Written and Directed by Darren Lynch Starring Darren Lynch, Jade Louise Pearson, Connor Lynch, Mark Hadi, Olivia Egbunike, Allie Garside, Lloyd James Short film review by Hannah Sayer It is a story that has been retold tirelessly in the horror genre: a group of six friends going to stay in a remote and isolated cabin for the weekend, which is owned by a creepy owner, as strange and disconcerting events begin to occur. However, Darren Lynch’s take on this conventional scary story is a well produced short film which succeeds in not taking itself too seriously. The Cabin opens with a car, with its inhabitants unknown, approaching the cabin. This long build up of anticipation of who will arrive and meet the woman who is already alone in the cabin sets up the story of suspense the viewer will witness unfold. From the outset, the score is important in creating a suspenseful atmosphere, as the haunting and chilling music evokes the quality of a conventional thriller. Lynch’s introduction of the creepy owner of the cabin into the narrative is melodramatic and exaggerated. It is questionable whether this is an intentional device to parody the generic characteristics and appearance of the owner as creepy and frightening. When he jumps out at two of the guests, he has a scar on the side of his face, he is drinking alcohol and he is completely silent. His strange presence is described by all six of the guests as abnormal, yet they continue their stay until a game of truth or dare causes conflict within the group. When one of the women goes missing, it is clear that this will not just be a quiet weekend away. By setting the majority of the film’s action during the night allows for the tale to take a more dramatically sinister turn and combine general elements of a horror. Repeated shots of the full moon, references to the supernatural presence of two deceased children who were found butchered in the cabin in the past and the undeniably creepy nature of the owner allows for the overall tone of the piece to be both irrefutably fitting to and parodying the genres of horror and thriller. With a budget of only £200, Lynch has certainly done well in creating a conventional tale of suspense. The intense score and horror elements of the film allow for an intense and dark telling of a remote weekend away gone awry. However, the melodramatic acting and generic, overarching plot can often take away from any of the originality present. #Shortfilmreview #shortfilmreviews #Shortfilm #HannahSayer #filmreviews #filmreviewsUK #shortfilmreview

Written & Directed by Richard Curtis Starring Hugh Grant, Liam Neeson, Bill Nighy, Emma Thompson, Colin Firth, Martin Freeman & Andrew Lincoln Christmas film review by Chris Olson A sumptuously glorious example of British comedy prowess, Richard Curtis is on fine form with this delectable Christmas film treat, Love Actually, which has enough movie stars to start our own Walk of Fame around Trafalgar Square (lightbulb?). Christmas in London is not usually a magical time: bustling streets rammed with bargain-crazed shoppers, frightfully chilly weather, and gloomy darkness which sets in far too early. However, Love Actually manages to not only make London seem festive during December, it makes it look romantic as well. Following a selection of different couples, Curtis’ film explores the many different facets of love - positing the idea that “Love is all around”...and yes that is unashamedly stolen from The Beatles. Many will have seen this classic British comedy, enjoying Hugh Grant as Prime Minister or Bill Nighy as a foul-mouthed rock star, and few would question its recipe for success. Indeed, Curtis’ lovingly baked movie is basted with a delicious script, oozing with great performances, and surrounded with an enticing aroma of originality. Other movies which have attempted this format and structure have very often fallen short (see New Year’s Eve (2011) and Valentine’s Day (2010)), so what is is about Love Actually that is a winning combination? Straight away the film has an easy charm which comes across far easier in British films than American holiday-based rom-coms. This is complemented with an affable cast of self-deprecating characters, all of whom embody the very British sense of sharp wit and irony, rather than muscle tone and actually saying what you think. Another reason why Love Actually stands tall amongst other genre failures, is its variety. Rather than one wholesome thread about love conquering all, Curtis’ film is a tapestry of themes, coalescing with vibrant colours and, in places, heavy emotions. Whilst love interests are followed, and new crushes develop, there is also heartache and sorrow for certain characters. For example, Liam Neeson plays a widowed father of one who is struggling to find his feet in his new role and Andrew Lincoln is a man in love with his best friend’s gal (Keira Knightley), which is beautifully portrayed without loads of schmaltz. Like a classic Christmas dinner, Love Actually is beautifully served with all the trimmings. No ingredient is missing, or undercooked, and there is plenty of spectacle from beginning to end. It is lavish and splendid, but not in a way which leaves you feeling overly stuffed or sick from the richness, instead it leaves a warm feeling in your belly and a festive cheer on your face. Come back tomorrow for your second Christmas film review. #ChristmasFilm #ChrisOlson #filmreviews #filmreviewsUK #ClassicFilm #RichardCurtis #Comedy #Britishfilmmaking

Directed by Tofiq Rzayev Starring Mehmet Fatih Güven, Alsen Buse Aydin, & Erhan Sancar Short film review by Monica Jowett Short Turkish film The Cleaner follows a hitman, who, after spending his morning with a woman, leaves for work to get rid of a specific person on the orders of his boss, yet once there, the hitman faces a dilemma in the line of his work. The film opens with a man Fatih (Mehmet Fatih Güven) lying in bed smoking, spending time with a woman (Alsen Buse Aydin) with whom he is clearly happy and enjoying his time, before he goes off to work as a cleaner. As the woman teases him for having a menial job, it is soon revealed he is a different type of cleaner – a hitman. Out in an isolated location with his boss (Erhan Sancar) he is given the order to kill the person who is inside the building, and he wants it done quickly. When this person is revealed Fatih is immediately placed in an uncomfortable position where the different parts of his life have met, and he must decide quickly on how to handle the situation. The character of Fatih has already been built up, even within a 10 minute short film. Although we are shown just a small part of the character’s story, it is easy to establish his character as a man who is adept at his job, as his boss asked him to carry out a hit personal to him. Furthermore, we see that he is not without morals, though they may be in a more grey area and audiences will not find it difficult to like this character. This short also has a good combination of genre. Centred on a hitman, the film first portrays itself as a dramatic piece, yet through Fatih’s caring relationship with the woman, a romantic element is drawn out, albeit in a twisted way. Then, through the romance of the film, there are origins of dark humour – after all, this is a hitman who has fallen in love and goes to extreme lengths to be with the woman he loves. The combination of the lighter and darker genres makes The Cleaner an entertaining short film from director Tofiq Rzayev that provides an intriguing storyline about a hitman, with a refreshing take that shows a different side of his life. More film reviews here. #Shortfilmreviews #shortfilmreviews #Shortfilm #shortfilmreview #ShortFilm #MonicaJowett #filmreviews #filmreviewsUK

Directed by Sarah Gavron Starring Carey Mulligan, Meryl Streep and Helena Bonham Carter ‘Deeds not words’. That is a quote from Emmeline Pankhurst a great woman who fought for women's rights in the early 1900’s. Directed by Sarah Gavron the film is based on a true historical story of a women’s groups’ fight for a change in the law in order to allow them the “right to vote”. The film contains the harsh reality of choices, violence and brutality during this period. The main character in the film is a woman called Maud Watts (a fictional character played by Carey Mullighan) who starts off as a young and peaceful woman and how her life changes as she involves herself more and more with the suffragette movement. Maud’s first encounter with the Suffragettes is not one she enjoyed as she is caught in the middle of a violent protest that included smashing shop windows. Maud begins to witness a lot more violent protests as the story unfolds and really starts to build her interest in having the “right to vote” when she speaks in front of the Prime Minister, who seemed to understand her point of view (being that it's not only the vote women deserve but the same wage as men when doing the same jobs). Later on in the story Watts is asked to join the Suffragettes which meant she had to consider spending less time with her family but also risk a potential prison sentence. A lot of violence is used during the protests as the Suffragettes struggle to get their voices heard. However, one person who is keeping their hopes alive is Emmeline Pankhurst (Meryl Streep), an inspiring and motivational woman who is leading the movement. Later on, the Suffragettes begin to use different tactics such as starving themselves in prison and blowing up letterboxes. Soon after the news of starvation, Watts is hit with a dilemma as trouble at home strikes when her husband breaks the news to her that her actions have caused him to make the decision that she is no longer allowed to see her son George. This breaks her heart, and a sombre realisation that it is the law that men are in charge over the children. This gives her further motivation as she risks everything to try and see her son as well as getting the vote. Towards the end one of the biggest incidents known to the Suffragettes happens at a major horse riding event - the Derby, with the King in attendance and a large crowd gathered. Watts witnesses the famous incident with her very own eyes as her good friend Emiline Davidson risks her life by attempting to put a “votes for women” banner on the King's horse. The locations chosen in the film (London and Kent are two examples) provided a great backdrop for the story and viewers will enjoy the way Gavron focuses on some of the truly horrendous working and living conditions of this period in history. It certainly makes one appreciate the modern living conditions we enjoy today. The acting is excellent throughout with a surprising cameo role from Hollywood star, Meryl Streep. Overall, the film is educational and inspiring, well made and certainly worth the audience’s time. The film provides a great insight into what life was like (particularly for a woman) during this period. For anyone interested in British history or women’s rights, Suffragette comes thoroughly recommended. This film review was written by Oscar, Liverpool aged 15 - Young Blogger at FACT Watch the movie trailer for Suffragette below... #TheatricalReleases #filmreviews #filmreview #OscarBascombe #filmmaking

★★★★★ Directed by Francis Lawrence Starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Donald Sutherland, Julianne Moore & Philip Seymour Hoffman Film review by Chris Olson Explosive arrows, killer oil goo, and rabid mutts are just some of the trimmings from this last instalment of the Hunger Games films, a franchise which has dominated the box office during its tenure, recently knocking 007’s Spectre from the top spot. Aside from the quirky weapons, the films, which are adapted from the books by Suzanne Collins, offer an engaging dystopian world with dynamic characters, including the story’s lead heroine, Katniss Everdeen (Jennifer Lawrence). Having survived the annual Hunger Games twice (a battle-royale of death organised by the nation’s all-powerful government), Katniss finds herself as the symbolic leader of a rebellion against the Capitol - led by President Snow (Donald Sutherland). The two faced off in Part 1, and this final chapter escalates the violent showdown which will see the complete destruction of one side. Teen fiction has quelled in terms of popularity in recent years, with cinemagoers reluctant to chomp down on yet another franchise spawned from a trilogy of formulaic books. That being said, Collins’ novels have managed to remain at the top of the pack, forcing rivals like The Maze Runner and Divergent into the sidelines. The main source of strength for The Hunger Games comes in its casting, not least of all in Jennifer Lawrence. Indeed, Lawrence has risen to the uppermost echelons of acting elite, having proven her chops in films like Silver Linings Playbook (2012) and American Hustle (2013). Alongside Lawrence is a smorgasbord of performing powerhouses - such as the aforementioned Donald Sutherland, as well as Philip Seymour Hoffman, Julianne Moore, Woody Harrelson and Elizabeth Banks. These, coupled with rising stars like Liam Hemsworth, Sam Claflin and Josh Hutcherson, are what separates The Hunger Games from others of the same ilk. Landing into this last film, Mockingjay - Part 2, audiences have already witnessed the turbulent trials and tribulations which Katniss has endured; from physically surviving Snow’s games, to withstanding the pressure of representing a nation’s hope, to the emotional turmoil involved in having a love tryst with homeboys Gale (Liam Hemsworth) and Peeta (Josh Hutcherson). What should have ensued was an all-out firestorm of explosive action and thumping tempo as the culmination of all this angst comes to a point. However, Mockingjay - Part 2 follows a very similar pattern to Part 1, with some troublesome pacing issues. The story is eked out between sombre, emotional scenes that pretty much mirror those scenes which have come before in previous films, as Katniss is kept on a leash and out of harm’s way. The most frenetic and enjoyable sequences are those where our fiery archer is pitted against the dangers of the Capitol, which has been boobytrapped with imaginative killing methods. However, the majority of the movie is spent with the group waiting to move to the next stage of the conflict, which becomes tedious by the midpoint of the film. Whilst the pacing is a little monotonous and some of the movie feels like a copy of previous instalments, Part 2 does revel in a little bit of chaos. The lack of an arena opens up the film to a more boundless setting, which in turn vamps up the tension. During one particular sequence involving gooey white mutts, it felt reminiscent of the atmosphere created in a sci-fi great like Alien (1979). Performances are all of a high standard, Lawrence delivering another strong outing as Katniss, whilst Josh Hutcherson is particularly engaging as the mentally unstable Peeta. Fans of the books will probably delight in the focus given to the romantic subplots of the story, as well as the dedicated finale which ties up all the loose ends, whilst those unaware of how The Hunger Games finishes may be left feeling a little lost. Part 2 sits very comfortably with Part 1 on the success scale of the franchise, with the huge promise of the first two movies never being fully realised. Check out the movie trailer for The Hunger Games: Mockingjay - Part 2 below... #TheatricalReleases #moviereviews #moviereview #filmreviews #filmreviewsUK #ChrisOlson #InUKCinemasNow

Directed by Ryan Hendrick Starring Kenny Boyle and Clare Sheerin Short film review by Monica Jowett Two strangers who both have recently suffered heartbreak join together on Christmas Eve to find their way back to Glasgow from the Scottish Highlands. From director Ryan Hendrick, Perfect Strangers is a simple and sweet romantic comedy short. Rob (Kenny Boyle) is waiting for a train, which he has missed and is joined by Jen (Clare Sheerin) on the platform who loudly exclaims ‘All men are bastards.’ From there, the two come together, perhaps a little reluctantly for Rob, to find a way to get back to Glasgow. Due to heavy snow in the highlands, and slightly unreliable methods of transport, they end up stuck in an inn on Christmas Eve. Once they are warm and dry the two start to open up to one another about the awful day they have had that has brought them together. The solid script provides gripping dialogue between the two leads and the set up gives us some back story for how the two ended up on the same platform, in similar situations. Like many romantic comedies, the script may seem a little formulaic yet the ending surprised me, and it also felt refreshing for a short film of this genre. A happy ending of course, but not what you come to expect for a romantic comedy, especially one set at Christmas. The two leads are opposites of each other, yet have great chemistry. Rob is grumpy and a little cynical about his situation, whereas Jen is mostly bubbly, making jokes, who takes the initiative to get them back home, looking on the bright side. From the start we see Rob has his misgivings about Jen, and their snappy back and forth conversations provide some great laughs. Though as the story goes on, the two begin to care for one another and their opposing character traits are less obvious as they grow comfortable with each other. It is easy to believe these characters are going through a painful Christmas, as Boyle and Sheerin give natural portrayals and clearly have a genuine spark. Perfect Strangers makes use of the beautiful scenery to be found in the highlands of Scotland. Snow covered mountains can be seen and it further demonstrates the horrid Christmases Rob and Jen are having, which is not helped by this gorgeous white back drop. This setting, along with a mixture of Christmas songs and cheery piano score makes this short film a cheery romantic comedy that makes you feel good about Christmas, even if it could be miserable. #Shortfilmreviews #Shortfilm #shortfilmreviews #MonicaJowett #Comedy #ShortFilm

Directed by Seth MacFarlane Starring Mark Wahlberg, Seth MacFarlane & Amanda Seyfried DVD & Blu-ray review by Chris Olson Everyone’s fourth favourite bear (after Paddington, Pooh and Yogi) is back for a comedy film sequel in which foul-mouthed teddy, Ted (Seth MacFarlane), and his Thunder-Buddy pal John (Mark Wahlberg) team up for another adventure. After marrying the woman of his dreams and planning on starting a family, Ted has his life pulled out from under him when the U.S. government decides to declare him, legally, “property” - meaning that not only can he not adopt a child, his marriage is annulled and he loses his job. As far as civil rights films go, Ted 2 makes some very basic points and then undermines them with sperm gags and cock-shaped bongs. This is more of the same from MacFarlane, with enough F-bombs to sink a fleet of parent committees and crude, oh-no-he-didn’t-go-there topical comedy moments which dare to offend on every level, be warned: if you do not like Family Guy jokes, you won’t want to snuggle with Ted. For audiences who enjoy comedy films that play fast and loose with the rules, on all levels, Ted 2 has quite a few gags which are enjoyable. A shelving unit of semen samples falling on Mark Wahlberg is something everyone should see, and the slapstick moments are well executed - like a guitar being thrown at Ted, or Amanda Seyfried coming face to face with Gollum. Aside from the stoner script and the cheap laughs, MacFarlane’s film does achieve a little bit of originality through its movie, blending light hearted adventure with civil rights and offensive language - not to mention talking bears. It would be a struggle to find a film which had all these elements, and a swearing cuddly toy is definitely something lacking from critically acclaimed films like Selma (2014) and 12 Years a Slave (2012). That is not to say bunging a bag of ingredients together will automatically create a winner, but you have take your hat off to a filmmaker who manages to throw all this together and actually get a green light. Pull out the stuffing and this film is made up of some pretty shoddy workmanship, but packaged together and kept on a shelf and away from children, Ted 2 has enough funny moments to enjoy until the novelty wears off and you realise the superfluousness of it all. For more film reviews, movie trailers non teddy bear related film stuff - click here. #moviereviews #filmreviews #filmreviewsUK #DVDReview #Bluray #HomeEntertainment #ChrisOlson #MarkWahlberg #AmandaSeyfried #SethMacFarlane

★★★★★ Directed by John Wells Starring: Bradley Cooper, Sienna Miller, Daniel Brühl, Omar Sy Film review by Kieran Freemantle Burnt has all the ingredients you would expect to make a Michelin star film, an ensemble cast, a screenplay from a celebrated writer that was on the 2007 Blacklist and a director who has done solid work on film and television. Despite these qualities Burnt fails to live up to the standards we would expect. Adam Jones (Bradley Cooper) was a Michelin two-star chef who trained with the best in Paris and the heir to his mentor’s top Parisian restaurant. After losing it all to drink and drugs, Adam enacts a self-imposed penance in New Orleans. When completed Adam moves to London to re-start his cooking career, taking over the kitchen of an ailing restaurant, recruiting a team of talented chefs and aims for a third Michelin star. But Adam’s past, demons and his self-destructive nature all stand in its way. As well as Bradley Cooper, Burnt has the talents of Sienna Miller, Daniel Brühl, Omar Sy, Emma Thompson and Alicia Vikander with actors like Uma Thurman and Lily James in minor roles. The acting is the best feature of Burnt which is not much of a surprise. Cooper easily portrays Adam’s arrogance in both his skills as a chef and his abilities to get what he wants, coming across as a bit of a douchebag, yet still harbors demons regarding his past and own self-doubts as he tries to achieve perfection. He is both Andrew and Fletcher from Whiplash. Cooper’s American Sniper co-star Miller was also solid and made to look more grounded, having tattoos and having her hair in a short pony-tail: she is still Sienna Miller, a naturally glorious woman, but she is playing a more grounded role of a single mother who is slowly being moulded into Adam’s image. It is nice to see Sy actually given something to do in an English-language film. Burnt’s main problems comes down to the screenplay by Steven Knight, being a very sloppy piece of work from such an acclaimed writer. The screenplay’s problems are big and small: there were basic logic problems like the owner/maître d' of a restaurant having to explain what the Michelin Guide is to his staff. It is just a lazy way to explain it to the audience because wouldn’t everyone working in a fine dining establishment know what the Michelin Guide is? There is dramatic convenience, such as Adam easily finding some of his old cooks and rivals in a different city, including running into one he screwed over in the middle of Leicester Square. It leads to the question, was Adam originally written to be British but changed to be American to accommodate its star? But the most troubling is the film’s attitude to homosexuality, the main incidents being Adam manipulating another man’s romantic feelings towards him for his own advantage and a throwaway line by Uma Thurman to Cooper saying ‘I’m a lesbian, why did I sleep with you?’ Questionable sexual politics aside Burnt does play like a reasonable, if unremarkable drama for half its running time. But the film falls into a hokum and sentimentality at the half way point, starting with this sickly sweet, twee moment when Adam comes out of with a specially made birthday cake for a little girl: it was so sappy due to the way it was directed, written and acted, having the unfortunate trope of having a very precocious child in the mix. Burnt goes downhill from there, having forcible emotional reveals and piling all the emotion and suspends at the end as everything collides together. The issues of Burnt’s writing and its hokey themes is through the Adam’s character arc. What Adam wants is a third Michelin Star, what he needs is to confront his demons and embrace his colleagues as family. By itself this arch would be fine, it is a basic foundation of screenwriting, but Knight and John Wells handle it with as little subtly as possible, believing the audience is too dumb to get the message. The ending of the chefs coming together and Adam accepting them is more cheesy then a pound of brie. Burnt can obviously compared to last year's Chef and to a lesser extent the Pixar Ratatouille. Burnt was originally titled "Chef" before Jon Favreau beat the Weinstein Company to the punch. Chef was a film about a chef returning to his roots after his creativity is hindered, acting as a metaphor to Favreau's directing career, a cathartic experience for him, as well as a story about Favreau's character connecting with his son and exampling the positive and negative effects of social media. Chef was much richer because of it. Even the cooking scenes in Chef were better, making the food looking absolutely mouth-watering. As like Chef and Ratatouille, Burnt has a rivalry subplot which ends on a reconciliation of some sort and Adam is seen as an old fashioned chef having to battle people who use more scientific methods. The cast do their best, particularly Mr. Cooper, they were working with an uninspired screenplay filled with shortcuts and a rudimentary character arc. Despite Adam’s drug problems and his attempts to get back on top, the stakes did not feel very high. [Pun very much intended]. For a film about fine dining it has the oddest product placement for Burger King. Want to read more film reviews? #Filmreviews #filmreviewsUK #TheatricalReleases #KieranFreemantle #moviereviews #filmreviews

★★★★★ Directed by Laura Plancarte Starring Anais Alvarado, Dimitri Andreas, Claudia Coulter Indie film review by Chris Olson The harrowing drug war which rages in Mexico has been the source of many films in recent years. Traffic (2000), Man on Fire (2004) and End of Watch (2012) are a few of the better known movies, alongside a wealth of others, and some deeply affecting documentaries. Laura Plancarte’s film, Tierra Caliente (also the name of a town in Mexico in which this film is set), delivers a disturbing blend of both film and documentary, telling the story of a family in Mexico who suffer through the bloodbath caused by the drug cartels Using the verbatim script of a family’s description of their lives, this indie film is able to add a huge sense of tragedy and pathos to a beautiful piece of filmmaking. Intense close-up shots are used in abundance, whilst some quick cutting scenes and abstract sequences are blended in to add a richness to the viewing experience, creating a tapestry of violence and humanity. This coalescence is a unique approach to the Mexican drug war, as it has so many facets to draw upon, including real life testimony, the audience is never allowed a moment’s rest. There are moments in Tierra Caliente that seem like a play, with overly theatrical performances trying to wring the emotion out of the situation, but these are unnecessary. The strengths of the movie can be found in its intensity, bolstered by an atmosphere of impending misery. Plancarte is unrelenting in creating an immersive atmosphere, one which exudes a potent instability through the breakdown of this family unit through circumstances beyond their control. Scenes that endure without dialogue are utterly moving, allowing the grief that seems to be ever-present to dominate the frame. If you are looking for a more coherent plot, similar to the films mentioned earlier, Tierra Caliente will probably leave you wanting. This is no simplistic beginning, middle, end retelling of some dramatic story from a troubled country, this is a heartbreaking tapestry of how an ordinary family would survive this type of horrific situation. At times it lacks the “entertainment” value of a linear narrative, restricted by the form it has adopted, and the dialogue-driven scenes can seem a little mumbling, but overall its ambition shines through and should be totally celebrated. Filmmaking like this deserves our attention as it is telling a seemingly familiar story in a completely unique way. Unrelenting in creating her movie, the direction from Plancarte is of an incredible standard considering the nature and tone of the film, but anyone approaching the film thinking the outcome will be any different to other stories about the Mexican drug cartels will be sadly disappointed. More film reviews here. #filmreviews #filmreviewsUK #Documentary #ChrisOlson #WorldCinema #filmmaking #SupportIndieFilms

Directed by David Simpson Indie Film Review by Chris Olson Facebook stalking is pretty commonplace nowadays. With the evolvement of social media as a substitution for human interaction, and the increased desire for digital approval meaning fewer limitations on what people deem as “suitable for sharing with the world”, the most likely source of information on most people these days is on their Facebook page. What happens, though, when the cyber personality you share online with the world is not known by a real human being? If someone had no family or real connections, and then went missing, who would know? The answer…that person’s Facebook stalker. #DrunksLikeUs is a hilarious fairytale for the digital age. The story follows Mark (Andrew Regan), who, after waiting for a reply from Polish friend Diane (Vivienne Smith), whom he only knows online, decides to take his two inebriated pals, Alex (Luke Griffin) and Pete (Paul Mackie) on a road trip to Sunderland to find her - using clues from her Facebook page. The journey becomes an adventure across rural landscapes, involving surly shop owners, psychotic flatmates, and a car explosion straight out of South Park (the funniest moment in the film). As the trio drink and stumble their way across northern England, tensions start running high when it becomes possible that Diane's disappearance may having something to do with the person she claimed to have been "following her". With a fantastic penchant for humour, Mackie’s story under Simpson’s direction offers up a worthy British comedy that pulls no punches and takes no prisoners. The three central performances are wonderfully sculpted, in particular Regan whose emotional turmoil at finding Diane is beautifully juxtaposed by his frustration at his drunken buddies, who offer help and hindrance in equal measure. There is a humility and believability to #DrunksLikeUs which is much appreciated, and even though a degree of jovial absurdity exists, the film moves in a very authentic way which avoids falling into the “farce” bucket. Furthermore, whilst not everyone will enjoy vulgarity of Alex or the wasted nature of the trio as a whole, you almost certainly will be able to relate to their characters, perhaps even knowing people just like them, or should I say #DrunksLikeThem. The themes of the movie are well explored, in particular the social commentary on our dependency on technology. At one point, after the excellent car explosion, the boys lose signal on their phones. Alex, an ardent hater of the modern age, revels in the situation, stating “Your all-singing all-dancing highfalutin hypnotic wank machines have let you down when it means the most”. With a hash tag title, twitter handles in the opening credits, and the film coming to fruition after Mackie posted the script on Twitter, many aspects of #DrunksLikeUs are directly pointed at the modern age. Which is contrasted brilliantly with the 80’s style adventure-comedy plot and the simple aesthetics of the movie, which does not rely on any technical wizardry to distract the audience. Aside from a slightly misjudged narration, #DrunksLikeUs is a great achievement from these boys and girls. The script is sharp and wonderfully timed, with Regan, Mackie, and Griffin delivering hearty laughs, whilst the nostalgic nature of the plot has a wide appeal. #Indiefilmreviews #ChrisOlson #filmreviews #filmreviewsUK #Britishfilmmaking

Directed by Chris Thomas Starring Annie Walker, Jethro Aukin, Charlie Beazley, Ingvild Delia & George Oliver Short film review by Monica Jowett Short sci-fi comedy Cropped from director Chris Thomas follows a group of UFO enthusiasts who are looking for crop circles in the English countryside, led by their cynical guide. When night comes, they must come together when the mysterious origins of crop circles comes to light. A mini tour bus takes a group of very enthusiastic UFO and alien believers to see crop circles in English countryside. As the bus breaks down, the group talks amongst themselves and are aggravated by the sceptical guide Barbara (Annie Walker) who is clearly a non-believer in the idea of any extra-terrestrial life. She critically suggests anyone in the group who does believe is mad. As night falls, movement in the crops make part of the group run off to see what it is and what they discover they are quite unprepared for, believer or not. Cropped fits a lot into just less than six minutes and it’s very effective. The dialogue between the characters in the group provides much humour and Barbara is a pivotal comedic figure. Squeezing in a few stereotypical alien gags, like the foil hat or the weird shaped heads of the aliens creates some familiar moments which often appear in sci-fi films. As a short film, the story’s simplicity makes it entertaining to watch. Even within a short time, clear characters are brought out, like Barbara. Then there is Martin (Jethro Aukin) who can be seen as the definition of the sci-fi nerd, with his Roswell t-shirt and foil hat, as well as being adamant about alien existence, who encourages this enthusiasm in his son Rory (Charlie Beazley). The two others eager to find evidence of aliens are Helga (Ingvild Delia) and Felix (George Oliver) who show huge excitement and interest in their search, and we are swept along in their eagerness. On the technical side, director Chris Thomas with cinematographer Lee Thomas uses the lighting to great effect. The bright white lights of the bus’s headlights is normal yet when we see the same light in the crops it gives an alien atmosphere and as it appears to come from nowhere it again emphasises the extra-terrestrial life they are searching for. The enjoyable characters along with the simple plot combined with good technical filmmaking produces Cropped as an extremely pleasurable watch for anyone who enjoys the comical side of looking for UFO’s, aliens or the mysteries of crop circles. We have more film reviews for you, click here. #shortfilmreviews #Shortfilm #Comedy #MonicaJowett #filmmaking #filmreviews #FilmreviewsUK

Directed by Philip Stainsby Starring Patrick Doyle Review by Chris Olson Adorned with one of the greatest moustaches in recent cinema, Patrick Doyle delivers a phenomenal performance as a man on a mission across the urban chaos of Shanghai. He is an employee attempting to carry out a delivery task for his employer, only to be delayed by numerous forces working against him - most fearsome of all, his own introspective ramblings. Doyle’s inner monologue provides most of the film’s dialogue, as he tries to remain in control of the situation and his own anxiety. Constantly assessing his situation and questioning every move, the atmosphere is laden with tension throughout the film, as well as being a shining example of excellent dark comedy. The tension is vamped up by Philip Stainsby’s superb direction: adding a pulsating soundtrack, edgy cinematography, and stylish set pieces. The complex Shanghai cityscape is used with absolute splendour, capturing the essence of the story whilst adding the perfect companion to Doyle’s enigmatic performance. It’s a psychological thriller that has a devilish sense of humour. There is a slight languishing in the pace, accompanied by Doyle’s near-solo screen time, but the overall effect of the film is not lost in this. If you keep with this employee’s inner dilemma, you will feel the strangeness start to rub off on you, sucking you into this bizarre and intriguing journey. Indie films very often skimp on style in favour of a more specific goal (such a pyrotechnics or handycams). Rivalries takes a different approach, delivering an incredibly stylish film that has a powerhouse central performance, without resorting to gimmicks or distractions. Whilst the storyline will divide viewers in terms of overall pleasure, there is a genuine cohesiveness to Stainsby’s film, and filmmaking, that proves intent and shows true skill. #Indiefilmreviews #filmreviews #filmreviewsUK #ChrisOlson