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Directed by David O. Russell Starring Jessica Biel, Jake Gyllenhaal & James Marsden ** “Girl Scout Poop” Review by Chris Olson Politics and romance rarely mix well. Both are gloopy with clichés and contain caricature characters, but combined as film genres into one movie removes the point to the politics and the revelry to the romance - lob in some offbeat comedy and you have a recipe for disaster. Such is the makeup of David O. Russell’s Pol-Rom-Com, Accidental Love, starring Jessica Biel as Alice - a small-town gal who ends up in Washington D. C. as an advocate for free emergency health care after she receives a nail into her head. Picking up her cause, and her skirt, is Howard (Jake Gyllenhaal), a buffoon of a Senator, whose political edge is as sharp as a Space Hopper and along with them are a ragtag team of underdogs, girl scouts and losers, as well as Alice’s hometown ex, Scott (James Marsden). Chaos from beginning to end, Russell’s film never really finds firm footing, the unevenness to the plot tries to be endearingly kooky, but comes off as irritating. Whilst Alice’s struggle has some poignancy and political gusto, the themes are completely undermined by a childish script, and set pieces that make Rob Schneider films look cool. In one scene, Senator Howard is attempting to lay low from the political shit storm that Alice has created, retreating to a fire-wielding cult, where he attempts to find his core. The inane farce of this scene is hard to watch. Given the big-hitting cast and the idea of championing free health care running through the story, it seems a shame to have misfired so badly. Political satire, when done well, can be one of the most effective and satisfying of genres, but Accidental Love takes a different approach - opting for lazy gags and shallow characters that no one really cares about. That being said, Marsden and Gyllenhaal do elicit a few good chuckles from the audience, even if it is completely irrelevant to the story. The script fails to deliver hearty laughs or compelling drama, especially in the final third of the film which blitzes through a Mr Smith Goes To Washington style climax with little attention to detail. Even the title of this film seems baffling! Accidental Love? It should have been called House of Shards. Accidental Love is available to buy on DVD - Monday 20th July. Check out FilmFish to find movies similar to Accidental Love! #AccidentalLove #DVDReview #JessicaBiel #JakeGyllenhaal #UKFilmReview

“An Ench-ant-ing offering from Marvel” Written By Jack Bottomley Years ago, the superhero film (Batman and Superman aside) was not exactly a booming genre. Colossal failures like Supergirl, Steel and Captain America (1990) were but a few of the genre’s offerings that, pun intended, failed to fly. Now fast-forward to modern day and barely a week goes by without hearing that a new superhero is soaring into the multiplex, so what happened? The source material has changed over the years but hardly undergone drastic differences, so why is it that one of cinema’s once hardly distinguished genres is now one of the most financially successful? The easy answer is passion. The modern day passion for source material, for the faith in superhero films as viable big screen go getters and the passion of a crew who…to put it bluntly…know their shit. That being said, with the Marvel Cinematic Universe in Phase Two and already setting out its jam-packed future and with the DC Universe looking set to emerge in the next few years could we be reaching a super-saturation point? Perhaps, but just as you think that, here is the cure to hero fatigue…freshness. Originally helmed by Edgar Wright (though he is still credited in script and story and Ant-Man very much feels to have his DNA running throughout), Ant-Man is an adaptation of Stan Lee, Larry Lieber and Jack Kirby’s Marvel comic book hero. Armed with an unexciting shrinking ability, ant communication skills and other less showy powers, not to mention Wright’s much publicised (but hardly controversial) departure, this heroic caper did not come with the typical Marvel machine hype that has become the norm with The Avengers team. However, shock can be a wonderful thing because Ant-Man is not only a fun superhero film, it is a vastly different and energised one. The film centres on Scott Lang (Paul Rudd) a convicted burglar, released from prison and looking to provide for his young estranged daughter. To do that, he ends up getting back into thievery, only to find that he has drawn the eye of Dr. Hank Pym (Michael Douglas), who gives Scott a second chance to be the hero his daughter thinks he is. Pym wants Scott to be the Ant-Man and help save the world from Pym’s obsessed former protégé Darren Cross (Corey Stoll), who is close to unleashing Pym’s revolutionary technology (that he has hidden for years) and thus endangering the world. It is in many ways a very simple set up and story that is not pre-occupied with expanding Marvel’s universe so much as it is in establishing its title hero first. Many may have mourned Wright’s absence but where he left and where Director Peyton Reed took over is undistinguishable in a film that might just be the studio’s most enjoyable and accomplished effort yet. Ant-Man boasts an expert balance of humour and action, with terrific casting and ingenious set pieces at every turn. The film features a constant array of dazzling scenes that instead of looking up to the skies zoom down to the ground with an equal sense of wonder. True some of the plots origin elements are by-the-books but the wit and innovation behind the action makes this film a cut above some of Marvel’s other films. As does the fact that this is more of an exciting heist caper, with heroic elements, a genre blended joy that plays like Iron Man meets Mission: Impossible…with ants! Ant-Man often toys with its own ridiculousness for comic effect but never betrays its necessity to have a genuine heart to it. For instance the peril of the ingenious finale is still omnipotent but the script makes space for some laugh out loud sight gags and toying with the idea of big scale action. Paul Rudd is the perfect choice for Scott, he nails the charm, snappy chat and everyman elements of the character and gives Marvel its most grounded hero in some time. Michael Douglas is outstanding as Pym, unshakably morally driven and determined, with an understated emotional depth. His connection with his onscreen daughter Hope, played with the right balance of humanity and badassery by Evangeline Lilly, is one of the movies unsung triumphs leaving future films groundwork to build on. Michael Peña offers outstanding comic support as Scott’s mate Luis and while Corey Stoll’s villainous turn is not as downright engrossing as Loki, he does darn fine work in the role. Ant-Man has the same snap in its celery as Iron Man, with the out and out fun of Avengers Assemble and the edge of Guardians of the Galaxy, all blending to make for the most surprising and in turn most accomplished Marvel outings yet. The risk was huge, the hero is small and the results are wonderful, inventive and refreshing. From sailing through drains to train set set chaos, this film is funny, gripping and an absolute joy from beginning to end. The universe advances (stay seated for both Post-credits scenes), a new hero scurries into the spotlight and a dedicated cast and crew breathe life into a story that could have, in lesser hands, been absolutely stupid. There is no other word for it Ant-Man is awesome and perhaps the most fun you will have all summer and perhaps all year! #AntMan #UKFilmReview #MovieReview #PaulRudd #MichaelDouglas #JackBottomley #TheatricalReleases #Marvel

Review by Chris Olson The Last Sparks of Sundown Written & Directed by James Kibbey Starring Shenoah Allen, Mark Chavez, Emily Bevan, & Miles Jupp **** “Crisps, that what they call them over here, crisps. I love that, it’s like saying “Hey come here” discreetly, to a guy named Chris.” Just one example of the enormously pleasurable lines for James Kibbey’s outrageously funny film, The Last Sparks of Sundown, starring Shenoah Allen and Mark Chavez as two American actors, looking to turn the tide on their terrible lives, by cashing in on their dead Grandfather’s English home-cum-manor house. Travelling across the pond, Matt (Chavez) and Harvey (Allen), arrive in England hoping to shed their troubles, only to pick up their very own British tribulations… After a zany meet and greet with their ludicrously posh acting agent, Geoffrey Chicken (Miles Jupp), the Sparks brothers traverse the windy roads of picturesque countryside, commenting “There’s so many Shires, is this a map of the entire world?” They arrive at their late Grandfather’s country home, to discover an unusual pair of squatters (Emily Bevan and Sara Kestelman). The house becomes a centre point for drama, intrigue and awful attempts to sell the house to perspective buyers in which the brothers riotously embarrass themselves. This American-English comedy is rarer than a Beefeater riding a unicorn, and twice as funny! You would have to go to some lengths to find an independent comedy more hilarious than this in the last 20 years, and you could still come up short. The fact that this movie does not have a mega-budget or Seth Rogen style stoner jokes not only doesn’t hurt the film, it makes it stupendously more enjoyable. This is a refreshing glass of cold beer after years of drinking our own comedy urine (I am not sure where that analogy came from). Fundamentally, the script is simply sublime. The jokes are witty, banterful, and come at the viewer with a speed not seen since the likes of Airplane! (1980) or some of Mel Brooks’ classic comedies. The performances range from very good to fucking awesome! Jupp, Bevan and Christian McKay as a suspicious-looking buyer, deliver worthy comedy performances, adding tasty side dishes to the main course: Allen served in Chavez (that sounds wrong). The two leads deliver such gold in their performances, audiences will have to shield their eyes, whilst protecting their ribs from all the tickling. One of the many brilliant scenes in the movie sees Harvey and Matt conduct a conversation deep underwater in their newly acquired swimming pool, where moments ago Harvey was meditating. As the two carry out a conversation through subtitles, it took this viewer several moments before he realised there could be no way they would understand each other! Pacing is one of the only issues, with a romantic subplot taking a little too much time without much to show for it, but this is the only thorn in what is otherwise a delightful flower. Kibbey’s film manages to walk that tightest of tightropes which lays between story and farce. The slapstick element to the jokes and the moments of pathos, are given with such a delicate touch that at no point is the momentum, and the audience, lost. It has the ACTUALY ability to make one laugh out loud - a true talent. Blends of American comedy with English sensibilities are rare, Hot Fuzz (2007) being one of the only successful films that comes to mind, and this is because comedy is a very difficult thing to export. Cultural commentary, whilst well-received introspectively, does not tend to be something viewers are open to across long distances. Indeed, the jokes get lost in translation. However, with The Last Sparks of Sundown, the clash of cultures going on only heightens the laughs, offering a beautifully bold brashness to the American standpoint on British heritage, whilst poking fun at its own social ineptitude. With two phenomenal central performances and a superb supporting cast, a script which could make the Queen chuckle, and a splendid folky score, Kibbey’s film is up their in the big leagues of comedy and one of the most enjoyable films of the year. #IndieFilmReviews #SupportIndieFilm #comedy #JamesKibbey #ShenoahAllen #MarkChavez #EmilyBevan #MilesJupp #ChrisOlson #moviereviews #filmblog #TheLastSparksofSundown

Review by Amaliah Sara Marmon-Halm Highly abstract, visually stunning and very emotive, Teaser by Adam Jones takes the audience on a rollercoaster of emotions in this intense look into the struggles, highs and lows of the drug culture within the LGBT community in this 8 minute short. The film follows the trials of a young man and his journey of drug-induced self-destruction. What adds a beautiful dose of reality to this film is the fact that it is apparently inspired by the experiences of the director and his place in the gay scene. He himself took a very dark path which led him on a 9 month meth binge. The torment and sense of abuse really grips the viewer and doesn't let go, resulting in a very emotional viewing experience. This films wants to steer the audience from the typical shiny, bright and fabulous notions that are usually portrayed about the LGBT community, and instead, show that, like all communities, there is a darker underbelly full of torment and abuse. Using montages, stock footage and beautiful cinematography, the film makes many transitions from light and dark, symbolising the good and bad "trips" the drugs take the young man on. The beginning of the film highlights the highs, the sense of euphoria and ecstasy that he initially feels. With light tones and airy footage, you might think that this sets the tone for the whole film. Towards the middle, things start to get a bit more edgy and rough, as the young man starts to fight with possible addiction and dependency. The end sets a more macabre tone, maybe suggesting that the pain and toll of the addiction was leading to him contemplating thoughts of death or suicide. The film's final scene centres around the image of a book called Narcotics Anonymous (NA). This gives the notion that there is a sense of rediscovery, recovery and the man's desire to survive. Overall, this film is touching and beautifully made. It's gives a real insight into the depths that drugs and addiction can take a person, and the strength it takes to make it to the other side. #Teaser #shortfilm #LGBT #amaliahsaramarmonhalm #UKFilmReview #movieblog #review

“What, would you remember this?” Written By Jack Bottomley Paul McCartney once sang the line, “if this ever-changing world in which we’re living, Makes you give in and cry” and of all the ways to start a review of a short documentary about the final months of a North West London building, I expect a line from a Bond song comes a tad unforeseen. However this line came to mind as I sat down to watch this near 17-minute short film from Nicolas Motte. The world is changing at such a feverish rate and driving past construction sites or walking to town to discover a long-standing building is now gone, is an increasingly common occurrence. The past by very definition is not a part of the present and areas that once meant something, increasingly have come to be either rejuvenated for their own good or (more often) have come to perish. And this melancholic idea is but one strand in Motte’s quite affirming little film, that’s very existence makes you pleased that modern day filmmakers have a respect for community and local history that are so easily forgotten. Lights Out Electric House, looks at a soon-to-be demolished building called ‘Electric House’, which ahead of its final life has been redeveloped into a Community Arts Centre. This film tells the story of the building and those who have come to use it. From local resident Thelma Doyle to Project Manager at Meanwhile Space (the group responsible for the community arts project) Diana Grisales, Motte’s film tells the story of a building that was no doubt a mystery to most and yet had much to see. True the film’s historical coverage of the site is mostly rather vague and not so much grounded in cast iron facts and figures but the passion on display is unshakable. From the very start there is a real poetic feel to this film, aided by a very simple but in-keeping score by William Alexander. Instead of focusing on a revered site of history, Motte has pleasingly picked the Electric House, thus reminding the audience that some of the world’s beauty is not always found in the most obvious of places. This is a film that fights the corner for local architecture and suggests that everywhere has a story to tell and the Electric House’s story of community and artistic voice is one very much worth listening to. In many ways this film reminds of Lucy Walker, João Jardim and Karen Harley’s film Waste Land, which (though set in the Brazilian slums) shares a similar outlook. Art is often seen as pretentious, just as some places are seen as rubbish but often these two things combine to create something rather special. Chances are most would drive past the Electric House without much more than a glance but indeed every place does contain a story and as we follow the people behind the art displays at the Electric House, this becomes a bittersweet but still sweet tale of togetherness and expression. Marcell Mestyan’s photography in many ways becomes an epitaph to another gone (but thanks to this film not forgotten) aspect of a community. Like Waste Land this is a rare film that shows the human race in a more blissful fashion and the sped up images showing the work that went into the exhibition night shown here, as well as a look at some of the dazzling images that were displayed there, all creates a fitting tribute to a business dwelling turned short term community Centre. At one point a wall has the words “what, would you remember this” and memory plays a big part in this short. The film could have dug deeper into the roots and could have interviewed more of the artists and people involved, as well as shedding light on the council’s process of closure and demolishment. Still, by the end of this Motte’s dedicated film (and with the rather sad closing credits imagery), you are reminded that what is here is effectively lasting. If there is any message to be taken from Lights Out Electric House it is “if this ever changing world in which we’re living, makes you give in and cry”, don’t because where places change, stories can live on. A fascinating and heart-driven short documentary. #LightsOutElectricHouse #Shortfilmreview #JackBottomley #documentary #UKFilmReview

Written & Directed by Richard Oakes Starring A. J. Reeves, Adam Leader & Rachel Oakes "Mass-ive Effect" Review by Chris Olson With a complex blend of CGI and live action, Richard Oakes’ short film, Exit Plan, plays out like a modern space opera, with explosive action, an immersive score and some dystopian visions that seem like Halo meets Children of Men (2006). In recent years, some of the most engaging footage that has spread across the web has been video game trailers. Indeed, the level of attention that a trailer for something like Mass Effect or Halo gets is huge, and the quality of them has skyrocketed. That is not to mention the detail of the in-game cut scenes. In Exit Plan, we get a fantastic blend of game-quality CGI and green screen with live action, which has a huge popular appeal. And whilst the effects are not perfect, on this small scale they are ambitious and brave, thrilling audiences within the 20-minute running time, which Oakes should be commended for. The plot sees social exile Adam (A. J. Reeves) living in isolation, as an outcast from society now run by The Order - advanced technology. When it comes to light that disaster is on the way to earth, Adam must use all his know-how in order to get off the planet before total destruction finds him. Engaging with some of the other human outcasts, Adam is found and tortured by the slightly psychotic Saul (Adam Leader) in what has to be said is one of the most unique and terrifying torture scenes in a science-fiction short film - the story’s original use of a truth-serum (a nasty little live bug) is startling. This kind of movie has been done before, and the singular elements have been done better (Blade Runner, 1982) but rarely do you see a volatile cocktail of all of them together, especially in short films! The scale and ambition of Richard Oakes’ movie is awe-inspiring. Aside from a slightly weak exposition monologue in which Saul reveals all the details of the new world for the viewer, the dialogue is strong - coping with the typically complex blend of sci-fi and action. And the score is colossal! Benjamin Symons delivers a phenomenal atmosphere with his immersive music, unrelenting in its tension and diverse in its range, the viewer has literally no other option than to let it pound them into their seat - a true talent. The performances are strong, with plenty of chops by Reeves and Leader. Rachel Oakes, who appears nearer the beginning of the film as a friend to Adam, is also worthy of mentioning. Like we always say, the true test of a short film is whether it left you wanting a feature length film, and with Richard Oakes’ Exit Plan, the answer is undoubtedly yes. There was so much depth and richness to the story, with a beautiful mise en scéne that you could almost swim in, that this viewer did not want to leave! And we didn’t even mention Adam’s robot buddy iO (voiced by Oakes himself)…this short film was simply awesome. Watch the Exit Plan trailer below... #ExitPlan #shortfilm #review #RichardOakes #BenjaminSymons #AJReeves #AdamLeader #ChrisOlson #UKFilmReview #Soundtrack #Score #supportindiefilm

Timespan - Short Film Directed by Alex Brock Starring Christie-Luke Jones “Need for Speed” Review by Chris Olson A silent short film from director Alex Brock, starring Christ-Luke Jones as a guinea pig on a medical trial, where the drug’s side-effects cause the world to slow right down because the patient’s heartbeat is going so ridiculously fast. This is something we have all dreamed about. The chance to slow down time to the point that people are barely moving, so that we could catch up on our reading, get some extra sleep or play silly pranks like pulling down people’s pants. Anyone who has seen the film Limitless (2011) starring Bradley Cooper, has at least revelled in the fantasy of a new, unlimited world opened up by mind-bending drugs. The idea that the human mind could achieve so much sin if only it could be fully explored is pretty commonplace. Timespan’s protagonist (Jones), though, takes a far more sensible approach and tries to find a cure for his terrifying ailment, which is much more credible than this reviewer’s strange dreamings. Mr Jones makes, literally, quick work of discovering an antidote to his problem, but it is a solution which carries its own, reverse issues… Full of thoughtful framing and stylish set-pieces, Alex Brock serves up a quick but tasty treat for fans of short films. Like a flash in the pan, the story bursts through strong themes about the nature of time and existence, delivering superbly on our own inherent fear about expiring, and the rate at which we do so. There is a great moment when we see several frivolous activities, such as throwing something in the bin or chucking a cigarette out of a car window, which, added with the tense and dramatic sound editing, is delivered like a knock-out action sequence - it is almost as if our lives could be a Bad Boys movie, if only we’d let it! There is an element of what-could-have-been with this short film. The premise is really strong and the counterpart to the latter end of the movie is brilliant, but it felt like more could have been done to explore a world that has slowed down. Rather than jump so quickly to the antidote sequence, it would have been nice to flesh out Mr Jones and the variety of ways he could explore the experience. That being said, there is an urgency to Timespan that is well appreciated. Sequences have a sharpness to them that is effective, and the score has a delectable moodiness and tension to it that compensates for the lack of dialogue. Timespan is the sort of short movie that will have you daydreaming long after viewing. Whether that be how you would cope with such a terrifying experience, or how you would exploit it for massive personal gain. #Timespan #shortfilm #moviereview #UKFilmReview #ChrisOlson #SupportIndieFilm #AlexBrock #ChristieLukeJones #filmblog #filmcritic

Terminator: Genisys (12A) “Or How I Learned To Stop Worrying and Love The T-800” UK Release Date: Out Now Written By Jack Bottomley It is 2015, or so they say, to be honest with Bush and Clinton throwing their names in for presidency, a Jurassic Park film dominating the world and Arnold Schwarzenegger heading up a Terminator film, we’re beginning to wonder. However, whatever the year, one series that seems to ironically not have been limited by its era is the Terminator series. Indeed as the years have passed since, the Terminator series is one that has become more relevant. Starting with James Cameron’s 1984 breakout masterpiece (The Terminator) and his groundbreaking 1991 sequel (Terminator 2: Judgment Day), the series has continued to thunder on. However after audiences and critics met Jonathan Mostow’s Terminator 3: Rise of the Machines (2003) and McG’s Arnie-less (well, kind of) reboot/prequel (or rather future-quel) Terminator Salvation (2009) with a degree of bemusement, the franchise started to get a little rusty at the pistons. And so we arrive at Genisys, a film that sees the original series star return, features a great cast and closeness to Cameron’s films not to mention praise from the man himself. So how did this film end up being the worst reviewed of the series? How indeed… Critics have shot the hell out of this sequel/reboot and while there is a great deal of validation for this (lets not kid ourselves Genisys puts many a foot wrong) after witnessing what has been called “a car crash”, “abysmal” and “a franchise betrayal”, you have to wonder just how many people were going in with more hate than a Skynet server. The spoileriffic trailer ahead of release, as well as some questionable effects work and a naff looking title were indeed a cause for concern but after walking out of Genisys (after the credits- there is an extra scene folks), say what you like but it can be called anything but lazy. The film sees John Connor (Jason Clarke) lead mankind to the verge of victory in the war against the machines in 2029, however he knows Skynet’s plan to send a machine back to 1984 and sends Kyle Reese (Jai Courtney) back to stop ‘The Terminator’ from altering the course of history. So far, so familiar, right? Well things do not quite pan out the way they did before, as Reese is soon met by a very prepared Sarah Conner (Emilia Clarke) and her older looking T-800 Guardian (Schwarzenegger). The game has changed and the fight to stop Skynet is filled with more twists, turns and unexpected perils than ever expected. Admittedly Genisys is a film set to divide opinion, the more nostalgic may well hate the revisionist narrative whereas more open-minded fans should find something here to enjoy. Genisys is hard to talk about without spoiling in some way, so I will simply say that it is barmy. From start to finish, the time jumping, history altering, age-leaping plot spanks your brain to the point where it is left as red as the Terminator’s eyes. Laeta Kalogridis and Patrick Lussier’s script is a very noble attempt to tell a worthwhile story, one that connects to and then alters the established mythos, as well as highlighting our modern day reliance on technology. Sadly Lussier and Kalogridis have also over plotted, making the film overly complex, as well as desperately trying to justify it existing. So yes, Alan Taylor’s (Thor: The Dark World) film is hard to follow but if you just roll with the magnetised punches, there are some very accomplished ideas within. The characters, like the film as a whole, suffer by comparison to the originals but on its own merits Genisys is a solid blockbuster. Jai Courtney is not as charismatic as Michael Biehn, nor does his Reese strike the same chemistry with Emila Clarke’s capable Sarah Conner. That said both actors fit their parts well enough, although they do feel more drawn from TV. However the fine support offered by an action ready Jason Clarke and underused but screen-enlivening J.K. Simmons helps a great deal. However Genisys’ real glue is its main attraction and not for the reason you might think. Arnold Schwarzenegger’s return as the T-800 is not just fun for throwback reasons; it is fun because Arnie tackles the role in a fresher manner than expected. Without him, the film would succumb to it’s many flaws, but his performance is fun, engaging and his Guardian T-800 and Clarke’s Sarah Conner relationship is the film’s most compelling angle. Truly, their history (left open for expansion) is what draws you in and simply put Genisys belongs to Arnie, who (via some great make up) delivers a multi-era set, layered and undeniably powerful performance. As the film races towards its inevitable CGI-heavy action closure, you may well be lost in the details but Taylor keeps on systematically providing the set pieces, the twists and the action. Some things may not work but a great bus chase, badass moment involving acid and a very tender moment in a weapons bunker all add to a string of notable moments that do. Genisys is crazy, occasionally nonsensical and yet undeniably interesting. Intended as the first film in a new trilogy, it may well be end up being the last but something tells me that, like Skynet, this franchise will find a way to keep on going. And do you know something? For all the hate this has received, I would not mind the machines rising again. Hell, you may even find things I missed and love it! Fans have certainly being taking to it better than critics. I am not saying Genisys is spectacular (far from it) but it is weird, different and a film that genuinely tries to prove (and makes decent case for itself) that, like Arnie’s central figure, this franchise is “old but not obsolete”. It’s imperfect but far away from the fifth film doldrums of Rocky V and A Good Day To Die Hard. Give it a go people; it really is not as bad as they say, in fact it boasts some rather enjoyable ideas! #TerminatorGenysis #Moviereview #film #JackBottomley #ArnoldSchwarzenegger #AmeliaClarke #TheatricalRelease #InUKCinemasNow

“Don’t Fear The Reaper” Review written by Jack Bottomley Short films are in many ways an even tougher undertaking than a full-length feature film, for it is paramount to create a narrative both enticing and concise. So with this said we venture into Writer/Director/Producer Luke Mordue’s 12 minute-long short film, The Reaper. The title evokes images of a haunting and ghoulish characters that have been drip fed to us over the many years of mythology and storytelling, yet at no point do we veer into the well trodden territory of such tales here. Indeed scythes are at a minimum; instead Mordue has used those preconceptions of “The Reaper” to fuel a very pulled back and often powerful story of human life and the egotism of our race and its philosophies. From the opening moments (which recall the home invasion genre) the story is appealing and quite intense. The film sees couple Josh (Jamie Hawes) and Kelly (Julia Leyland) awoken by strange noises downstairs, as the police are called Josh goes downstairs to investigate and interrupts a burglary. As he fails to catch the perpetrators, Josh goes back to the house to find that all is not quite as it seems. The story is a simplistic set up for a quite meaningful little tale of the human psyche. Some may be able to predict the central idea early on but most will likely be taken aback by how neatly this film delivers its ideology or by how the central figure of this film is presented. Jamie Hawes is realistic as Josh and while early on the character is a bit gruff, he comes to reveal a peak of emotion as the story unfolds. Julia Leyland has less time onscreen, so her character is more of a supporting element but Dana Smit makes up for that with an excellent co-starring turn. Her character is a neat spin on the film’s chosen concept and Smit gets the film’s best dialogue that hints at mankind’s primal arrogance in thinking they are superior to other life and above fate itself. Smit is both initially haunting and yet quite understanding and she is a powerful core to Mordue’s rather brilliant little story. Mordue’s film is well shot and paced, with the direction being focused (look out for Mordue, as he also appears in a cameo as a policeman) and the visuals are restrained and not over-stylised for dramatic effect. Plus Billy Jupp’s music is very atmospheric and effectively compliments the succinctly delivered story. At the heart there is a powerful tale being told here, that is cautionary and yet one that in its own way is reassuring. We all reach the same end in life and this film suggests that rather than fill our time with what we want to do, we should perhaps focus on what we can do. The Reaper is a good little watch that once again shows that the simplest of concepts can deliver something that is both enjoyable and thoughtful. A short film that is very much worth your time. Watch The Reaper below... #TheReaper #ShortFilmReview #JackBottomley #supportindiefilm #moviereviews #UKFilmReview

“In Light Of Us Dying” Review by Chris Olson *** Nicholas Cage stars in this born-out-of-Bourne Action/Thriller about a CIA agent, whose 22-year-old revenge fantasy to find the terrorist who once tortured him, is kicked up a gear when he finds out that both him, and his former torturer, are both dying. It is hard to get excited about a film like this, after a plethora of predecessors pushed the bar so high. The Euro-Thriller has a strong reputation for garnering popularity amongst film fans who, weary of Americanised action, found firm footing with their favourite American heroes taking out the Euro-Trash (Taken, Bourne, etc). However, the action-thriller has been superseded since the days of Damon. Now we need superheroes! Dying of the Light, whilst perfectly watchable and enjoyable, brings nothing new to the particular set of skills laid out before it. Cage, a mixed blessing at the best of times, delivers a good sermon on the dying reputation of intelligence agencies and the call-to-arms that was 9/11, but this is essentially the only remarkable scene. Everything else is mild espionage and Mission Impossible padding. Much like the CIA, Dying of the Light feels dangerously under-equipped to combat the murky situation out there. Attempting to wade into a gun fight without any ammunition. The big players in cinema at the moment won't even bother to look back at the rubble it creates with a movie like this, and rightfully so. If you’re not going to set the world on fire, move out of the way. It doesn’t have balls like Bourne or Bond, and it doesn’t have testosterone like Taken, but what it does have is a Cagey feeling we have been here before, but we’re okay with that. Watch the Trailer below... #DyingoftheLight #Review #UKFilmReview #NicolasCage #ActionFilm

Review by Chris Olson “A Man’s World” A ménage-a-violence in this sleek British short film about the bubbling rage that consumes some men, and the psychotic lengths they may go to in order to protect their ego. Set mostly within a nondescript snooker club, Mark, whilst waiting for his pal to turn up, spots an “acquaintance” called Danny at the bar. Having some tenuous connection, Mark strikes up a troubled conversation with this known woman-hitter, which ends up being a one-sided slanging match in which Mark denounces Danny’s violence and drunken tendencies. Queue some American funk music and a montage of brutal lashings, and the film becomes a tense and thrilling chase movie, where Mark lays beaten on the floor and his buddy must be on the run from Danny after stumbling into the toilet at the wrong time. A London-based thriller about violence is going to have to set off some flares in order to get some attention, and A Chance to Not Remember does manage to cause a few turns-of-the-head. With an oddly addictive blend of British crime and American style (in particular the music choices), Croston’s short film gives the audience an appealing twist on a classic cocktail, like drinking a pint of Stella with a Bourbon chaser. Yes the script is a little derivative, but the performances are strong enough to douse those concerns early, offering three believable characters within a short space of time that grip you. There is a strangeness to Mark’s behaviour towards the violent Danny, blatantly stirring him up, that only becomes clear near the end, with a welcome plot twist. The familiarity of Danny’s character, quietly building into a tormented rage, starts a little too familiar at first, but actually becomes a spectacular development by the end. Alongside this, Mark’s friend who turns up to find a bloody bathroom scene, offers the perfect entryway for viewers into this dark story. It is refreshing to see a London crime-thriller that offers more than grit and grime. Not only does this short film serve up a platter of violence and seedy characters, it does so in a way that makes them seductive rather than off-putting. Brutally engaging and stylishly crafted, this is an arresting watch for fans of thrillers. #AChancetoNotRemember #UKFilmReview #shortfilmreview #filmblog #movieblog #filmmaking #filmreviews #uk #chrisolson

Review by Amaliah Sara Marmon-Halm Set in an almost fantastical version of London, Jade, a well-off girl from a classic London upbringing tries to escape the world she knew in order to explore her darkest dreams, fantasies and instincts, all in search for a new level of ultra-violent behaviour. Set over eight segments of poetry created to question the imposed roles set by society, Jade (Alice Wahtel) and her band of loyal eccentrics transport the viewer to a highly dangerous and mystical reality, full of magic potions (drugs and narcotics), sadistic sexual and psychological behaviour and very dark undertones, all wrapped up in a fifteen minute package. With each segment, Jade slowly slips deeper into the dark and sordid corners of society, where the lines of enjoyment, morality and death blur increasingly. She not only challenges her boundaries but the boundaries set by those around her. With a background in visual arts and fashion, Christian Neuman wanted to make this film, and others he has made like it, as visually complex as possible. As a result, he has created something that challenges the classic narrative structures. What Neuman has created with film is a piece that makes you sit on the edge of your seat in shock, whilst at the same time it draws you in with how aesthetically pleasing it is to watch. At times seems more like an elaborate fashion shoot than a film, overall this is poetic and gripping venture into the dark corners of the mind and society will leave you wanting to explore this world for yourself. Watch the Teaser Trailer below... #Theendofeverythingasyouknewit #aguide #review #UKFilmreview #shortfilmreview #filmreviews #UK #supportindiefilm #filmmaking #trailer