social dating app, the movie is graceful in its comedy and subtle in its nuanced commentary on modern relationships. Lorcan’s character is a reticent twenty-something, whose social anxiety is revealed through the use of outrageous flashbacks, whilst he attempts to create a romantic connection with Quentin’s liberal and easy-going older woman. The latter is a seasoned pro at the app-love game, having had numerous hook-ups, some of whom have had extraordinary requests involving women’s shoes and inserting vegetables...we digress. As the pair attempt to create a suitable mood of sexuality, they are constantly stifled by trivialities and engaging in small talk. At its heart, Love Me Tinder is a perfectly pitched modern love story, but not one involving two people. Instead, it tells the tragic reality of the modern man or woman, who, for all the technological advances of recent decades and revolutionary attitudes about the morality of sexual congress, can still not overcome the crippling effect of trying to have sex with someone. The tiny nuances from these great performers beautifully highlight a very believable encounter, and instead of shooting for cliché or obvious social commentary, engage in a heartfelt tale of two real people dealing with a klutzy situation, whilst slipping in some fantastic lines - in particular about the cat without a name! It felt a little chaotic in places in terms of moving the plot from beginning to a somewhat satisfying end, but overall that only compliments the frustration which the short film is so cleverly exploring. Nothing seems perfect, or regimented - especially human relationships which are so complicated from the off. Abusamra’s delicate touch in the framing and creating intimacy in the scenes is superb, an atmosphere of comedic delight is maintained throughout, and will leave audiences desperate for more of this genuinely brilliant comedy. Click here for more film reviews. #ShortFilm #Shortfilm #filmreviews #filmreviewsUK #ChrisOlson #Comedy

Directed by Jake Sleet Starring Ashley Woods, Edward Boon, Luke Hornsby-Smith, Victoria Ekanoye Short film review by Amaliah S. Marmon-Halm With its Marvel-esque opening and Scott Pilgrim-style moments, ‘Mop, Bucket and Cape’, written and directed by Jake Sleet, gives the superhero genre a very down to earth, British twist. Meet Ted, played by Ashley Woods – he’s not your usual sort of hero in the sense that he’s the hero that cleans up after heroes. The caretaker, basically. Despite his humble role, he does have the ability to regenerate so he cannot die, from anything! Feeling rather exploited, oppressed and under the forceful thumb of the people that are supposed to save the UK from all evil, Ted works at the HQ of the Super Trinity. Even when he’s given the opportunity to be a hero in his own right and to escape his lowly life as ‘Super Caretaker’, he chooses to remain for the sake of his family. Whilst these supposed 'heroes' are too busy bullying Ted, a super-villain seizes the opportunity to rise up and threaten all of humanity. This means that it is up to Ted to rise from his maltreatment and become the superhero he always wanted to be. Visually, this short film is a real treat. The comic book style animations and motions, the narrations, with Ted’s monotonous, Shaun of The Dead mannerisms, are to be honest quite funny and adds a great sense of awareness to Ted’s character. If you are a fan of Edgar Wright, but ever wanted to know how an imaginary, slightly immature younger brother of his would direct a film, then this would be a good example. The three “heroes” that make Ted’s life a misery, Mr Amahzen (Edward Boon), BrynCredible (Luke Hornsby-Smith) and Ms Magnificent (Victoria Ekanoye), are true pieces of work! They sort of personify what you might think a “superhero” would actually behave like behind closed doors. They can’t be as perfect as they seem. Each hero, and their egos and constant pranks, do a very good job in making you loathe them and sympathise with poor Ted. 'Mop, Bucket and Cape' also has a collection of 8 small origin-story comic books to go along with this short, which can be found on the film’s website www.mopbucketandcape.com, and apparently, a feature script is currently in development, so if you do enjoy this, there should be more to come soon. We’ll have to keep an eye out. Click here for more short film reviews. #Shortfilm #ShortFilm #filmreviewsUK #filmreviews #amaliahsaramarmonhalm #Superheroes

Directed by Sean Meehan Starring Tim Cox, Maria Natapov, Eddie Nason & Robyn Kaan Short film review by Amaliah S. Marmon-Halm ‘Mallas, MA’, directed by Sean Meehan, who also co-wrote the short film with Daniel Berube, tells the story of two bumbling con artists looking for their next con, try to pull one over on a small yet suspicious town by posing as paranormal investigators. With their gear, which looks like it came straight out of a Ghostbusters cosplay kit and an opening track that brings to mind every supernatural show ever created, you immediately get a sense for the sort of film you’re going to watch. Whilst searching the house of their latest victim for anything odd and spooky, the specter-seeking pair come across a lot more than they bargain for. They meet a young girl who they think will be able to help them perfect their little scheme. That’s when the lines of truth and their made up reality become blurred. As you can already tell, there is a twist, but not to worry, we aren’t talking about twists of Shyamalan proportions. Although heavily drenched in thriller and horror clichés, this is an entertaining little film. Not as well polished as it seems to intend to be, but still entertaining. There were a few issues, for example sound, that would have pushed this from an average film, to a good film. In the opening scene, whilst the issues are not with the use of a drone, it is possible for audiences to hear the sound of a motor, which unfortunately does get picked up and is irksome. Again, during the opening credits, the track is a bit tinny. Luckily, it does seem to improve as the short film goes on. This movie, and Meehan's direction, does well to get the audience gripped into something that has the potential to be an interesting feature thriller. Even though it does seem to rely a bit too heavily on clichés to carry the story along, and seems to try too hard with its rather forced comedy bit in the end credits, if you take the short film as whole piece rather than a collection of minor faults, you will find it engaging and enjoyable. Click here for more film reviews. #ShortFilm #ShortFIlms #Shortfilm #ShortFilms #filmreviews #filmreviewsUK #amaliahsaramarmonhalm #MKnightShyamalan #Comedy #CrimeThriller #Horror

Directed by Christian Plamenov Starring Ian Hoyle and Lyd Waller Short film review by Chris Olson Intimate and obscure, this short film written and directed by Christian Plamenov captures the beautiful isolation of obsession and the bittersweet redemption of artistic expression, through a captivating, if distorted, love story. Initially told through extreme close up shots, the viewer will inevitably struggle to decipher the plot of Drawn Away. However, as the short film continues, more of the picture is shown, both literally and figuratively, and we see the characters in full, enabling us to start to piece together what is happening. Essentially it is the story of a socially awkward artist (Ian Hoyle) who develops an intense infatuation with a shop assistant (Lyd Waller), who sells him painting materials. Struggling to express himself verbally, the painter slowly reveals his feeling on canvas. Without any script to dilute the potent themes, both Hoyle and Waller are left to do all the talking with their eyes. There is intensity and longing in the former and complete intrigue in the latter. Sequences of revelation are done with subtlety, allowing the viewer to arrange the pieces for themselves, like an emotional mosaic. Plamenov artfully constructs a rich and vibrant dialogue, without resorting to actual words, highlighting that emotions are often more abstract ideas than explainable constructs. Though the framing is intense and acutely connected the film's themes, there is a degree of repetition by the latter half of the movie, where an increased sense of tension or excitement was expected but not delivered. That being said, the score throughout is purposeful and builds tension well, and the performances are heartfelt - genuinely sucking you into their “relationship”. Plamenov has a penchant for intensity and Drawn Away has this oozing from every frame. It's a short film built on universal themes without the restrictions of language, and instead reveals the complex nature of desire in all its obscure glory. Click here for more film reviews. #ShortFilm #Shortfilm #shortfilmreviews #filmreviews #filmreviewsUK #ChrisOlson #silentfilm

★★★★★ Directed by Tom Hooper Starring Eddie Redmayne, Alicia Vikander, Ben Wishaw and Matthias Schoenaerts Film review by Chris Olson With gloriously celebrated films like The King’s Speech (2010) and Les Misérables (2012) in his recent back catalogue and Oscar winner Eddie Redmayne as his lead actor, few film fans would not get excited about this latest release from acclaimed director Tom Hooper. The Danish Girl, which came out in UK cinemas on the 1st of January, is an evocative and piercing drama that is unrelenting in its purpose, and emotionally enriching in its delivery. Loosely based on the real life stories of Lili Elbe and Gerda Wegener, played by Eddie Redmayne and Alicia Vikander respectively, The Danish Girl is fully concentrated on the marriage between these two bohemian artists living in 1920s Copenhagen, where the husband Einar (also Redmayne) is battling with his conflicting inner personalities. Through many emotionally distressing scenes and revelatory revelry, Einar is slowly lost to the preferred character of Lili, whilst enduringly understanding wife Gerda attempts to assist in any way she can. What is beautiful and original about The Danish Girl, and in particular Hooper’s depiction of the tumultuous story, is this central marriage - never before has something like this been depicted on screen with such depth and humanity. Vikander is sensational, coping like an utter pro with the variety of conflicting emotions and inner turmoil, never giving in to clichéd rage or petty misdeeds. In fact, her grounded performance allows the flourishing of Redmayne’s tortured Lili/Einar to come across with graceful ease without seeming tasteless or crass. Hooper’s stamp can be found all over The Danish Girl, with subtle dull colouring of scenes, off-centre framing of mid-range camera shots and delicate editing all reminiscent of The King’s Speech - which is certainly not a bad thing. And actually, much like the titular character, the film manages a transformation of its own by the final third, coming into its own stylish design - full of colour and vibrancy. The score is tentative and dramatic at times, adding a tone of unsettled apprehension during certain scenes and then contrasting it with tranquility in others - kudos to Alexandre Desplat for providing the musical choices and score. Whilst there are some pacing issues during the middle section and a little bit too much of a reliance on Redmayne’s, excuse the vulgar pun, mannerisms, The Danish Girl is a beautiful film, softly clad in sensational performances and a sumptuous aesthetic from a masterful filmmaker. Click here for more film reviews. Or watch a clip from The Danish Girl below... #TheatricalReleases #TomHooper #EddieRedmayne #AliciaVikander #BenWishaw #MatthiasSchoenharts #filmreviews #filmreviewsUK #ChrisOlson #Drama

★★★★★ Directed by Sean Anders Starring Will Ferrell, Mark Wahlberg, Linda Cardellini and Thomas Haden Church Film review by William Baldwin Daddy's Home is a comedy. Nice guy Brad Whitaker (Will Ferrell) is step-dad to two children and husband to wife Sara (Linda Cardellini). As Brad and "his" family begin to take shape, the children's biological father Dusty Mayron (Mark Wahlberg) arranges to visit out of the blue, which sparks an ongoing rivalry between the two "dads", competing to become the more popular father out of the two. Okay not the most original premise, but the film is charming and there isn't much in the way of toilet humour (thank God) which has been so prevalent in many American comedies since the 90s. Mark Wahlberg used to get flack from film critics about his performances, but from what I have seen in films like Boogie Nights (1997) Three Kings (1999), The Departed (2006), it is certainly arguable that he has been underrated. And now he can add no-holds-barred comedy to his resume, since in Daddy's Home he demonstrates good comic timing. Thomas Haden Church proved in the film Sideways (2004) that he can do comedy, so it comes as no surprise that Church (playing Brad's boss) is funny, especially when Brad's character comes to him for advice. Brad's boss is no help though, instead telling him random dirty stories that have happened in his life which bear no relevance or help to Brad at all. Brad as played by Will Ferrell, as expected, gets the most laughs though. I lost count the number of times I laughed when Will Ferrell was onscreen. Special mention should be given to the basketball scene where Ferrell has to throw a basketball into a hoop, but chaos ensues. Also funny is the school dance scene that has moments which should have anyone in stitches. As a whole the movie is the funniest film I have seen in a long time at the cinema. Obviously Daddy's Home, which is in cinemas now, is not the most eye catching title, and the film is largely predictable. The movie, as expected, has not received good reviews from film critics, but, I have to say I found it to be very enjoyable fluff. Click here for more film reviews. Or watch Will Ferrell on a motorcycle... #TheatricalReleases #WilliamBaldwin #WillFerrell #MarkWahlberg #Comedy #filmreviews #filmreviewsUK

Directed by Tom Smith Starring Kate Bond and Callum McKeith Short film review by Chris Olson Far from hiding the obvious influences, director Tom Smith is completely upfront about his muses when it comes to his fantasy short film Pathfinder - adding in brackets after the title on his YouTube upload “(Lord Of The Rings/Game of Thrones Inspired Short Medieval Fantasy Film)”. Played out across a series of wooded settings or earthy landscapes, Pathfinder is a loving tribute to the greats of fantasy fiction. The plot: a princess called Gwendolyn (Kate Bond) is attempting to traverse the dangerous lands of Nexus, only to have her convoy attacked by a pack of Orcs. Luckily, a stoic rogue outlaw called Arramath (Callum McKeith) crosses her path and offers to be her travelling companion, bringing with him his own emotional baggage. Far from anything original, Smith opts for quality over innovation. Audiences will easily recognise the blatant similarities between Pathfinder and its fantasy brethren - such as orcs, elves, bows and arrows, and the like, but there is an enjoyable feeling of escapism captured which should still suck in the majority of viewers. Picturesque landscapes are used (with some hokey green-screening) for the journeying scenes, as well as frenetic chase/fight scenes adding a great deal of pace and tension to the short film. Smith’s pacing of the fantasy story is well executed, allowing a degree of connection to be made between the central characters whilst delivering exciting sequences of peril, which made this viewer very much intrigued to see more. The script is typical of the fantasy genre, and could certainly irk some audiences with its melodramatic clichés. That being said, Arramath has some pretty decent scenes of whimsical pondering, delivered impressively by McKeith. Bond is engaging too as the vulnerable lead, offering up a welcome contrast to the brutality and violence of the other elements of the story. Soft cuts and easy transitions also prevent the film from becoming too harsh visually, with a delicate score behind creating an immersive atmosphere. As mentioned, this is a short film made by fantasy lovers. Far from the virile grandeur of a Peter Jackson movie, Tom Smith is still able to serve up a humble slice of filmmaking which loves what it does. If you are not a fan of Lord of the Rings, or anything like it, it is unlikely you will endure Pathfinder. Having created such an extensive, if familiar world, it seems a shame that a little more was not done with the story, as it felt like a basic fairytale thrown into Middle Earth, and could easily have conjured up a more unique plot and/or characters. Still, Pathfinder is only 15 minutes long, and left itself open to a whole load more story should more short films be made...and if Smith decides to emulate Peter Jackson further by delivering another 2 films in a Pathfinder franchise, we will happily join the fellowship. Check out more film reviews. #ShortFilm #Shortfilm #ShortFilms #Shortfilms #shortfilmreviews #Shortfilmreviews #Fantasy #ChrisOlson #filmreviews #filmreviewsUK #SupportIndieFilms

★★★★★ Directed by David O. Russell Starring: Jennifer Lawrence, Robert De Niro, Édgar Ramírez, Diane Ladd, Bradley Cooper Film review by Kieran Freemantle Who would have thought the story about the creation of the Miracle Mop would be so interesting. Somehow David O. Russell is able to manage it with his biopic about Joy Mangano. Joy (Jennifer Lawrence) is a struggling single mother who never fulfilled her potential and lives with a very dysfunctional family. Her ex-husband (Édgar Ramírez) lives in her basement, her mum Terri (Virginia Madsen) is a slob who spends all day in bed watching soap operas and her half-sister Peggy (Elisabeth Röhm) who constantly tries to one-up and embarrass Joy at any given opportunity. The only person to believe in Joy is her grandmother (Diane Ladd) who constantly tells Joy she will achieve great things. As a child Joy had a knack for design and inventing products. Her inventive spark is rekindled after an accident and she comes up with an idea for a hygiene friendly, reusable mop and sets out to make it into a viable business. She has to undergo all the pitfalls of business - finding finance, making a prototype, finding buyers and having to face legal challenges. Joy marks the third time David O. Russell and Jennifer Lawrence have worked together - the first two times being Silver Linings Playbook and American Hustle: winning an Academy Award for Best Actress and nomination for Best Supporting Actress respectively. It is another great reteaming for them. There is no doubt in Lawrence's talent and as Joy she conveys authority, taking command of business after sacrificing so much for her family. Despite only being 25 Lawrence is perfectly able to act beyond her years and is slowly turning into her generation's Meryl Streep - being an actress who is able to inhabit any role she is given. Like Streep, she could just appear in a prestige picture and the Academy would automatically give Lawrence an Oscar nomination. Lawrence is surrounded by a great cast, reuniting with Bradley Cooper and Robert De Niro. After a poor series of roles, Russell has reinvigorated De Niro's career, at least when they are working together. He has some great moments of being a complete bastard when he is set off and becoming a very cruel figure to those around him. Cooper is decent enough in his role as a TV executive/product buyer, someone who is gifted at his job and gives Joy a chance to sell her invention; and gets very excited about sales in general. But it is not a role where he gets to stretch himself - Cooper and Russell just wanted to work with each other again. The rest of the cast is a bit more of a mixed bag. Ladd, Ramírez, Dascha Polanco and Elisabeth Röhm are all strong enough in their roles but Madsen is weak as Joy's mother: a woman who stays in bed all day watching TV and has a fear of men coming into her room. It was pitched for comedy but comes across as inappropriate - leading to dark thoughts about what happened to her and as a character she does not register. The child actors were particularly weak in the film. Russell attempts to be more visually dynamic then in some of his previous films, taking a slightly more surreal approach. He starts the film with a black-and-white cheesy soap and uses dreams in the framework of the soap to show Joy's inner turmoil - how unfulfilled her life is, and the realisation that she needed to do something about it. The use of dreams and Joy's grandmother's narration were used as alienation devices to ensure the film’s story is not seen as a true account of events. Joy is more visually interesting than Silver Linings Playbook. However most of the film takes place over the Christmas period and implies that it takes place in the space of a few weeks - when in reality the invention of the mop, its development and selling would have taken at least months if not years; it was done to fit the filming schedule more than it was fitting the story. Joy also suffered from having an ending that drags. Joy's journey is a story about the American Dream and female empowerment. Despite Joy's humble background and lack of resources, she shows that as long as you have a good idea and are willing to put in the work that you can make it in the land of opportunity. Joy keeps getting knocks as she seeks to convince people about the merits of her product, but never gives up. When the project's merits are finally recognised Joy becomes one of its major selling points, being seen as authentic and relatable. Despite Joy's family situation she is made out to be a strong, hands-on woman who has to balance work, motherhood and house management and having an inventive mind. The most positive figure in Joy's life is her grandmother and, despite having a son and a daughter, it's Joy's daughter who is constantly in the background, following her mother through all stages of the business, seeing what her mother is capable of. They are avoiding falling into a vicious cycle of failure. Family dysfunction in a working class environment has been a recurring theme in Russell's recent movies, particularly The Fighter and Silver Lining Playbook. Even American Hustle had a dysfunction marriage subplot. Joy fits into this motif and Joy is like Micky Ward in The Fighter, someone who is being held back by her family and is loyal to a fault to them. But at least in The Fighter, Ward's family had his best interest at heart while Joy's are either at best indifferent or actually dismissive of the product and her abilities and she has to prove them wrong. When the business grows, some of the family are a hindrance, with her ex-husband being the only person who offers real support and advice. Like American Hustle, Russell makes a very fictionalised version of a true story, taking the view of not letting specific facts get in the way of a good story. It is clear some elements were added for dramatic tension, like the first demonstration of the mop on TV and how Joy finds out about someone screwing her over. Joy has not been as well received as some of Russell’s previous films. That seems pretty harsh considering Russell is being more inventive as a director and Lawrence's performance is second-to-none. It is better than the overrated Silver Linings Playbook, having more directional and writing flair. Click here for more film reviews, or watch a movie clip from Joy below... #filmreviews #filmreviewsUK #TheatricalReleases #KieranFreemantle #DavidORussell #JenniferLawrence #BradleyCooper #RobertDeNiro

Directed by James Quinn Starring Jack Hutchinson, Emmy Happisburgh & Andrew Snowball Short film review by Monica Jowett Mystical short film The River follows a young boy, suffering from the death of his trumpet-playing brother. Alone in the world, he seeks hope and solace in a boat that sails along the river which emanates a trumpet sound, reminding him of his sibling. Written and directed by James Quinn, this short shows how a young boy will go to any lengths to find comfort from his devastating loss. Andrew (Jack Hutchinson) is a young boy whose innocence is broken after the death of his brother, a trumpet player and much loved by his family. To cope with his grief, Andrew wanders down by the river near to his house amongst the trees, where it is quiet and no one bothers him. Whilst he walks down there, he hears a trumpet playing and seeks out the source. Finding it to be a small sailing boat out on the river, and unable to see who the player of the trumpet is, Andrew tries his hardest to get to the boat and make his parents Judith (Emmy Happisburgh) and Brian (Andrew Snowball) to understand. As Andrew wants to be near his brother in any way, his parents are struggling to admit to themselves one of their sons is no longer with them and that their other son needs them. For a young actor it can be difficult to show the anguish and desperation Andrew is going through, and with a simple but rich story to portray, Hutchinson shows great acting strength in his role. With less dialogue for him, we see his vulnerability through his face and actions. The parents too are able to portray the difficulty of grieving for a child, especially when there is another child in need of comfort. The River boasts stunning cinematography. Director of photography Joe Douglas uses the dark colours of the wood and trees along by the river to highlight the darkness this family is going through. Soft lighting and the tranquil music accompany the gorgeous aesthetics of the short film making scenes that highlight Andrew’s bereavement more poignant. The River is an attractive short film from James Quinn about a grieving young boy trying to find solace. Using a gripping and heart breaking story, along with stunning cinematography, this film is one that linger on with the viewer. Take a look at more film reviews. #ShortFilm #Shortfilm #shortfilmreviews #Shortfilmreviews #MonicaJowett #filmreviews #filmreviewsUK

Directed by Graeme Cassels Starring Colin MacDougall and Eddy MacKenzie Short film review by Chris Olson With arguably the shortest run time of any short film UK Film Review have ever reviewed, Bruar from director Graeme Cassels packs enough entertaining punches into its one minute and twenty-nine seconds to be a shining example of expert filmmaking. Beginning with an intensely slow zoom of a doorstop shaped like a frog, the narrative manages to wind into an ethical tale of humanity’s irksome habit of forgetting their manners and what could happen should inanimate objects rise to confront us. Bruar (voiced by Eddy MacKenzie), the aforementioned doorstop, leaves little distance between himself and Dave (Colin MacDougall), the slothenly owner of the flat, as he formally introduces himself to the bewildered human, and then animatedly tells Dave off for forgetting to thank Bruar for holding the door open. Cassels utilises a wealth of framing techniques to make his short engaging throughout, whilst keeping a fluid sense of abstract comedy. Zooming in on Bruar’s intense face and then showing Dave’s casual nature with mid-range shots beautifully contrasts the two opposite characters, which is then reinforced with the script which clearly places Bruar in the driver’s seat. MacKenzie delivers a formidable presence as Bruar, a frog with a lot of attitude (sort of like Kermit mixed with Miss Piggy at the same time). His eloquent lines of intense observation and comedic placement on screen (such as pointing a finger right into Dave’s face) are both powerful and very funny. Cassels has a lot of fun displaying Bruar in a range of deeply emotive positions and situations. MacDougall is pretty much, ironically, a prop in this short film - it would have been nice to see more interaction from both sides, give Dave’s perspective on all of this. Like the proof of many good short films, though, Bruar leaves us desperately wanting more. Special mention must be given to the hauntingly arresting score by Kristopher Muir. Perfectly adding tension to the small scenes without feeling cumbersome, the original music adds weight and depth to Bruar’s character and the possible threat he poses. It also seems overtly melodramatic, which is in large part the movie’s appeal. A clever and entertaining example of how short filmmaking needn’t be complicated. Bruar is devilishly funny and beautifully simple, allowing a fantastic character a short burst on screen before tearing at the seams of human apathy and then disappearing again - simply brilliant. You can watch the whole movie of Bruar below! #ShortFilm #Shortfilm #shortfilmreviews #Shortfilms #ShortFilms #shortfilmreview #ShortFilmReview #ChrisOlson #SupportIndieFilms #Comedy #filmmaking #Britishfilmmaking

As we move into 2016 tomorrow, this list seems like an inevitability. However, the films which appear on this 5 Great Films From 2015 article were selected by some of the UK Film Review contributors, and are not so inevitable. Many movies impressed us this year, which do not appear, these are just the ones we really, really, liked. (Below you will also find our “It-Was-Shit-And-We-Knew-It” selection for 2015!!!) Bridge of Spies Tom Hanks stars in this sumptuous period piece, set during the Cold War, as an insurance salesman given the thankless task of defending a suspected Soviet spy (played by the hugely impressive Mark Rylance). Bridge of Spies, directed by Steven Spielberg, not only competed with the huge clang of blockbuster releases this year, it trumped many of them, and was critically adored. Check out our own 5 star film review here. The Martian Matt Damon playing with his poo, what else do you need? Well, throw in Ridley Scott back on form as director, Jessica Chastain as a supporting player, and one of the year’s funniest scripts. The Martian delighted audiences across the UK for many weeks, maintaining a steady position in the box office. And rightfully so. Want to read the full film review? Check out our verdict here. Carol Another period piece, this time starring Cate Blanchett and Rooney Mara, about a shop worker who becomes infatuated with an older, married woman. The meaty themes are balanced with a tender tone and stunning performances, with Blanchett turning in a phenomenal performance. Take a look at this little clip from the movie. Inside Out How could Pixar not be on a best films list, with this utterly genius animated movie that taught us all it’s okay to cry - in fact, we should embrace our Sadness. Told through the headspace of an average girl going through changes, Inside Out is the existential adventure caper that only Pixar could deliver. You can read our full film review of Inside Out here. Star Wars: The Force Awakens Merchandising aside, the continuation of one of the most beloved franchises of all time has been nothing but a good thing. The cultural excitement in the air was palpable (and still is), with daily conversations quickly turning to: “Are you excited about Star Wars?” within minutes of seeing anyone. The result did not disappoint, with J. J. Abrams delivering a record-breaking movie that has charmed Star Wars fans, new and old. Take a look at UK Film Review’s 5 Star verdict on Star Wars: The Force Awakens. IT WAS SHIT AND WE KNEW IT...drumroll please… Though there have been many stinkers this year, and a few surprise disappointments (Macbeth, Avengers 2: Age of Ultron), there can be only one winner for our It-Was-Shit-And-We-Knew-It award, and for 2015...arise...Mr Adam Sandler. Pixels Arguably the worst film of the year, Pixels was a let down but few of us actually got our hopes up. Sandler has not delivered a genuinely funny film in years, and the premise of Pixels - with Kevin James as President of the United States fighting a war with arcade games - did nothing to convince us this would be anything different. Aside from a few great action sequences, the movie is beleaguered with lazy storytelling and flawed characters. You can take a look at our 2 star film review here. 2016 So what are we excited about for the New Year? Well, we can show you! Head over to our Trailers section and look at all the glorious movie trailers on offer for the coming year. HAPPY NEW YEAR TO OUR LOVELY READERS! #filmreviews #filmreviewsUK #TheatricalReleases #StevenSpielberg #TomHanks #MarkRylance #CateBlanchett #RidleyScott #MattDamon #movietrailers #Comedy #Drama #JessicaChastain #Pixar #Pixels #AdamSandler #KevinJames