Written by: Chris Olson, Rachel Pullen, Brian Penn, Chris Buick and Ian Lunny First and foremost, this is a safe space. You are with friends. You can remain calm. Ignore all that noise out there (Twitter), they can’t get you here…or can they? No, they can’t. Completely different websites. A selection of the UK Film Review writers have gathered in a dark alley and exchanged 100 film opinions it is totally okay to have, and that is what you will find scribed here. Why the secrecy? Because should they take credit for them publicly they will likely face pitchfork-wielding mobs. This is where UK Film Review steps in. Come at us general public, we’re not afraid of your boos and lobbed popcorn (see number 30). 1. It's perfectly acceptable to have seen just the first Harry Potter film. A bit like a chocolate eclair, it's lovely but one's enough. 2. Is Emerald Fennell really a great writer-director, genius is a sobriquet not so easily earned? 3. You don't have to be a great actor to make great films. Yes, I'm talking about you, Keanu Reeves. 4. Characters on a killing spree gets a bit boring when you count to 52 and we're only half an hour in. 5. Undernourished storylines in overrated movies: The Shape of Water - mute girl falls in love with a fish, it needs some work. 6. Batman is the only superhero that really matters. He drives a great car, has got a bat cave and his own butler - game over. 7. It's ok to love musicals. Everything about 'Mama Mia' tells me I should hate it, but damn I enjoyed it. 8. Message to Martin Scorsese - you can stop making gangster movies now (ever thought about making a film where nobody dies?). 9. Does Quentin Tarantino make one great film every 25 years - Pulp Fiction (1994) and Once Upon a Time in Hollywood. (2019)? Looking forward to 2044, it better be good. 10. Nomadland - winner of the Oscar for best picture in 2021 - really??....a late entry in the 'Undernourished storylines in overrated movies' category = woman lives in a camper van and sometimes works for Amazon. 11. Steven Spielberg has no style. 12. We don't need any more Marvel movies. 13. The world would be a better place without the Harry Potter franchise. 14. Romcoms create unrealistic expectations of both genders. 15. Jared Leto was a good version of the Joker character, it’s just the movie sucked. 16. Even if you can’t stand it, you still had a Twilight phase but just hated it. 17. Putting sun flares in all your movies does not mean you’re stylish J.J. Abrams. 18. Kubrick's version of The Shining sucked...the television version was so much better. 19. The lack of PTSD from Sidney Prescott in the Scream movies is frustrating, no one is that strong! 20. The Phantom Menace is the best of the Star Wars films...and Jar Jar Binks is an icon. 21. It’s totally fine to prefer Dreamworks films over Pixar, or even Studio Ghibli at that rate. How To Train Your Dragon is one of the best animated films. 22. Watching films on your phone does not make you a bad person. You can’t take a widescreen on your commute, we get it. 23. Downloading films illegally makes you a bad person - people worked hard man, let them get their payday. 24. Early Adam Sandler films are comedic gems, yes, even The Waterboy and Little Nicky. 25. Leaving a mess behind you in a cinema should be punishable by death…or at least community service. 26. Even if Harry did put his name in the Goblet of Fire, Dumbledore had no right to shout at him like that. It wasn’t even in the books! 27. Sometimes watching The Lord of the Rings can be a bit boring. Especially the extended versions - which are the only ones you should watch, even bored. 28. Vin Diesel ruins the Fast & Furious films. 29. No Batman villain will ever be as scary as Danny DeVito’s Penguin. 30. Popcorn is literally the worst choice as the go-to snack to eat in a cinema. The best, of course, is EAT BEFORE YOU GO! 31. About Time is Richard Curtis’ best film, without a shadow of a doubt. 32. Avatar is one of the most overrated and underwhelming films ever and we don't need the sequels, nor do I think anyone really wants them except James Cameron. 33. Star Wars is also massively overrated, and the latest films are awful, even worse than the prequels. 34. Batman Begins is the best of the Dark Knight Trilogy, not The Dark Knight. 35. Never understood the hype with Drive - found it boring, to be honest (good soundtrack though!). 36. 2001: A Space Odyssey - technically brilliant but also really quite boring. 37. Boyhood was also boring and unfortunately the children didn't grow up to be able to act. 38. The Mission Impossible films are better than Bond films. 39. The John Wick films are better than the Matrix films. 40. I actually quite enjoyed the first Venom film. 41. Never be afraid to call the first Rocky film 'Rocky I', it's perfectly sensible as there was a 'Rocky II'. And don't worry about friends who hyperventilate whenever you mention it. 42. The 'Star Wars' franchise is utterly baffling. It was easy to navigate the trilogy, but sequels that become prequels renumbered as episodes 1-3 is beyond reasonable logic? 43. There should be support groups for people who've never seen Lord of the Rings. Yes, it's brilliant but don't weaken; you might be redundant in some conversations but ignorance can be bliss. 44. There are some people who think Coming to America is one of Eddie Murphy's best films. Try not to laugh (at them, not the film). 45. Many are guilty of overacting at some point in their careers, but could anyone match Jim Carrey's performance in Liar, Liar? 46. Is not time to introduce a 'Best Female' director in the Oscars/BAFTAs. Actor categories are split in the same way? 47. Isn't it about time somebody set up a strong Western movie franchise, they were once a staple part of the film industry? 48. When is Gurinder Chadha going to make a truly great movie (Bend it Like Beckham doesn't quite cut it)? 49. Is Rami Malek now hopelessly typecast after 'Bohemian Rhapsody'...Freddie Mercury isn't a convincing Bond baddie even with the scars? 50. Are streaming packages taking over our lives? I've got my eye on you, Walt Disney, you might have me free for six months but after that we're finished...and I mean it (??). 51. Both are good, but Guardians of the Galaxy Vol. 2 is better than the first one. 52. Again, both are good, but Zombieland Double Tap is also better than the first one (sequels can be better!). 53. Casino Royale is the best Daniel Craig Bond film, not Skyfall. 54. People need to stop comparing Alien and Aliens, they're completely different films. 55. Independence Day was one of the best movies of the 90s. Period. 56. South Park: Bigger Longer and Uncut was and is still a brilliantly clever comedy film and one of the best musicals of all time. 57. Deep Blue Sea is a really good movie. Most films where a shark is involved are good. 58. All the Scream movies are really good. They should end the series with Sidney being the killer. 59. All the Final Destination movies are also good. 60. Passengers would have been a better film if you started with the second half first. 61. Can Anthony Hopkins and Ian McKellen please decide who the 'new Laurence Olivier' is and just let us know? 62. The unluckiest Oscar nominee in history: Tom Cruise - Born on the 4th July (1990) but lost out to Daniel Day-Lewis for My Left Foot (I feel your pain Tom). 63. Oh how I miss John Candy, a sublimely talented comedy actor: watch and learn Will Ferrell. 64. People in cinemas who lose the ability to count (and follow the alphabet) when looking for their seats are infuriating. Maybe that's what the trailers are really for? 65. What exactly is the point of an honorary Oscar/BAFTA Fellowship? (translation: You're old, been around a while and have done ok, suppose we should give you something). 66. People in cinemas who defiantly leave their mobiles switched on; aren't the persuasive tones of Jon Boyega enough? 67. Rare sightings: actors who display genuine humility in their Oscar acceptance speech (Olivia Colman for The Favourite in 2019...god bless you, Madam!) 68. Why do actors insist on producing, directing and starring in their own movies; aren't they stretching their talents too thinly? (don't mean you Clint obviously). 69. What happened to the 'candy floss' films that sold exclusively on the strength of the soundtrack? (Top Gun, Days of Thunder, Footloose, Dirty Dancing, Ghost'..in fact half the films made in the 80s). 70. The lack of genuine cockney actors on the big screen, particularly with the apparent retirement of Michael Caine. Jason Statham doesn't quite fit the bill. 71. It's okay to not join the hype train. If it's a director (Christopher Nolan for me), a film or an actor/actress you don’t need to love them because everyone else does. 72. Bad films are secretly the best films. Yes, this sounds like an oxymoron but some films that are so bad, so completely devoid of what we film fans enjoy that they have their own comedic merit. Seek out Neil Breens (Fateful Findings), Tommy Wiseau (The Room) and of course Cats. 73. Mixed popcorn is the elite. 74. Spiderman 3 is not that bad full stop. 75. IMDB top 100 films is a bullsh*t list. Not the films themselves but the overhyping of certain movies and ignorance of world cinema. 76. Animated films are criminally underrated. We all know the Pixar films and the Studio Ghibli animated features, however, the world of animated films is vast and different cultures have fantastic animated cinema which just gets lost. So go find Persepolis, I Lost My Body, Waltz with Bashir and so many more 77. The animated Lord of The Rings is pure 70s gold. 78. Romcoms should be taken seriously. 79. The Spice Girls Movie is a surrealist masterpiece and I will fight anyone about it. 80. The Oscars is one of the most overhyped things ever. 81. Arthur Christmas is the best Christmas film. It gets better with every watch and is ridiculously funny. 82. Hot Fuzz is the best of the Cornetto Trilogy. 83. This Is Spinal Tap should be compulsory viewing for any aspiring rock band. 84. We need to get rid of films split into Part 1 and Part 2. Just make a longer film and save us the wait. 85. Any trailer which shows scenes after the first third of a film should be banished and their makers with them. 86. We need more comedy films with Brendan Fraser as the lead. 87. Nemo was a punk who deserved to get lost. 88. If you get your phone out during a cinema screening the audience deserves the right to attempt to steal it from you - and sell it back to you after the film's finished if you have been a good boy or girl. 89. Aisle seats are for winners. 90. Into The Spider-Verse is the best Spidey film. 91. Glengarry Glen Ross has some of the finest acting ever put on screen. But it's also a bit of a sausage fest. 92. Indiana Jones and The Temple of Doom is a ridiculous mess and one of the worst sequels. 93. Spaceballs is greater than Star Wars. 94. Meryl Streep is the Meryl Streep of her generation...and everyone else's. But it's okay not to love her. 95. The Fox and the Hound is way more upsetting than Marley & Me. 96. The Hobbit films should be remade without using any CGI. And definitely no GoPro footage. 97. School of Rock should be watched at least once a year, to remind us all to stay in touch with our inner selves. And to see Joan Cusack attempt to keep up with Jack Black. 98. Eraserhead is not worth enduring, hugely overrated, and could result in you giving up your love of film entirely. 99. Sometimes it's too tiring to watch foreign-language films. 100. Films longer than 90 minutes are already dead to me. We hope you enjoyed this list. Please share like you are Rami Malek's agent.

★★★ Directed by: #AndyKastelic Written by: #AndyKastelic Starring: #JackForcinito, #GennaroLeo, #VirginiaAsbury Short Film Review by: Emily Davison A former world-class boxer turned Las Vagas diner owner, is visited by a desperate young fighter in this short neo noir film. Director and writer Andy Kastelic has worked on a number of award-winning shorts with his production company Balian Pictures and his passion for storytelling and cinema continues to be the spark for his filmmaking. This twenty minute flick may technically be a short, but it packs in a bunch of good material, despite not being the most original or exciting film at times. We open with an effective establishment of setting and tone, with a radio announcer commentating on one of Blue’s (Forcinito) old boxing matches, along with a medium long shot of present day Blue on a motorcycle, waiting at a train crossing. In a similar style to Pulp Fiction (1994), we are also introduced to a young boxer escaping a match in his shorts and boxing gloves, running through alleyways and escaping a seemingly dangerous situation. Bobby (Leo) is in trouble with the scary Battleaxe Sue (Lorri Layle Oliver) after failing to take a dive at his last fight and needs a way to escape, seeking out Blue Boy as he believes to be the son of the once upon a time boxer. Blue Boy is a beautiful movie with stunning shots littered throughout, presenting a clear stylistic vision from Kastelic. Vibrant colours through neon lighting seeps through every frame and although there are times when this choice appears a tad style over substance, it is difficult to not become mesmerised by the visuals. Parallel shots of Blue and Bobby shadow boxing against a black background in neon lighting mirror each other, as they move in what almost appears like a ritualised dance routine. The film exhibits a dreamlike quality through its visuals and often meditative score, with its main subject being an aged boxer becoming acquainted with the so called son he never knew. Forcinito gives an excellent performance in this role, handling both the emotional and physical challenges of his character well. Nicholas Duron’s fabulous sound design weaves together a strong script with an upbeat synth style score, heightening the drama and action immensely. The climax packs a good punch with a well-choreographed fight scene, edited together with tight precision as Blue manages to find his inner strength, spurred on by the love his still feels for his old flame, Penny (Asbury). Although Blue Boy does often feel generic and perhaps overplayed, with its highly stylised filmmaking and slow pacing during some sequences, the short still provides an engrossing watch with its good performances and engaging high production values. #EmilyDavison

★★ Directed by: David Steinman Written by: David Steinman Starring: Bill Goldberg, Emilie de Raven, Douglas Smith and Robert Culp Christmas Film Review by: Rachel Pullen Hold on to your socks folks but I’m about to unveil a little bit of info about myself, just for you…I don’t do Christmas! What a shock, well not really, I think over the years I have made my anti-capitalist/religious views apparent, and so Christmas is the complete package when it comes to those treats. But what’s weird is I’m super into Christmas horror movies, so many classics such as Black Christmas and Silent Night, Deadly Night, and while it would be easy of me to review any of the classics, or the many remakes, I decided to stray down the beaten path and find something that we may all not know about…and boy, did I uncover some trash. Santa’s Slay revolves around our main teen heartthrob Nick (played by Douglas Smith) who lives with his crazy grandpa who, like me, has a bunker in his basement where he likes to hide out during the Christmas period. Grandpa explains that Santa was born of virgin birth to the devil and made a bet with an angel, via curling match…okay, he loses and must deliver gifts on Christmas for 1000 years, and this year, his time is up. During this basement hangout, Santa has already started his killing spree in colourful and fun ways, my favourite is his trip to the strip club, for numerous reasons i.e. hot girls, where he, for no reason just starts praying and slaying, he kills people in a deli and police officers as well…not unlike the ladies in the strip club, he gets around. He kills Nick's boss, obviously annoying him, he is now probably unemployed, and just before Christmas as well! So, he and his lady pal decided to find out a way to defeat Santa and bring harmony and happiness back to the land, what a chump, no one wants that. I don’t want to spoil it for you, but it pans out just as you think it would, and that’s fine, I didn’t think a film starring the cast of the WWE was going to blow me out the water with some plot twists and mind-blowing scripting, but that’s not to say that it's not a fun little Christmas film. Santa’s Slay is the more tolerable of the terrible Christmas horror movies…Jack Frost anyone? My point exactly. The acting holds strong, I mean Emilie De Raven is in it and she went on to have a successful career, the pace keeps up, we are engaged enough with the characters that we care about their deaths, the kill scenes are stupid enough for us to realise it’s meant to be silly so we can enjoy it! My point is, if you’re going to make a seasonal horror film which is about curling bets and the devil, you better be able to laugh at yourself, or the audience is just going to laugh at you, and Santa’s Slay has found that perfect sweet spot, and so I say kudos to the movie. So, if you want a little fun this holiday season, and by fun, I mean WWE wrestlers, dressed up as Santa killing strippers, then strap in and feel the GGGG’s. So, what have we learned this week? Strip clubs are not as safe as we think Santa loves to curl And destroying the perception of the holiday season by having Santa kill a bunch of town folks, will still not stop people celebrating this terrible time of year. #RachelPullen

Filmmaker Interview by Chris Olson Lovely to chat with you. Whereabouts in the world are you right now and how has life been treating you during the pandemic? Hello, I’m glad to have this wonderful chance to chat with UK Film Review as well. I currently live in Los Angeles, California. Because of the epidemic, almost all the film production was closed last year, so it was a good opportunity for me to write scripts at home. You have a new film, A Matter of Time. It's a short drama. What is the film about? During the large-scale demolition and construction going on in a small town in China, an independent and empty-nest grandma YING (70s) who is in the early stage of Alzheimer’s confronts the pressure of moving into a local public nursing home persuaded by her daughter XIAO YU(30s) who works as a construction worker in a big city. The film applies a realistic style with stationary camera movements and an objective audio environment to portray citizens at the bottom of society in China. The project focuses on observing and reflecting ordinary people’s struggles and conflicts in daily life. In addition, A Matter of Time intends to connect the rapid developments of cities in China and the changes of Ying’s inner state to establish a sense of helplessness and loneliness. You wrote and directed this. Why did you want to tell this story? As an artist, I have a strong responsibility to reveal the unexposed side of Chinese society. This project discusses the conflict and friction between two generations due to their different values and beliefs. Despite China's rapid economic development, I wanted to focus on the lives of the lower class, who make up about 60% of the population in China. However, the public doesn't know their real situation because the lower class people don't have much power or channels to express their real situation. All they can do is work and make a living, from paycheck to paycheck, repeatedly to survive in this competitive country. Although this story takes place in China, I think the topic of retirement is always universal. People in every country may experience the ambivalence that comes from not having time to care for their parents. So I think the core value of this story is something that audiences around the world can relate to. What were the challenges getting this film made? Because it is a low-budget independent short film, of course, we put a lot of effort into controlling the cost. It wasn't easy to shoot this short film and to save money. My producer and I tried to find low-cost location fees upfront. Most of my key crew members worked for free because they are my good friends and know my difficulties, so they were very kind to help me. They also gave me a lot of good ideas and suggestions during the production of the film. Appreciate their efforts and passions! What's the plan for the film? Where can audiences see it? My short film is aimed at some major international film festivals. And it got some excellent results in 2021, and I would like to share the news with you. It won the Grand Remi Award a the 54th WorldFest Houston International Film Festival; was selected at LA Shorts International Film Festival (BAFTA, Academy Award Qualifying), Drama International Short Film Festival, Short Film Corner at Cannes Film Festival, HollyShorts Film Festival, etc. And A Matter of Time will have its Canadian Premiere at Victoria Film Festival in Feb 2022. When you are directing a film, what are the elements you feel are the hardest to control and why? I think it's the part of directing the actors. Because each actor has his or her style of acting, and it takes time and effort to study and discuss how to communicate effectively with the actors so that the acting style is unified within the director's thoughts. Actors are very fragile inside because they need to trust the director and crew very much when they are performing to show their heart in front of the camera. Therefore, when choosing to communicate with actors, it is also important to use the right method, otherwise, it can also hurt their motivations. I believe that a film is not the work of the director alone, but the result of many professionals, so as a director, in addition to constantly learning and having high aesthetic artistic standards, you also need to know how to lead the team and work together with others. What's next for you? I am now developing my short film into a full-length feature film. I am researching information and writing a script. Hopefully, you will be able to watch my feature on the big screen shortly. Why do you make movies? I believe that everything that happens in our daily lives is a representation that has a deeper meaning. I like to observe, think, reflect and communicate my thoughts to the audience through visual and auditory language because I believe that film, as the most effective art form, can always provide a positive impact on the public and justify uncovered inequalities. My approach to my work is humble, but it is pure, determined, and respectful. I am not an articulate person, so let my films be my voice. #ChrisOlson

★★★★★ Directed by #JonWatts Starring: #TomHolland #Zendaya #JacobBatalon #BenedictCumberbatch #AlfredMolina #WillemDafoe #JamieFoxx #MarisaTomei Film review by Nathanial Eker-Male The perfect cap to Jon Watts' "Home" trilogy, Spider-Man: No Way Home is a love letter to Spider-fans everywhere. Swinging into cinemas only, this surprisingly earnest film is a testament to everything fans love about the wall-crawler. For those who aren't obsessively dedicated to comic books and their filmic adaptations, the movie may be a tad overwhelming; you certainly won't spot every hidden reference and understand every in-joke. However, even for someone who hasn't seen the seven proceeding Spider-flicks (plus two Venom films), it remains an enjoyable action-romp with a tone that is refreshingly darker than its predecessors. Following the events of Spider-Man: Far From Home, Peter Parker has been framed for the death of Mysterio. Worst of all, the whole world has learned his secret identity, ruining the lives of him and his loved ones. Fortunately, he saved the universe with a certain (ex) Sorcerer Supreme, whom he asks to wipe the world's memory of his dual life as Spider-Man. When Doctor Strange's spell goes awry, Peter must contend with five sinister villains from the multiverse, all with a personal history with alternate versions of the web-slinger. No Way Home sees Peter Parker challenged in a way that he never could be while bumping shoulders with Iron Man and The Guardians of the Galaxy. Indeed, the MCU can be said to invite wise-cracking heroes that solve their problems with relative ease and reset the status quo by their film's end. Not so in No Way Home. The film delivers what Watts' Spider-Man films have been sorely missing: consequences. And with great consequences comes a great tone; one that is light-hearted at times, yet gripping and, dare I say, gritty when it needs to be. The MCU's infamous penchant for goofy quips is obviously still present (and will likely never die), but never do the jokes undercut the dramatic and sometimes devastating emotional beats. Devastating moments call for compelling performances, and No Way Home boasts a veritable web of them. Holland gives his finest work yet, playing an exhausted Peter who is finally coming to terms with his responsibility as an independent hero, without the need of a Starkian mentor. In this film, he can only turn to himself. The charming young actor is beautifully supported by the power-combo of Zendaya and Marisa Tomei who also give their best turns yet as MJ and Aunt May, respectively. Their individual chemistry with the hero is palpable, and the audience investment they manage to craft is at the heart of some of the film's grimmest, most upsetting moments. Of course, Spidey fans will delight in the return of Defoe, Molina, and Foxx from the Sam Raimi trilogy and Marc Webb duology. The former two gracefully slide back into their iconic roles like it was the mid-2000s again, (the digital de-ageing certainly helps!). Molina delivers a Shakespearean turn that delightfully complements his character's arc in Spider-Man 2, while Defoe is once again having a blast hamming it up as the Green Goblin. Yet, it's Jamie Foxx's Electro who is redeemed with an altogether fresher performance and revamped character design. Gone is the bizarre comb-over, gapped teeth, and Doctor Manhattan-inspired get up, and with it, Foxx's nervous, pantomimic performance. This Electro is cool, calculated, and scarier than ever. Though Spidey fans will undoubtedly breeze through it on the edge of their seat, your average cinema-goer may find the film's two-and-a-half-hour runtime to be a bit steep. However, that's not to discredit the film's pacing, which remains tighter than Peter's Spider-spandex. Rarely do scenes overstay their welcome, and the narrative drip-feeds new information, plot points, and characters at just the right speed. No character arcs feel rushed and, amazingly, all five villains are given time to breathe; even the "B-listers", Sandman and the Lizard. If the film invites one criticism, it's in its overreliance on CGI: a constant issue marring the enjoyability of the MCU. Though many will neither notice nor care, the lack of practical effects to once again bring Doc Ock's arms to life, for example, is a tad disappointing. The Marvel Cinematic Universe is notoriously poor when it comes to musical continuity. The lack of individual character themes in Avengers: Infinity War and Endgame remains the sole egregious niggle in otherwise excellent superhero films. As such, it's a tremendously exciting surprise that No Way Home makes use of existing character cues. Legendary Michael Giacchino leverages not just his existing Spider-Man and Doctor Strange themes, but samples from Danny Elfman, James Horner, and Hans Zimmer from the Raimi/Webb films. The momentous application of the leitmotifs for Doc Ock, Green Goblin, and Electro across the film's soundscape is enough to bring a tear to any Marvel fan's eye. Spider-Man: No Way Home is a dream come true and a loving tribute to the wall-crawler, and his cinematic legacy. It finally gives Holland the Spider-Man film he deserves and proves that his Peter Parker is far more than just "Iron Man Jr". It's at times dark, brutal, and adult, and never pulls its punches in delivering a true Spider-Man story; one that pushes Parker to his limits. No longer is he a "Spider-Boy". No Way Home formally introduces us to this generation's Spider-Man and delivers one of the most polished, satisfying superhero experiences to date. #NathanialEkerMale

★★★★ Directed by: Michele Olivieri Written by: Kim Taylor Starring: Tom Dayton, James Campbell-Warner Short Film Review by: Emily Davison A dejected sofa surfer wanders the streets at night looking for a place to sleep, until an old friend offers him a bed for the night, only to tempt him back into a past addiction. Sofa Surfer (2022) is an independent short drama, directed by London based filmmaker Michele Olivieri, originally from Verona, Italy. The film is set for a 2022 release and, although Olivieri has never experienced drug addiction or homelessness, he found the script emotionally resonating and wanted to explore the relatable feelings of isolation and loneliness the protagonist experiences in the narrative. Jean-Loup Pinson’s effectively haunting score introduces us to the film, with a simple chord progression demonstrating the harshness of street living and establishing the sombre tone of the short very well. The film has a short running time of twelve minutes, but the pacing is kept methodical and slow as we fade into the first long shot of a dark, suburban street with our lead, Rob (Dayton), coming into view and unsuccessfully trying to find a bed for the night by calling many friends on his mobile. Dayton plays the fake easy-going attitude well as he is overcome with desperation and longing for home comforts and much-needed kindness from his contacts, only to be rejected twice. We get the sense that Rob has a great uneasiness around a local drug dealer when he moves to sit at an empty bus stop instead and this plot progression is further explored later. The lost and aimless Rob eventually calls the number he has been avoiding, with the recipient, Carl (Campbell-Warner), only too pleased to offer him his flatmate’s room whilst the latter is out of town. Rob is visibly uneasy whilst in Carl’s presence, leading to a stylised montage scored by haunting male vocals, as Rob imagines himself being subjected to Carl’s dark influence and once again taking drugs. Campbell-Warner shines here, giving an eerier performance, as seen through Rob’s eyes, as a chilling villainous presence hell-bent on destroying all the good progress Rob has made on getting clean. Rob’s paranoia is wonderfully well realised through uncomfortable and claustrophobic extreme close-ups of Carl bullying his ‘friend’ into taking drugs and locking the front door so Rob seemingly has no escape. Olivieri constructs an engulfing hypotonic, dreamlike filmmaking style and the compelling ongoing visual motif of travel, represented by cars or trains passing demonstrate how people are always moving to reach various destinations, whereas, Rob is left out in the cold and has no place to call home. Sofa Surfer examines the real social issue of homelessness in an immersive and creative fashion, making audiences aware of the problem whilst also presenting real talent behind and in front of the camera and resulting in a both moving and entrancing viewing experience. #EmilyDavison

★★★★ Stars Directed by: #DularaParanawidana Written by: #DularaParanawidana, #NadeepaRanasinghe Starring: #NadeepaRanasinghe, #ThilaniJayawardene, #WithanageSiriyalatha, #YuwaaryaShineParanawidana, #DinulNilnethu Film Review by: Alicia Moore “Klesha follows the routine of a blind, beggar woman keeping her innocent, helpless infant as bait to fulfil her addiction. The pain of the suffering victims entangled in the never-ending cycle of life. In a world where women's and children’s rights are now more respected and organisations work towards funding for the well being of those who are struggling, Klesha unfolds the grassroots level where the ultimate purpose is not met.” Klesha tackles a very deep, sensitive subject but does so with balanced intensity. I suppose there’s more than one subject discussed as well, all of which intertwining together in this wonderfully heartbreaking short film. Family, parenthood, poverty, addiction - all are approached with great accomplishment throughout its duration. The acting from start to finish is quite overwhelming to say the least; so powerful that the little dialogue used is hardly even noticed because of how loudly the cast speak with just their expressions towards each other and the camera. The visuals fill any gaps of silence with their own words interpreted by the audience. The talent here draws many emotions from viewers that eventually come together to create an immense reaction to the story, a type of composition of emotions that isn’t sure how to release itself. Personally, I felt tears starting to form but none wanted to spill, as if a volcano needed to erupt but was actually conscious of the villagers below. I applaud this cast and their work with a thunderous sound as my hands meet each time. Original score by Mattia Cupelli assists the cast greatly by instantly introducing a sense of atmosphere as soon as Klesha begins. The music used is extremely fitted to the film which adds to the previously mentioned build up to a conclusive, impactful reaction. The notes have their own words attached to them, expressions speak volumes in moments of silence but it isn’t simply ‘total’ silence - the tracks give more personality and understanding to the times of no direct conversation. These elements become one with ease; it’s a beautiful experience. Cinematography by Nadishka Ranasinghe smartly contrasts the other heavier elements of Klesha, maintaining a smooth and calm flow in camerawork and presentation. The cinematography allows room for the acting to shine in every way it should whilst maintaining a separate level of intrigue with its own style and technique. It’s a straightforward but intelligent approach to cinematography. Now taking into account the many incredible aspects of Klesha overall, praise must be brought to director Dulara Paranawidana for encompassing each of these and marrying them through a directorial perspective. The direction of this influential film is naturally polished as Paranawidana deeply understands the meaning and sentiment of Klesha; being part of the writing process also helps with this of course but it takes a separate type of focus and attention to detail to truly guide a confident stitch between all the cinematic components used. Klesha is an important watch, it opens your eyes to a side of the world that isn’t highlighted in media - and when it is highlighted, it isn’t usually done so in an appropriate or accurate way. Klesha grabs hold of your attention and wraps barbed wire around your heart; trust me when I say you’ll wish you had the capacity to change the world we live in with a snap of your fingers after watching this short film and processing the fire stored within it.

★★★ Directed by: #WaltBecker Written by: #JayScherick, #DavidRonn and #BlaiseHemingway Starring: #JackWhitehall, #DarbyCamp, #JohnCleese and #SiennaGuillory Film review by: Brian Penn Waking up next to a big red dog called Clifford might be a familiar scenario to some; particularly those who have spent the previous evening imbibing in the local hostelry. But that's exactly what happens to an animal loving girl in Clifford the Big Red Dog. Based on Norman Bridwell's graphic novel this will surely be the 'goto' movie for families this Christmas. It naturally pulls on elements of Home Alone, Uncle Buck and John Hughes in his prime. The combination of cute kids, furry animals and excitable parents work better than ever and prove that slapstick never goes out of fashion. Our tale begins with Emily (Darby Camp), who is struggling at a new school while single Mum Maggie (Sienna Guillory) forges a career in the paralegal trade. Work takes her away from home and Maggie enlists feckless younger brother Casey (Jack Whitehall) to ‘babysit’. He is dragged to an animal rescue centre run by the mysterious Mr Bridwell (John Cleese). She fixates on a curious red coated puppy and pleads to take him home. Casey forbids her more to avoid stick from his sister. Mr Bridwell cryptically adds ‘the more you love him the bigger he gets’. Somehow, the puppy makes it back to their apartment and he is duly named Clifford. A lonely Emily turns to him for comfort; however next morning she awakes to find Clifford has grown just a tad. The special effects are truly brilliant and show how far CGI routinely pushes the boundaries on film. But there are so many holes to pick open not least Jack Whitehall’s ‘American’ accent. His attempt to be an American trying to impersonate an Englishman is accidentally hilarious. Similarly, the explanation given for Casey's American twang and his sister’s home counties accent takes some believing. But where on earth was the dialect coach on this film? Suspending one’s disbelief is essential for this film to mean anything. Get past that and there are some fantastic set pieces arriving at such a pace you might not notice the holes. Clifford is essentially a one-gag movie that very quickly wears thin. It's certainly no less effective as a result and is shielded by a lean 96 minute running time. A sequel is already in preparation; although it’s difficult to see where it could possibly go from here. But never under estimate a film maker's ingenuity where a new franchise is concerned. When fun is this well packaged people will quickly forget they've seen it already. These niggles aside Clifford remains an entertaining feel good fix for the festive season.

★★★★ Directed by: #StevenSpielberg Written by: #TonyKushner and #ArthurLaurents Starring: #AnselElgort, #RachelZegler, #ArianaDeBose, #DavidAlvarez, #MikeFaist and #RitaMoreno Film review by: Brian Penn The headline writers screamed with a heady mixture of excitement and relief; the long awaited Spielberg remake of West Side Story has finally arrived. It seems like a match made in heaven as one of the greatest directors in film history tackles the coolest musical in the universe. Some might say that a classic should never be touched, but Spielberg has largely pulled it off with a remake that enhances the original. Shakespeare’s Romeo & Juliet has never felt more romantic as the star crossed lovers are caught between warring families. The story relocates to New York in the late 50s and the warring families are represented by rival street gangs. The Jets led by Riff (Mike Faist) have begun a turf war with the Sharks; comprised of Puerto Rican immigrants they simply look for peaceful co-existence. The Sharks’ alpha male Bernardo (David Alvarez) contemplates his next move while sister Maria (Rachel Zegler) falls for reformed ex-Jet Tony (Ansel Elgort). Bernardo’s girlfriend Anita (Ariana De Bose) is tired of the violence and longs to live an American life. But Maria and Tony are the unwitting pawns in a war that is about to turn ugly. Remakes naturally invite comparison and this film is up against a mighty beast. The original released in 1961 won 10 Oscars including best picture and best director. Screenwriter Tony Kushner has given the story a much grittier edge to highlight simmering racial tensions that are still familiar today. The scoring and choreography add new motifs but never strays far from the original. Spielberg creates a stunning visual palette of colours and gives fresh impetus to songs enshrined in musical history. The standout remains ‘America’ which benefits from a more expansive backdrop trailing gloriously through the streets of New York. Rachel Zegler and Ansel Elgort sing beautifully in the leading roles; but it’s the other relationship that still endures in the memory. Anita and Bernardo provide a counter-balance to the romantic giddiness of Maria and Tony. Ariana De Bose is excellent as Anita and proves to be an excellent all-round performer. Rita Moreno delivers a touching cameo as Valentina; and rightly gets a nod of recognition 60 years after she played Anita in the original and won the Oscar for best supporting actress. But just like an artist covering a classic pop song we almost know they’re on a loser. The original saw five geniuses come together; playwright Arthur Laurents, composer Leonard Bernstein, lyricist Stephen Sondheim and directors Jerome Robbins and Robert Wise. They committed magic to the big screen and Steven Spielberg has reminded us how it should be done. The late Stephen Sondheim would surely have been pleased with the result. Another light has gone out but we still have the magic to enthral us.

★★★ Directed by: #AndyMoore Starring: #ColinSmith, #AndyMoore, #YvonneWainwrightStringer Film Review by: Alexandra James This crazy short film is a comical reflection of the world we now live in today, although a totally bonkers and extremely exaggerated version. Lockdown has forced us all to adapt in our everyday lives, wearing masks, social distancing, working from home and even having our doctor’s appointments over zoom, which is exactly what this short film is about. John has been feeling unwell and tests have shown that his appendix needs to be removed, however, the operation was not performed in an ordinary manner but rather at home over a zoom call! The Last Lockdown Sketch was entertaining, funny and weird but in all the right places. The characters interact over a video call, the doctor’s name was the first thing that pricked up my ears, he was known as ‘Doctor Lecter.’ Cleverly foreshadowing the patients unfortunate end but was more humorous than sinister. Although mad, it was a witty storyline purely because of the unusual and sometimes nonsensical rules and procedures we have had to follow throughout the pandemic and lockdown. This story can’t be seen as that far off from everyday life, so can almost be considered relatable… in the oddest way possible! The ‘professional’ Doctor Lecter proceeds to help John with his ‘damaged’ appendix by talking him through all the steps to remove it himself. With just a sharp kitchen knife, a big gulp of gin and a needle and thread John manages to remove the organ whilst the Doctor oversees the procedure over the top of his newspaper. The location and cinematography would be considered basic and could have been improved slightly. It would have been good to see some more elements of Doctor Lecter’s house, to really project his disturbed nature and sadistic qualities. However, to keep with the humorous undertones perhaps there could have been his past victims mounted on the wall and hung up like prized deer. Some of the camera angles were a tad shaky in places and not as clear cut, but these are all minor challenges to overcome. Of course, the operation would not be complete without John posting his appendix back to Dr Lecter in an old Tupperware box. I’m sure you can guess the rest… with a few herbs and spices and paired with a nice Chianti, Dr Lecter whips up a hearty meal with his patient’s appendix. A great homage to Johnathan Demme’s The Silence of the Lambs which was executed very well. The storyline was certainly engaging and almost thrilling in a lot of instances, I wanted to know how on earth this story was going to end for poor John and more importantly how many more victims will Dr Lecter prey upon! Doctor Lecter was a fascinating character and added a hilarious twist to this short which certainly made for a gripping watch. A laughable and ludicrous premise that really pokes fun at the lockdown measures in place, a good laugh is what we need now in this current climate, so this film is certainly recommended.

★★★★ Directed by #LouisMaxwell Starring: #DavidGilna #KennethHudson #SadbhMalin Film review by Nathanial Eker-Male Student director Louis Maxwell delivers a compelling short film, made all the more impressive as the production was made on a shoestring budget. Brother presents a heartbreaking look at the difficulties of familial relationships and the tough decisions and personal sacrifices that have to be made because of them. Though the film doesn't give its core relationship quite enough time to breathe, competent direction and earnest performances culminate in a short that is as emotionally effective as it is well-made. Alex (Gilna) and Shane (Hudson) are brothers with a strained relationship. After a troubled history with their parents, Alex hasn't seen his brother for five years and has been living in America. The two are only reunited at their Mother's funeral, where bubbling tensions boil over. The heart and soul of Brother is the relationship between Alex and Shane. Had the performances been stilted or unbelievable, the integrity and verisimilitude of the film would've been shattered. Fortunately, the combination of Maxwell's tight direction and Hudson and Gilna's naturalistic performances craft true pathos when the intricacies of their shared history are revealed. Hudson, in particular, delivers an exhausted vulnerability that perfectly encapsulates the bitterness of a younger man forced to put his life on hold to help someone else. Maxwell's directional style is indicative of the overall feel of the film; simple-yet-effective. Scenes are shot in a fairly typical soap opera style, yet the use of a hazy hue in the flashback segments is a smart way to visually differentiate between past and present. This device is particularly poignant given the different ways Alex and Shane recall their past and the painful relationships with their parents. The arc of the brothers is mostly effective, though the limited budget can sometimes make scenes feel a little unbelievable, contrasting the excellent direction and performances. Of course, the film was shot with virtually no budget and during the midst of the pandemic, so concessions have to be made. At any rate, the look of the funeral scene, for example, sets expectations low, though the sets, costumes, and props only improve from there. Music is crucial to the film's identity, and the final song is impressively realised. Unfortunately, the lip-syncing is less convincing, though the return of the piano from the opening is an appropriate way to bring the story full circle. However, the quickness with which that device returns reflects the second act's breakneck pace, as the conflict between the brothers is resolved just as it's beginning to get interesting. An additional few minutes of tension before Alex diffuses the scene with that revelation could've worked in the film's favour. Regardless of any niggles, Brother is an impressive short that delivers a realistic, emotional drama and a hopeful message about moving on from trauma and reconciling with estranged family members. Its performances are strong and its use of music is effective. Director Louis Maxwell has a powerful artistic style and is one to watch over the next few years.

★★★★ Directed by: #HowardSmith Written by: #HowardSmith, #SaraStadler Starring: #OceanHanna, #ElizabethBloor, #EveHolden Short Film Review by: Emily Davison A young woman is tormented by the horrors of her own mind, but are these visions just that or something more? Deleted (2013) was directed by Wolverhampton based director, Howard-Smith, with a story by himself and a screenplay by Sara Stadler. A psychological drama/thriller with horror elements, the short film tells the story of Dawn (Hanna), who suffers from the constant torment of believing she has murdered her boyfriend, Greg (Kris Andrews), but struggles to remember what actually happened between them. The concept was inspired by Howard-Smith’s real life experience of a relative who experienced psychological problems, believing the police might visit him any time to arrest him and a hoard of tablets was found in his apartment, indicating possible suicide intentions. We jump straight into the narrative with our introduction to Dawn, sitting on a semi deserted train, troubled by flashbacks to an intense argument with her boyfriend. Flashbacks and visions are depicted with a harsh, heavily saturated visual style and emphasise the dramatic occurrences well. Dawn is shown to be in distressed isolation, as she walks through thick crowds, tormented by her visions, with distorted camera angles throughout demonstrating her downwards spiral of sanity. The film examines very heavy subject matter, with Dawn constantly contemplates taking her own life through various means, either by jumping off a bridge, cutting herself of swallowing pills or bleach. Howard-Smith is not afraid to present increasingly disturbing and violent visuals, with these truly disturbing graphic depictions that may be very off-putting or triggering for some viewers, but nevertheless very effective at showing Dawn’s deteriorating state of mind and the danger she may pose to herself and others. She is eventually aided by her friend, Ava (Bloor) and a psychiatrist (Holden) and is treated, with an optimistic and hopeful tone established as she recalls happy memories with Greg, only to be flipped on its head with a harrowing, memorable ending which looks very impressive nearly ten years on. The short is very well put together, but does have some noticeable sound issues with off putting dubbing during conversations between Dawn and Ava. A serious scene takes place in Dawn’s apartment when Ava checks up on her, however, it is difficult to focus on the drama when dialogue is not on point. There are also a couple of noticeable minor editing issues, but not enough to taint the overall strong quality of the film. Deleted is wonderfully directed and is an intense, thought-provoking exploration of mental health issues in young women. Although it features hard hitting content, the short makes for a very rewarding watch. #EmilyDavison Deleted (2013):