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UK Release Date: August 12 Directed by Chris Columbus Starring Adam Sandler, Kevin James, Peter Dinklage & Michelle Monaghan ** "Donkey Wrong" Review by Chris Olson Given the movie back catalogue of a director like Chris Columbus (Harry Potter 1 and 2, Home Alone 1 and 2, Mrs Doubtfire), and the seductive premise of an intergalactic war ignited from vintage arcade games like PacMan and Space Invaders, one could be forgiven for getting their hopes up for this latest cannon fodder film Pixels, that takes the “joy” out of “joystick”. The sad reality is that Sandler strikes again with another comedy misfire. Video games rarely get a worthy depiction on the silver screen, perhaps due to the incompatible translation of narrative devices, but more often it seems that studios rarely capture the essence of what makes them so appealing - ultimate escapism. This latest outing starring Adam Sandler as a legendary arcade machine gamer and Kevin James as a buffoonish president of the USA, not only fails to capture the essence of vintage gaming, it is hilariously unfunny. The plot revolves around a time capsule which was sent into space during the 1980s which contained footage from a video game competition. Aliens intercepted the message and decided this was a declaration of war. The aliens then come to earth and use the video games, and other 80’s references, in order to challenge the human race to a series of battles which will decide the fate of humanity. After quickly deciding all of his security forces, marines, and government agencies are useless, James’ character calls upon a glorified cable guy (Sandler) to reignite his passion and immense video game skills to save the day...and the planet. Joining him are Ludlow (Josh Gad) and Eddie (Peter Dinklage) - fellow gamers who, along with Sandler, were all at the original video game competition which started this whole mess, as well as Violet (Michelle Monaghan) a Whitehouse advisor, who will take on the aliens in the battles that are all based around video games. From the outset audiences can leave their brains at home, this is no place to start thinking about what’s going on. Little time, or effort, is dedicated to making a coherent plot, and the characters are about as deep as a nickel. Some throwaway scenes are blended in with some Sandler mumbling and cheap lines before we get to the action sequences, which, to be fair, are pretty spectacular. Endlessly colourful and vibrant, the battle sequences that bring chaos and destruction to major capital cities are easily the best thing about Pixels, unleashing a ton of CGI fun that will have younger viewers entranced. The difficulty comes in the “cut scenes” in which we are tortured with infantile gags, shallow characters and subplots which make no sense - such as Violet’s divorce which has no effect on her, or Ludlow’s cyber-crush which gets given some screen time later, much to the detriment of the film. Peter Dinklage seems to be having fun throughout, and his arrogant Arcader is certainly watchable, and Brian Cox delivers a bomb-them-first council member that adds some chuckles, but for the most part all actors on screen are playing second fiddle to their animated counterparts. Q*bert turns up at one point and pretty much steals every scene without even trying! This feels like a film which had a lot of potential, but was squandered through lack of attention with the script and letting bigger name actors into a movie that could easily have been done with lesser known talent. Columbus, known for delivering childhood charm and epic fantasy escapism, can barely be found through all the irksome clatter made, not by the games, but by the failing cast that struggle to make one decent “cut scene”. Aside from the huge spectacle of the action sequences and some moments of humour from the supporting cast, Pixels is not the electrifying addition to the gaming genre we all hoped for, instead tripping over itself all the way to a calamitous ending. Someone should have pulled the plug earlier... #Pixels #AdamSandler #ChrisColumbus #KevinJames #PacMan #QBert #TheatricalReleases

Written and Directed by Andrew Mudge Featuring: Zenzo Ngqobe (Atang) • Nozipho Nkelemba (Dineo) • Jerry Mofokeng (Katleho) • Lebohang Ntsane (Orphan Boy) •Moshoeshoe Chabeli (Priest) • Lillian Dube (Doctor) • Jerry Phele (Atang's father) Cinematography by Carlos Carvalho Music by Robert Miller Review by Amaliah S. Marmon-Halm This wonderful feature length film directed and written by Andrew Mudge tells the story of Atang (Zenzo Ngqobe) known to his friends as Joseph, a young city-dweller who returns to his homeland to fulfil his father’s last wishes to be buried in the beautiful and mountainous Kingdom of Lesotho. He comes across as a very angry and troubled young man, who spends most of his time roaming and partying in Johannesburg. Even though he is reluctant and feels like a stranger in the land of his hometown, Atang ends up falling in love with his childhood friend, Dineo (Nozipho Nkelemba), a beautiful young schoolteacher who cares for her younger sister, who is sick with HIV/AIDS. Through Dineo, he learns to feel part of the community, what it is like to feel wanted and builds a reconnection to his home. However, things do not remain peaceful for long, as Atang is left robbed, poor and homeless and also, Dineo’s tyrannical father thwarts their budding romance on both sides and relocates the family to a remote village in the northern regions where he can better hide his shame over his daughter’s illness. Determined to find Dineo and her whereabouts, Atang must reach out to the somewhat aloof chief and his straightforward wife, a sketchy witch doctor and a precocious eleven year-old orphan boy for help. He and the boy must make the arduous journey across the breathtaking rugged mountains to find her. What he learns and experiences along the way forces Atang to surrender to the rhythm and traditions of the land and to make peace with his father and the life he once led. It also makes him put aside his own selfish tendencies to help others along the way. The cinematography in this is absolutely stunning. The nomadic charms of the people, beautiful scenery and the rolling mountains all transport you to a place that only few would be lucky to see. This is a true tale of love, loss and re-establishing what if means to find your home and think outside of your own bubble. It's a beautiful and heartfelt production that is sure to do well with many. #TheForgottenKingdom #Indiefilmreviews #supportindiefilm #amaliahsaramarmonhalm

Directed by Dammie Akinmola Written by Kazi Zaman Starring Joshua Expósito & Victoria Ashford “A Dame To Kill For” Review written By Jack Bottomley Not long into this 16-minute short film, loosely based on Death By Scrabble by Charlie Fish, you realise just how stylish a game of death, deceit and wrath this is going to be. The film tells the story of a husband (Joshua Expósito) and wife (Victoria Ashford) playing a board game but as the game continues so does the deception, jealousy and vengeance between them, as the wronged husband seeks out those who have disrespected the sanctity of his marriage. From the narration, almost poetic dialogue and visuals embellishing lust, violence and paranoia, the blood of Sin City runs throughout this beautifully shot short. Dammie Akinmola’s film is an interesting piece of work that plays out like a revenge film of sorts and with its striking black and white visuals; the short is a pleasing trip into dubious relationships and desire. The plot is pretty simplistic but at the same time- mostly through the well-assembled dialogue- digs deep into the possessive nature of some relationships. From the chiaroscuro lighting and lingering cigarette smoke, Board To Death has a persistent intrigue and the visuals work with the plot, making this concise film a pleasing throwback to the gangsters n’ dames days of film noir. The shadows work to surround the central couple, both of which are almost imprisoned by their own darkness. The lighting even gives this effect of prison bars, as an innocent word game becomes a series of mind games between the beautiful, but at the same time deadly, coupling. The aesthetic is pushed into your face for sure but this is part by design, as the film is all about beauty and the unbridled fury behind it. The film may at times feel over-indebted to a strand of Frank Miller’s graphic novella but there is much here to enjoy on its own merits. The performance of Joshua Expósito for instance, which is unhinged and startlingly effective. He keeps you engaged to the film and is one of the reasons that this visually accomplished effort emerges as way more than just eye candy. His onscreen partner Victoria Ashford is less fortunate in terms of dialogue but her steamy gazes and dangerous personality make her enigmatic also. The film also has a string of commendable supporting performances to boot. Board to Death potentially sounds like it could be a parody or something silly but as soon as Rika Muranka’s atmospheric music kicks in, arousing a sense of violent retribution, the film just sails forward with flair, passion and promiscuity. True its influences become very obvious as the film pans out and at times the short feels like it should be part of that world. However the acting, Kazi Zaman’s slick editing, effective story and brilliant cinematography, not to mention the very intense direction of Akinmola, all make this a short film very much worth visiting. Plus the ending actually offers a neat little twist on the gender conventions of films like this. An accomplished game of sex, violence and, er, scrabble. Watch the trailer for Board to Death below... #BoardtoDeath #Shortfilm #Shortfilmreview #JackBottomley #supportindiefilm #BrokenLensProductions

Written & Directed by Mike Archer Starring Philip Goldacre, Tayo Elesin Review by Amaliah S. Marmon-Halm Telling a tale of loss, everyday mundanity and struggles, The Journey of Alfred Small by Mike Archer of Old Lamp Films ltd takes a snapshot in the everyday life of an embittered old man and shows what happens when we look at life outside of our own comfortable bubbles. The film starts as a recollection, as police officers tend to the old man, Alfred Small. Alfred lives alone. Not out of fault of his own, but due to his wife suffering from a terrible illness. Every now and again he goes and visits her in her in the hospital, begging for her to get better and come home. On one occasion, things go a little differently. At his regular bus stop, he is joined by a young mother, named Kendal, and her son, Benji. Over a slight misunderstanding, they part on bad terms. Things don't get any better for Alfred, as his life starts to fall into turmoil. When an opportunity to break out of his own woes and help another arises, will he choose to look the other way and pay no mind or will he give a vital helping hand? This short film tries to convey the trials and misunderstandings of life, the woes of old and young and how we are not all that different. We all face hardships, despite what the surface might show. Apart from a few lighting, sound and editing issues which, if you have an eye for them, might distract a bit from the feeling and atmosphere the film is trying to build, this is a rather enjoyable film. Story wise, this is a well constructed piece that will leave the audience feeling for each of the characters and possibly leave them asking what they would do in the various situations. #TheJourneyofAlfredSmall #shortfilm #supportindiefilm #movieblog #UKFilmReview #amaliahsaramarmonhalm

Written & Directed by Tofiq Rzayev Starring Deniz Aslim, Cevahir Casgir & Gizem Aybike Sahin Review by Chris Olson A suspenseful mystery from filmmaker Tofiq Rzayev, about a young man who goes missing, sending only one harrowing text message to his friend Mert (Deniz Aslim) that says “find me”. Whilst brushing his teeth, Mert receives the aforementioned spooky text message from his buddy Ali, who has not been seen for a while. His fiancée Ceren (Gizem Aybike Sahin) is distraught with worry, thinking that Ali’s absence has something to do with their upcoming nuptials. After a little digging, Mert learns of Ali’s last known whereabouts - in the woods. Thinking that this is the best place to start his search, Mert travels to the woods where Ali was last seen, but instead of finding his friend he meets a peculiar girl (Cevahir Casgir), whose peaks Mert’s interest. Deciding to return to the woods for subsequent meetings, still in search for Ali, the girl becomes increasingly strange and worryingly perturbing. There is a bittersweet mix of macabre drama and intrigue in Rzayev’s short film that takes the viewer’s hand and does not let go. The build up is tentative and subtle, capturing the attempts at calmness by Ali’s loved ones who are hoping for the best, and once the catalyst of Casgir is thrown in the movie becomes incrementally more gripping. The final few scenes are beautifully shot, with a breathtaking aesthetic that does justice to the performers - who all turn in worthy portrayal. Special mention must be given to Deniz Aslim, whose central performance is excellent, leading the audience into both adventure and peril without ever losing touch with the emotion of the scenes. Whilst the plot is pretty simple and the use of locations limited, the film benefits from simplicity, allowing the heavy drama to unfold without being obscured by distraction. There is a purity to the movie that is in the atmosphere rather than the story, slowly raising the viewer’s pulse to a crescendo of violence and brutality, rather than delivering a rollercoaster effect, which is complimented perfectly by the original score of Gergo Elekes. The Girl in the Woods is an immersive short film, affecting in its tone and bordering on captivating in its climax. Rzayev seems to be able to slowly pull his viewers into a state of unawareness, which makes his filmmaking all the more powerful and devastating. #TheGirlintheWoods #ShortFilm #FilmreviewsUK #DenizAslim #ChrisOlson #SupportIndiefilm #TofiqRzayev

“Tris this the real life? Is this just fantasy?” **** The immortal words of Queen there, adapted and skewed as a film review title for the second outing in the Divergent series of blockbuster movies. Insurgent, the second instalment, received mixed reviews at its theatrical release earlier in the year, the most common reaction being an apathy towards teen-fiction adaptations (see Hunger Games, Twilight, The Maze Runner). So why should UK audiences think about engaging in yet another dystopian smorgasbord of teen heartthrobs running, jumping and being all moody? To catch anyone up who has yet to watch the first film (or read the book), the Divergent series is set in a walled city, namely Chicago, where a structured eco-system has developed in which the population are categorised into different factions, depending on their personality. If you are brave and strong, you’re probably in Dauntless, if you are a boffin, you go to Erudite. The other factions are Candour (trustworthy), Amity (peaceful), and Abnegation (selfless). Of course, a rigorous pecking order like this has its issues, there are those who fit in nowhere (the faction-less) and those who are divergent - fit into any… By the time we reach Insurgent, the storyline has become a chaotic thrill-ride in which Tris (Shailene Woodley), our Dauntless/Divergent heroine, is on the run from the government (led by a wickedly brilliant Kate Winslet). Having foiled a political coup by Jeanine (Winslet) in the first film, Tris is then framed as an upstart renegade who must be destroyed, leading her and her beau Four (Theo James) away from the pursuing forces, and into the arms of any faction who will have her. There is a full-throttle pace about Insurgent that delivers on several levels. First off, the action in this movie is spectacular - delivering scene after scene of breathtaking moments that avoid any awkward dialogue spewing out (Twilight) and instead give out more knuckle sandwiches that a martial arts film. Secondly, Shailene Woodly delivers an astonishing performance within this role, giving a huge middle finger to gender inequality and roughing it out in fight sequences which would give The Raid a run for its money, whilst handling the emotional breakdown of her character with gravitas and poise. And lastly, Insurgent capitalises on the strides it made with the first film (great action, spiky attitude) without resorting to mindless romance plotlines or saccharine displays of heroism. Tris is a broken character in a messed up world, she’s not a damn Avenger! That being said, the film does get caught up in its own cables, almost literally, as the plot moves into dream-simulator territory. As we see sequence after sequence of reality mixed with dream mixed with simulation, actual events become a afterthought and the focus is put on shattering glass and disintegrating heads! This removes too much threat and tension from the movie, leaving the audience with a feeling of “Well, they will probably be okay. It’s most likely a dream bit.” So, where does Insurgent, and the Divergent series, rank in the list of franchise fury? Where does it sit in the pecking order of teen titles? Somewhere near the top is the answer. The filmmaking is smarter and more enjoyable than Twilight, more coherent and brutal than The Maze Runner, and probably on par with the likes of The Hunger Games. It seems a shame that Woodley’s performance will be buried beneath a glut of box-sets, but having delivered sterling performances elsewhere (The Fault in Our Stars), and proving she has the knuckles for a good scrap, she should easily hit J-Law status any moment. Review by Chris Olson Insurgent is available on Blu-ray and DVD from 3rd August, courtesy of Entertainment One #Insurgent #DVD #Bluray #Moviereview #UKFilmReview #FilmReviewsUK #ShaileneWoodley #ChrisOlson #filmblog #film

Written & Directed by Kenton Hall Starring Scarlet Hall, Hero Hall & Kenton Hall Review by Chris Olson *** A post-modern adventure that depicts the spirit of youth as chaotic and unrestrained, where rules are meant to be broken - both literally and artistically. Daisy (Hero Hall) and her sister Maisie (Scarlet Hall) live with their father Henry (Kenton Hall), a writer who shows a refreshingly blunt approach to fatherhood, at one point asking his girls “So girls, do you have any questions about menstruation?”. Henry attempts to give his daughters direction with bold sarcasm and protective lecturing, but his openness and humour is met with quick rebukes from his offspring who seem more than capable of tackling life’s hardships. Growing up is hard, but the focus of A Dozen Summers is on the viewpoint which can be found in a 12-year-old, who is able to see the world from a unique perspective. The cusp of puberty, the tipping point to teenage years, offers a wonderful landing point for a story about life’s foibles, and the idea that formative years can take wildly different directions depending on your guide is compelling. These girls have a particularly focused outlook on life, dissecting it directly to the camera for the audience to understand their conflicts. Adults are not the sage mentors dispensing wisdom like a vending machine, and can in fact be seen as infantile bigger people, who just happened to make it to the other side of puberty. There is a comic farcicality to Kenton Hall’s story, especially where the adults are concerned, that reveals the confusing nature of “growing up”, especially when the role models around us are riddled with imperfections. Running parallel to the themes of adult incompetence, Maisie and Daisy face regular confrontations with a group of bullies, who throw around hurtful “stigmas” like being a “lesbian”, without really understanding the term or why it would even be derogative. This blurry confusion that surrounds youthful tormenting is wonderful to see from the girl’s point of view, as it is an important part of the growing process, and they deal with the insults with a grace that would rarely be found in many adults. Not all their peers are monstrous homophobes though, and puppy love is thrown in as another emotional unbalancing blow. The structural approach of having the girls make a movie about their lives offers an artistic freedom that is totally necessary to explore the themes in a new and exciting way. Kenton Hall tackles the story with sensitivity, but never shying away from the moments which could be deemed inappropriate, instead using humour and frankness to open a dialogue which is consistently appealing. Using the editing, the film is able to dispense quick cuts and fantasy sequences to introduce great comedy moments, without being limited by conventional methods. Speaking of dialogue, the script is where A Dozen Summers is on shakier ground. Hero and Scarlet are not able to offer the lines much in terms of emotional diversity, coming across like a school play in some scenes - but this is their first feature and what they do achieve is hugely impressive. The more seasoned actors are able to swoop in and lift the script up at times though, especially Kenton Hall himself, who delivers many chuckles with his modern dad, as well as moments of inner reflection. It was also lovely to see Ewen Macintosh (of The Office fame) turn up in a small role as a newsagent cashier. More could have been done with the wilder aspects of the movie, taking on a more diverse range of scenes and locations in order to fully utilise the unrestrained methodology. By the middle section of the film the story settles into a more everyday aesthetic which looses momentum. It is testament to Hall’s filmmaking, though, that audiences will want more. As a children's comedy film, the laughs and giggles need to be ever-flowing though, with plenty of imagination thrown in. It’s fantastic to see a British comedy with such a fresh and ambitious spirit. A Dozen Summers brilliantly captures a unique perspective on the coming-of-age genre, with heartfelt sensitivity, goofy quirks, and plenty of moxie. #ADozenSummers #Britishfilmmaking #IndieFilmReviews #KentonHall #ChrisOlson #Comedy #Children39scomedy

Review by Chris Olson "Why am I so totes emosh?" **** A visual and imaginative treat, Pixar deliver an original coming-of-age story that pulls the viewer apart from the Inside Out. Disney films inherently yank at the heart strings, but this newest offering from the-studio-that-made-you-tear-up tackles a far broader spectrum of emotional turmoil, personifying our characteristics into charming, loveable and, yes, merchandisable characters. Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith) take centre stage in the mind of 11 year old Riley (Kaitlyn Dias), like captains of the Starship Enterprise, operating her reaction to everyday life and hoping to create some pivotal core memories. The conflict arrives when Riley is to start at a new school when her family uproots to California, and to make matters worse, her emotions are becoming unstable! Sadness threatens to overthrow the delicate balance of the brain, which Joy (the film's leading lady) attempts to avert only to find herself lost within Riley's long term memory. If Joy and Sadness can't find their way back, Riley's childhood happiness could be lost forever! The clearly defined character limitations could have hampered Inside Out, and at times the emotions seen to trip over each other, but Pixar creates terrific arcs for these emotions that are compelling, allowing a more thoughtful and inspiring process to take place. Deeper levels of thought are encouraged as this language of emotions is presented to the viewer, making the abstract not only watchable, but mesmerising. Ambitious filmmaking combined with ambitious storytelling. The narrative is so intelligent and thought provoking, that the simplicity of animation is the only effective medium which could be used, allowing a sophisticated yet accessible journey to unfold. The "ordinariness" of Riley and her predicament, tied in with the coming of age trope, puts Pixar on firm footing. After several years of talking cars, talking planes, and talking monsters, a high concept idea of talking emotions seems not only less surreal but also more adventurous. There is a frenetic vibrancy about the colours, score and overall aesthetic of Inside Out that is entrancing, with fantastic performances across the board. Special mention must be given to Poehler, who is enigmatic. Imaginative devices are brought in that enhance the story (such as a literal Train of Thought or memory workers who dispose of old memories to make space, and yet still retain that annoying ad jingle stuck in your head), and creativity shines through the tremendous space that is Riley's mind. Few films are able to deliver across all of the areas that Inside Out does, and even fewer are able to do it in a way that is so emotionally affecting. Criticism has come that the movie is a downer for a Disney film - and to those people they may need to consider the movie's intention. All our emotions are important, the pursuit of Joy cannot come at the expense of other feelings because it will discourage personal growth. Sadness, whilst like an emo Smurf, is a vital part of Riley, and not something to be pushed into the depths of forgotten memories. The film does slip into a few blurry areas, as some of the emotions seen to suffer from their own personal conflicts rather than being a clearly defined aspect of Riley, but overall they are brilliantly crafted creations from a studio-that-defined-your-childhood who is still defining cinematic brilliance. #InsideOut #TheatricalReleases #Disney #Pixar #ChrisOlson

Written & Directed by Mark Brennan Starring Amanda Barrie, John Challis, Abigail Parmenter, William Postlethwaite & James Hamer-Morton Review by Amaliah S. Marmon-Halm Overflowing with light, pastel themes, delicious cakes and teapots, Tea For Two is a slightly supernatural little romcom that's sure to make you feel warm, fuzzy and in need of a cuppa. We are first introduced to Jim and Alice, a bumbling old married couple, who appear to run their cute and quirky village tea room. They initially seem like a harmless and welcoming couple, anxiously waiting for their customers to arrive. As their first customer arrives, a young man looking for a treat in his lunch break, a series of intriguing and odd events start to occur. He's given a rather cold reception from Jim and upon the mentioning of cake, it seems like the young man is irrationally in his bad books. It starts to become obvious that this couple is more mischievous than they originally let on. Next to visit is young woman, also on her lunch break. With Jim and Alice both becoming starry eyed, it's clear to see that they have an agenda for this pair. Through a series of bumbling mistakes, odd actions and nervous excitement, Jim and Alice set themselves on the young pair like a pair of overexcited cupids looking for a target. The twists that intertwine this film are delightful and hilarious. What this film also does well is take the classic British comedy blueprint and give it a delightful modern twist. An audience of any age can watch this and either relate to the annoyance of the young pair or the playful mischievousness of the old couple. What you end up with is an adorable tale of tea, cake and what it means to rediscover an old love, a short film that leaves you chuckling along with every mishap. The twist, although somewhat expected, is sure to leave you with that warm and fuzzy feeling. #TeaForTwo #ShortFilmReview #amaliahsaramarmonhalm #MarkBrennan #Comedy

Directed by Nick Goulden Starring Séan Browne, Jye Frasca & Michael Ryan Review by Chris Olson Enemies of the state beware, they…are…watching. A common premise, Big Brother has often been the ever-present villain in a suspense thriller or action blockbuster. The idea that we are being watched, monitored, tagged, and splashed across PowerPoint presentations in some Pentagon boardroom is now so commonplace it no longer seems to worry us. Technology is too awesome to give up for something as trivial as privacy! Nick Goulden’s short film, Reality Mine, however, approaches the subject with a fresh perspective, asking the question: what’s the tipping point between integrity and preservation? Opening with a thrilling action sequence in which we see two figures, clad in guerrilla gear, blow up a building and accidentally killing someone in the process, the movie appears to pitch its tent in familiar territory of activism-cum-thriller. However, a shift occurs when the story focuses on unassuming family man Max (Séan Browne), who is lifted off the street and dumped into a bland hotel room opposite Charlie (Jye Frasca), a pencil-pusher from the Home Office. However, Charlie’s infinite access to pretty much anything that Max has ever said, emailed, watched or paid for, makes him a formidable presence in a world where knowledge equals power. The plot then explores the dynamic between Max, who is the brother to one of the aforementioned terrorists, and Charlie, who is offering a deal to keep Max out of the inevitable public shaming, as long as he plays ball… Online data, and our attitudes towards it, makes a compelling theme for a modern short film. On the one hand humans are enduringly suspicious of technological advancements, especially where privacy is concerned. And yet, specific developments have become so commonplace that the tide of change seems to sweep you up whether you want it to or not. Goulden plays on this theme throughout, and the choice to have Jye Frasca, far from an imposing or threatening bodily presence, as the Home Office shark was intentional. The idea that our enemy has already invaded our lives and just waits for the opportune moment to exploit us is quite terrifying. Goulden takes this a step further as well, proposing a question through the character of Max (superbly played by Séan Browne): are we the summation of an endless stream of data and figures? Or would our “character” emerge regardless of the impressive amount of ammunition that could be used to manipulate us? Interestingly, we may not all be as heroic as we think we are, especially when the other side has a list of all the dodgy websites we have ever visited! By the climax of the film, Max’s inner turmoil becomes a full-blown mental whirlwind in which his deepest, darkest secrets have been sucked from him and strewn across a hotel room desk. Brilliantly paced and riddled with fine performances, Reality Mine is a short film that passes the Golden Test - yes, we wanted to see a full-length feature. Not only was the story compelling and the themes meatier than a horse burger scandal, there is a relevance here that audiences will, pardon the pun, connect with. Jye Frasca is a treat to watch but its Séan Browne who steals the scenes with a cleverly balanced depiction of anxiety and attempts of control when he holds none of the bargaining power. There were moments where the film stumbled, such as a phenomenally retro overhead projector displaying all of Max’s email inboxes - it seemed to date the scene immediately, especially when you consider that, at the beginning of the movie, the bombers used a timer on an iPhone! Another aspect was some of Charlie’s threatening lines, which came across a little too dramatic for what was supposed to be an average office type. That being said, at not point is the dynamic between Charlie and Max anything but riveting. Hats of to Lee Thorpe, for the pounding score which creates a lovely tension throughout the running time, as well as the superb editing by Marco Ruffatti - who allowed the scenes enough breathing time envelop the audience without letting them escape the intensity. Overall, this is Goulden’s show, a conscientious filmmaker who expertly captures the essence of his story with every tool at his disposal. Reality Mine is evocative and thought-provoking, with formidable performances. Audiences may well be contemplating the issues the film raises long after viewing, especially when deciding whether or not to leave an online review that could one day be used against them!…crap, now I’M worried! Watch the trailer for Reality Mine below, or head over to their Facebook page for news and updates. #RealityMine #ShortFilm #UKFilmReview #SéanBrowne #NickGoulden #JyeFrasca #SupportIndieFilm #Britishfilmmaking

**** Review by Ross Lines Asif Kapadia's unflinching documentary on the rise and fall of Amy Winehouse, is an eye opening and often harrowing insight into the real girl behind the beehive and scrutiny of the red tops. The film opens with footage of Amy in her early teens with friends, innocent but a twinkle in her eye, already gifted with that sultry, smoky voice destined for Jazz clubs and, later, the world's stage. As with Senna, Kapadia avoids talking heads and sticks to voiceovers from those who were closest to Amy, from childhood friends and family to her first manager, which proves effective and intimate throughout. It's refreshing to see Amy in her true light, full of face, intelligent, enigmatic, with a wicked sense of humour. The uncompromising attitude always shining through. Dedicated to her craft and losing herself in the music, we are reminded just how good her voice was, especially in footage of stripped back songs - a guitar her only accompaniment. As her star begins to rise with the launch of her first album “Frank”, we see the corruptible elements of her environment appear. Winehouse lived her life through her lyrics, she wore her heart on her sleeve and her most loved men on her skin. Both Blake Fielder and her father Mitch have important roles to play here. Mitch Winehouse has distanced himself from the film, taking issue with how he has been portrayed, neither he or Fielder come out well but the film remains subjective, Kapadia's returning theme of letting the footage tell the story can hardly be argued with and there is no victimisation here. If anything, she was a girl yearning for the love of a father who wasn't always there and a man whose mutual feelings created a physically toxic chemistry. Moving to Back to Black it's evident that this album was a gift and a curse, much like Truman Capote's book “In Cold Blood”. It became her undoing, the genius of her lyrics was due to the fact she was living them (see 'Rehab') and the sudden media glare following the success of that single exacerbating her need for dependency, be it drugs, alcohol or Blake. The startling footage of this little girl lost in a sea of endlessly flashing bulbs is disturbing, each flash a gunshot wound to the staggering songstress. Poor decisions from her 'people' such as forcing her to perform shows she could neither physically or mentally handle, reveal her downfall was the fault of many, including TV show hosts of much repute feeding off of her like vultures, and the public lapping up the public execution. There are avenues left somewhat unexplored, her relationship with her mother is skipped over briefly and it would have been nice to hear more on her song writing process. But altogether Amy is a fine portrayal of an immense talent, a modern Billie Holiday suffering from a mental illness that was ignored or not addressed until it was too late. Both Amy and her idol Tony Bennett reveal that Jazz singers prefer a small audience, maybe because of the intimate nature of the songs. Perhaps when it is all said and done, she was performing for too many people - both on and off the stage. To read more reviews by Ross Lines visit - http://thelonggoodfilmblog.wordpress.com/ #Amy #AmyWinehouse #RossLines #TheatricalRelease #AsifKapadia #UKFilmReview

Review by William Baldwin Ian Mckellen is somewhat unique in today’s film business. He isn’t your typically good looking leading man or supporting actor. But the man has had big film parts in movies such as Apt Pupil, the Lord of the Rings, the Hobbit trilogies, the X-Men films and arguably his best performance in Gods and Monsters directed by Bill Condon. At the tender age of 76 he shows no sign of slowing down. And now he plays Sherlock Holmes. Sherlock Holmes at the age of 93 lives in a house in the country with his housekeeper Mrs. Munro (Laura Linney) and her son Roger (Milo Parker). Whilst there he gets flashbacks about an important case he was involved in, but the outcome of which he can no longer remember. With his memory deteriorating he has to use his skills as a detective to find out what he did in his own life. Ian McKellen is of course brilliant, delivering a subtle performance showing Sherlock’s pain, suffering and loss of memory when he is at old age and completely the opposite when he is the younger Holmes in the flashback scenes. Laura Linney is surprisingly good for an American putting on an English country accent. When it comes to the acting, everything is fine. However, the film is very slow, I wouldn’t mind this if interesting occurrences were happening but this film has surprisingly dull moments from beginning to a relieved end. What I was expecting was a murder mystery type of film, but instead what we get are uninteresting scenes like him staying in a house for most of the film, tending to bees and wasps in the garden etc. Scenes like these were disappointing because they failed to deliver to a standard one would expect from such a stellar building. Now this film isn’t terrible, as it had a couple of laughs and some good moments but overall audiences will be expecting much more. #MrHolmes #TheatricalReleases #IanMcKellan #filmblog #Film