★★★★★ Directed by Christopher Landon Starring Tye Sheridan, Logan Miller, Joey Morgan & David Koechner Film review by Chris Olson Superbad meets The Walking Dead in this horror/comedy film about a trio of friends who end up facing a zombie apocalypse in their hometown, and must rely on their hard-earned skills from being Scouts of America. Fads come and go in the movie industry pretty quickly. From teen vampires to teen fiction, gangster films to spy movies, audiences are often treated to a series of green-lit films which are only bombarding the box office because that is what’s #trending. Zombies very much fall into this category, having had a spate of success in TV, video games and movies. However, one facet of culture which is yet to receive a wave of popularity is being in the Scouts, and that is where Christopher Landon’s film draws its main, and only, element of originality. Ben (Tye Sheridan), Carter (Logan Miller), and Augie (Joey Morgan) have been BFFs for years, and a lot of that was based on belonging to a Scout troupe, headed by the eternally optimistic Scout Leader Rogers (David Koechner - best known for playing the Whammy guy in Anchorman). However, now the boys are in their mid-teens, meaning that, as in any American teen comedy, their lives revolve completely around getting laid...and they don’t give you a badge for that! Except for Augie who seems tragically set on being a Scout forever. The boys’ erotic pursuits are waylaid after an outbreak of a zombie virus wreaks havoc across the town, and forces them to put their skills to the test in order to find and save loved ones. The plot is all a little familiar, and has a slight stench of chuck-two-things-in-a-title-and-make-a-movie lingering around, but there is a lot to like about Scouts Guide to the Zombie Apocalypse. First off, the script is allowed plenty of cussing and sexualy crudeness - meaning the characters are not ridiculously off-map when depicting typical teenage boys. Secondly, some of the gross-out Superbad-esque comedy is genuinely funny. One scene with a zombie penis is hysterical. That being said, many viewers will be turned off by the jumbled up bag of worn themes being offered. Everything in this movie has been done before by a variety of different movies, and whereas many of those films had a clear message/direction, Landon’s film seems to be playing the averages. The result being a mishmash of comedy, adventure, horror and coming-of-age which will probably alienate more than unify. Not winning any badges for originality, Scouts Guide to the Zombie Apocalypse is a misplaced movie in a sea of trends, never really finding a home and instead relying on minimal comic relief and some gross-out gags. Check out some more film reviews or head over to watch some movie trailers. #TheatricalReleases #Horror #ChrisOlson #filmreviews

Directed by Jörn Threlfall Short film review by Amaliah S. Marmon-Halm Set over 9 wide shots and detailing an unfortunate sequence of event in reverse, Over is a thrilling short film by Jörn Threlfall that will leave viewers questioning their own sense of judgement, perception and, at times, wondering whether their moral compass is in need of fine tuning. In order to avoid SPOILERS UK Film Review will be delicately avoiding many of the key plot points. The film opens up to a quiet, sleepy residential road; it’s early morning and a couple are returning from what seems like a night out. The woman sees a bunch of flowers and a note on the kerb opposite her house. We are led to believe a serious incident has occurred. Going back further, we cut to a street cleaner washing away what appears to be blood from the road. The next few shots involve a man lying dead on the road, the police turning up to cordon off the area and a man’s car being towed away. Surrounded these moving scenes is an element of mystery and tragedy which will utterly absorb the audience. What we don’t know at this point is the man’s origin, how he got there, whether he was a thief or just a defenceless victim. This sense of confusion is bolstered when the list of the victim’s personal items is shown intermittently throughout the film. The style of the filming, and the superb script is incredibly clever, especially after watching the film as a whole. The twist/reveal really jumps out at you, even if you know what’s coming and after watching this, audiences will be left feeling incredibly shocked and, depending on your political stance, quiet moved. This is surely a short film to leave you feeling a little solemn, it is affecting filmmaking with a huge amount of pathos. A relatable tale of struggle and quite apt considering all that’s occurring now. Check out more film reviews. #shortfilmreviews #filmreviews #Shortfilm #ShortFilmReview #amaliahsaramarmonhalm #FilmReviewsUK

Directed by David Campion Indie Film Review by Chris Olson Littered with strong performances and emotionally-arresting scenes of drama and violence, Woodfalls depicts a volatile clash of cultures that is as topical as it is brutal. Damon (Gareth Bennett-Ryan) and his pals stand around a pub quiz machine, drinking pints of lager. Across the day-lit bar sits a solitary man called Billy (Matthew Ferdenzi), sipping his own beer in relative peace. One coughed-up phlegm later, and Billy is squaring up against Damon and his pals in the car park, defending himself against flying punches and flick-knives. The reason for the vicious attack? Billy comes from a community of travellers, cruelly labelled “gypsies” and “pikeys” by Damon, and the tension between the locals and the new arrivals is just getting started. With a penchant for intense realism and harrowing savagery, David Campion’s film (which he wrote and directed), has a lot in common with the films of Guy Ritchie, whilst keeping one-hand firmly grasped on the pulsating themes that add a great deal of pathos to the proceedings. Like the best of Brit-flicks, Woodfalls pulls no punches, delivering on every count: sex, violence, swearing, and even a poster that says “I (heart) Clunge” - this film is not trying to cater for the masses, it has a distinct ambition and reaches it with attitude. By dealing with social disfranchisement, the film could have ended up as a pastiche of blended clichés and stereotypes, but the characters of Woodfalls are well defined and thoughtfully complex. There is a constant sense of threat during this indie film that makes a hostile atmosphere throughout for the viewer, and the friction between the varying social cretins that litter the streets is terribly entertaining. There is a ballsy and pounding techno soundtrack that complements the tone of the film perfectly, offering authenticity to the film without compromising on substance. Very often, indie films must submit to a lesser score of ill-chosen “beats”, Woodfalls, luckily, avoids such a misfire. From the strong opening sequence to the close, music is there to add bulk and muscle to an already rough-and-tough plot. A little on the dark and dank side for some, fans of gritty-Britty films like Trainspotting (1996) and Snatch (2000) will enjoy the spills of the underbelly as it is torn open before our eyes, revealing the terrifying social angst which can turn a social divide into a purely hateful conflict. #filmreviews #Indiefilmreviews #ChrisOlson

Directed by Adam Spinks Starring Joanne Gale, Simon Burbage & David Anderson Indie film review by Monica Jowett As she tries to discover if a government weapons facility are using humans as test subjects, independent journalist Kate Meadows (Joanne Gale) along with her cameraman Duke (Simon Burbage) dig deep and are unprepared for what they find in this horror thriller, Survivors, from director Adam Spinks. The zombie sub-genre of horror as been re-worked over and over, with many films using different techniques to make them stand out from the rest and Survivors does this too. With a small crowd-funded budget, the indie film uses a mixture of found footage and normal cinematography and rather than using the zombies as the focus, the central story is on the survivors who have not been infected and the lengths they will go to keep on living. The plot follows Kate as she tries to uncover the truth about MADEA, a government weapons facility, with her cameraman Duke. In the midst of the investigation everything starts to go awry. The infected people are escaping and the virus is spreading. After losing Duke, Kate teams up with Paul (David Anderson) a mysterious man who might not be helping Kate after all. With Paul, she desperately tries to get to the coast, where she hopes to reunite with Duke but learns quickly to not trust anyone, as the virus infection spreads and hope seems lost. Showing what happened in the lead up to the outbreak is done through the found footage camera work of Kate and Duke investigating MADEA, and then traditional cinematography ensues when Kate joins with Paul to survive. The handheld camera work is used throughout and gives us a sense of intimacy with the characters and urgency about the situation. Survivors gives some great performances; Kate is determined and passionate about the story she is uncovering, yet with just enough wariness about what she faces. As previously mentioned, the zombie genre has been repeated numerous times in in horror cinema throughout the years but Survivors stays clear of the classic tropes, we are shown infrequent views of the infected, and only a few hints that they are hard to kill. There is a hint of influence from Danny Boyle’s 28 Days Later (2002), as the focus is on a few survivors and the panicked aftermath of the initial outbreak which gives a smaller perspective and allows a familiarity with Kate and Paul and gives a human side to the horror genre. Less action packed, it’s a character driven zombie film without the gore. Spinks has created a well written and directed film that makes every use of its small budget, putting a human story at the centre of a deadly virus outbreak. By staying away from the zombie horror stereotypes, Survivors is an effective horror thriller that might not provide many scares but is a memorable piece of independent filmmaking. #Indiefilmreviews #Horror #filmreviews #MonicaJowett #SupportIndieFilms

Directed by Brett Butler & Jason Butler Review by Chris Olson In the same spirit as films like Falling Down (1993), American Beauty (1999) and God Bless America (2011), Mourning Has Broken is the Canadian contribution to a modern nervous breakdown. Our lead character (Robert Nolan) goes on a rampage across the mildly mannered streets of his hometown, after discovering the death of his wife. It’s never too difficult to find inspiration when writing a film like this - just take an average day and write down what pisses you off and you pretty much have a screenplay. Be it people on iPhones in the cinema or another car being a douche bag in a car park, everything is fair game for the one-man-wrecking-ball movie. The Butler boys manage to create a very worthy addition to the genre (which is already teeming with excellent entries - see aforementioned), with this dark and very funny film. The whole thing has a slight revenge fantasy to it, lashing out at everyday annoyances, but the lead character’s emotional journey also plays an important part. We see him trying to come to terms with what is actually upsetting him and where his anger is just misplaced heartache, which makes for a far more compelling movie than just a raging against the machine. Nolan’s performance of this broken and fierce man may not be in the same league as Kevin Spacey or Michael Douglas, but it's sure as hell worth watching! There is a stand-out scene where Nolan is in a record shop listening to a track on headphones which is utterly gripping, revealing the pain he is burdened with. Funny in places, and moving throughout, Mourning Has Broken offers a glimpse at a fantasy I’m sure many have had. Taking out our rage on the modern world and all its maddening facets. However, the strength of this film comes not from its baseball bat to the lawn-mower, but in its tear-soaked “hero” drowning in his sorrow. #Chrisolson #Indiefilmreviews #filmreviews #filmreviewsUK

Directed by Kyle Balda and Pierre Coffin Starring Sandra Bullock, Jon Hamm, Michael Keaton Animated film review by Chris Olson With the release of Minions on home entertainment, we take a look back at the animated film which followed on from the success of the Despicable Me franchise, which starred Steve Carell as Gru - a formidable, evil villain whose army of quirky yellow sidekicks quickly became one of the most popular, and merchandisable, characters in recent cinema. As a solo feature, Minions would be seen as a pretty daring endeavour had it preceded the Despicable films, given the “heroes” of the movie speak only in a gibberish language, have a strange predilection for villainy and base their value system upon which is the most badass outlaw they can find and serve. Certainly a more controversial recipe for what must be seen as a family film. However, most audiences have seen the release of a spin-off as a mostly money-making scheme, capitalising on the wealth of popularity of these little guys, who are already on so many lunchboxes, keyrings and bedspreads. The plot of Minions is largely set in the swinging sixties, where the Minions (after travelling through centuries looking for the perfectly monstrous master) hope to seek a new leader to follow at a convention of villains. There they discover Scarlet Overkill (Sandra Bullock), who challenges the Minions to steal the Crown Jewels of Great Britain in order to prove their worth to her. Mishap mania ensues, as the slightly dim trio of Stuart, Kevin and Bob (Minions) wreak havoc across the streets of London and get into plenty of hijinks. There is nothing hugely wrong with Minions; it completely works on a surface level but no more. Whilst benefitting from the success of the Despicable Me films, they also suffer as audiences will notice a severe lack of humanity, in particular in the sister characters who were the grounding of the previous two films. Also, Gru is far more compelling than Scarlet. The music and aesthetic of sixties Britain is well delivered, accompanying the lighthearted plot well and the pace of the animated film is perfect for its target audience. It has vibrancy and tempo which are always suited to films of this genre. However, all this feels a little flat with a follow-on from such a raging success, like an extended special feature which should have just been tacked on to the blu-ray. Not to be thought of as the end of the Minions at all, the franchise still holds endearment with a huge wealth of viewers from all age ranges, the Despicable Me films will most definitely return, however, another solo Minions outing seems as likely as Stuart, Kevin and Bob singing the lyrics to a Radiohead song correctly. Minions is out to buy on Monday 16th November. Check out more UK Film Reviews. #Animation #DVDReview #ChrisOlson #filmreviews #filmreviewsUK

Directed by Nicholas Arnold “The ugly duckling” Written By Jack Bottomley When we look at Hollywood, we sometimes find issues and messages watered down to allow a movie mainstream profitability. In many ways this is why it is often up to a brave director or an independent source to generally tell stories- warts and all. However much can still get lost in the translation to screen. Plus, in this age of multimedia a lot can get screwed up or messed about with but one plus point (for film anyway) has been the formation of crowd funding campaigns and projects being allowed to flourish more easily from more independent sources. And here is one such project, in this hard-hitting and (by film’s end) utterly harrowing tale of depressive states and how a lack of help can lead to people being engulfed by darkness. The film sees a father, Thomas (Richard Roy Sutton), coping with long-standing issues stemming from childhood and sinking into depressive moods as a result of regular nightmares. And more pressure comes in the shape of his five-year-old son William (Toby Bisson), who needs his attention. However some solace may lie in an understanding hypnotherapist, Peter (Robert Lawton), who is recommended by a friend. Still, will Thomas choose to face his demons, or let them overpower him? William’s Lullaby opens with the words “For Bob” and after watching writer/director Nicholas Arnold’s film play out, it is easy to see a heartfelt and personal motivation to this occasionally poignant tale. William’s Lullaby tackles a very persistent issue of depression and it’s effects and is a film likely to strike a chord with many viewers. The budgetary constraints don’t prove too much an issue, despite the occasional home video vibe but if Arnold’s film does have one flaw it is the length. At just shy of 2 hours, the film is a touch overlong and come the end, not the easiest film to watch. That being said the naturalistic central performance by Richard Roy Sutton is impressive enough to keep you watching this troubled parent’s tragic story play out. In many ways Thomas is a hard character to relate to but that is, in essence, the point as he sinks into his moods, he changes and the film captures that with flair. Although an even better aspect is how the film sometimes flips to his son’s viewpoint and while there is familiar ground trodden in the coverage of his school life, the film successfully captures the devastating effects of mental illness on a family. Young Toby Bisson gives a believable performance and as William, is the heart to Arnold’s film. Although the real scene stealer is the late Robert Lawton, who gives an excellent and endearing performance as the skilful hypnotherapist Peter, who is among the film’s best characters. William’s Lullaby is often melancholy and filled with gravitas and ends on a truly hard to watch note but it tells an urgent tale of mental illness. Nicholas Arnold directs with soul and even if the film is too long and sometimes too obsessed with it’s contemplative pacing and dream-like sequences, this is still an admirable, no holds barred, tackling of a very real and constantly more relevant issue in society. The film associates the classic story of the ugly duckling with this issue too and is another example of how budget in no way extinguishes the fires of a wilful director and crew. #JackBottomley #Filmreviews #FilmReviewsUK #IndieFilmReviews

Written & Directed by Paul Hubert Starring Liam Nooney, Dimitra Barla & Karina Knapinska Short film review by Monica Jowett The Flight of Iro and Casper is a quirky sci-fi with a splash of romance about a man who happens upon a mirror which reflects the image of a young woman and not him. Writer and director Paul Hubert brings us an entertaining short film with some impressive comedic moments. Casper (Liam Nooney) is a lonely but optimistic office worker, teased and upset by his colleagues about not being able to find himself a date, he stumbles upon a mirror in a warehouse that shows a mysterious woman, Iro (Dimitra Barla) copying his every move, and dressed exactly as he is. Shocked and intrigued by this he is referred to a physicist by a colleague, Dr Luoma (Karina Knapinska) who has a theory about these ‘girls in the mirror’. After learning that the girl Iro is a version of himself on an alternate hidden world, Casper finds a way to contact her, and once they finally communicate, Casper somehow transports to Iro’s alternate world. When he is there, paradoxes and science fiction issues arise that will make it difficult, if not impossible, for these two to be in the same world, as they are two halves of one person. The Flight of Iro and Casper is careful to not go into too much detail about inter-world travel and the physics, not giving us a headache as we try to figure out the logistics. Drawing influence from the 1969 film Journey to the Far Side of the Sun and the Greek myth of Icarus, as Casper is hit by a falling wax wing, the combination of sci-fi and mythology shows a different way of trying to get the girl, who just happens to be the opposite yet the same version of him. This is possibly the reason he falls for her. Using an upbeat musical score, the tone matches the quirkiness of the film’s plot, corresponding to the energy in the performances the actors give their characters. Nooney suits his role as Casper, portraying the right mix of cheerful romantic and sceptic adventurer. The cinematography is not showy, great for this short film, as the black and white scenes on the other world reflect the differences in the places. The Flight of Iro and Casper is a unique and fun sic-fi movie, steering away from any mind melting confusion, to make it a cheerful short that should be checked out by anyone who enjoys a different type of science fiction. Read more film reviews here. #shortfilmreviews #shortfilm #filmreviews #filmreviewsUK #MonicaJowett #Scifi

Film interview by Chris Olson UK Film Review recently met up with some of the cast & crew from short film, Reality Mine, to discuss films, Sam Peckinpah and of course, what they would say if they were a dolphin… With us are Nick Goulden (director), Angela Godfrey (producer) and Séan Browne & Jye Frasca (who star). UKFR: Can you tell us about your new short film, Reality Mine? Angela Godfrey: [It’s] a short film about how a family man becomes implicated in his brother's environmental terrorism activities by a government that, through the internet, knows everything. He must then choose between his principles and having his entire life publicly examined and torn apart. Nick Goulden: It tells the story of Max (played by Séan), a loyal, family man who is forced to betray everything he believes in to save his own skin. It is based on the Harold Pinter play ‘One For The Road’ and deals with similar themes. UKFR: Séan, what attracted you to the role? Séan Browne: I've been lucky enough to have worked with Nick a couple of times before on various projects so teaming up with him and his producing partner Angela Godfrey again was an obvious decision to make, made all the easier by the fact that I thought it was a well written and unique script about a very pertinent issue today. Also the character of Max was someone I both felt for and felt I could identify with, were I put in the situation, so that was something I wanted to explore. UKFR: And Jye, who do you play? Jye Frasca: The character I play in Reality Mine is Charlie Mayhew, a government official working within the anti-terrorism department. He is seemingly your everyday kinda guy but as the story unfolds you see he also possess a steely determination to see justice served. UKFR: Your character is a blend of intimidating government operative and a wet-behind-the-ears everyman. Would you say that’s fair? And why did you take this role? J.F: I would. I was really thrilled to get to do this role for a number of reasons but mainly because of the character’s complexity. The juxtaposition of Charlie’s personality was fascinating to me and it was interesting to explore playing a character that had so much power but had been written to exude that power in the most subtle of ways. It was both challenging and liberating. UKFR: Séan, the character you play experiences some huge emotional challenges during the film. Is this particularly difficult given the short running time? S.B: Not really no. I think our mental and emotional states are so erratic in life (unless you're a buddhist monk or blissed out on substances) that it's relatively easy to go from one to another, moment to moment, especially depending on the stimuli and certainly in a high-pressure situation such as the one Max finds himself in. It's a game, a power struggle, between Max and Charlie, and just like in any football match there are huge shifts in the emotions of the players from one pass of the ball to the next, and also hopefully in the spectators, or in our case the viewers, as well. UKFR: What was the motivation to tell this story Nick, in particular with these themes? N.G: ‘One For The Road’ is set in an unnamed, Soviet-era country where a sadistic interrogator breaks his suspect through threats and mind games that play on the suspect’s vulnerabilities. Backing up the threats is the knowledge that the interrogators have the power of life and death over the suspect and the suspect’s family, and uses the threat of various forms of violence to break the suspect. This is our, now outdated, template for a police state. Reality Mine seeks to bring this definition up to date. Reality Mine’s key themes are power, family and loyalty. The key thesis is that governments have total power over us, not through the mortal threat of violence as before, but through control of the internet. This control can overpower both our family ties and personal loyalties, not necessarily through the threat of imprisonment, but through the threat of character assassination. Far reaching new laws in the wake of 9/11 coupled with new technology have enabled governments to know almost everything about us. I wanted to make a film that explored this, and thereby comment on the nature of power in the modern era and show how people can be controlled and manipulated. We are reliant on governments to not abuse this power, and this is why the protagonist in the story, Max, is an ordinary person like us. His ‘crime’ is loyalty to and love for someone whom the government has decided is a terrorist, and he must therefore be broken. I also wanted to question our understanding of ‘terrorism’, a word that has become a blanket term for anyone the government doesn’t like but can’t pin to another government. UKFR: It is a weighty short film, pulled off by a talented team. Angela can you tell us about why you wanted to be involved with Reality Mine? A.G: When I first read Reality Mine I knew it was a very special story and I immediately wanted to get involved however I could. In just 15 minutes it manages to get you gripped, intrigued, panicked, confused, angry and sad. All whilst sending a very important message about us in a digital age. Not many 15 minute stories can do that! UKFR: And what did your role as Producer involve? A.G: On a low budget project like Reality Mine Tom [Harberd], Nick & I basically took care of everything; getting it financed, casting, organising the shoot, seeing it right through post production, (working closely with the editor and colour grader, composer & VFX etc,) and then, finally when it was finished, marketing, taking it to festivals & distribution. UKFR: And how was it working with Nick and the rest of the cast? A.G: Amazing! Firstly, Nick is a wonderfully gifted writer/director, who is a dream to work with. He has big ideas and wants to make the world a better place through film so he is an excellent person to have around on set and is great at getting the best out of his team. He is fantastic with the actors and is very talented at getting those one-off fantastic performances we all hope we’re going to get. Séan Browne is also one of those very special people in the world. He’s so positive to be around and somehow when he’s in the room everything is calm. Séan really got down to the nitty gritty with his character, so his performance really shines because of it. He’s such a talented actor and I very much hope I get to work with him again. Jye is a true professional. He is always on the ball and pushes the boundaries to give the best performance. Jye was fantastic to work with on Reality Mine and managed to create a fine balance with his character by keeping us guessing all the way through…is he a good guy or is he a bad guy? That’s a very tricky role to play as an actor and he does it tremendously. Michael Ryan who plays Dan Keller (Max Keller’s brother), was just wonderful. He gave a blinding performance in both of his scenes, but I’ll never forget when we shot the very last scene of the film, Michael gave such an outstanding performance that there wasn’t a dry eye in the room! Watching him act is incredible. We were so lucky to have such an amazing team work with us on Reality Mine and it might sound overly sweet, but we really could not have made it without every single person who helped us. The hours were long, the conditions tough, but everyone really mucked in and made it work. UKFR: And Jye, your chemistry with co-star Séan Browne is hugely compelling. How was it working with him and Nick? J.F: Thank you, that’s very kind. Working with Séan was really enjoyable. He is an extremely talented guy and has a wonderful way of being present during every take. He is also a nice guy off camera and that made the whole experience even more enjoyable. Nick is the best and I truly loved working with him. The funny thing is straight after I finished auditioning for the film I phoned my agent saying “it’s not going to happen” - during the casting Nick had asked me to read the scenes several times but each time completely different from the last, which was great, however I left the casting thinking “Damn. I’m just not what he is looking for” - so when I got the call saying it was going to happen I was a little surprised but knew instantly that Nick was going to be awesome to work with. On reflection, I suppose he was wanting to explore all the angles I could bring to Charlie and not just challenge me and my ideas of the character but also his own. Nick had a very clear vision for his film from the start which always makes your job as the actor, fulfilling that vision, so much easier. Nick also generously allowed Séan and I to play with that fragile dynamic between both characters in the story during our rehearsals so when it came time to film we could really fly. UKFR: Séan, how was it working with Nick? S.B: Nick is that rare thing of being both a complete sweet-hearted lovely great fun guy, and a brilliant writer / director who has a very clear vision of the story he's trying to tell and the best ways to get that onto the screen, so it's always a total pleasure working with him. I almost wish I had some badass horror stories to share but he just makes it very comfortable and easy to do what he's employed you to bring to the table. UKFR: Nick, how important was the casting? Were there elements specific to the characters that you were looking for? N.G; Hugely important. Firstly, with Dan and Katie, our eco-terrorists, it was important to have roguish, charismatic performers who could quickly project the enthusiasm, excitement and energy of the brief opening scene. For the character of Dan, we also needed an actor who could show the pain and heartbreak that we see at the end of the film. Lyneah Johnson was excellent as Katie and Michael Ryan was outstanding as Dan. It was a great shame we could not see more of them in the film, and in fact a brief expositional dialogue scene with Dan sadly was left on the cutting room floor. Flo, Max’s wife, was also a crucial although small role. We needed someone who could represent the bosom of the family and help us understand both why Max wanted to hold the family together but also give us a feeling that he was in trouble if he didn’t! Kezia Campbell, I hope you’ll agree, was perfect in the role. I must quickly mention Tommy Grabiec, who played Sergeant Keele. Again, although a small role, it needed a performance that immediately informed the viewer of the world that Max was entering, and Tommy was the perfect choice. The key casting decisions were, of course, Max and Charlie. It was important that the ‘battle’ between Max and Charlie came across as a rather David and Goliath affair, where Max looked to be the Goliath. Max therefore needed to exude a certain measured arrogance and somewhat bullying nature which could then be cut down to size. Charlie, on the other hand, needed to be softly spoken, polite and unassuming, but possess an underlying confidence. It was vitally important that Charlie appeared, in every respect, to be no threat to Max and in fact to be a nicer, more easily pushed about character. As the struggle between the two unfolds, it had to appear that Max held every advantage except one – that Charlie knows everything. Given that the film’s success was always going to rest on the key scenes in the hotel, and the interplay between the characters, it was essential to get it right. I was lucky enough to have worked with Séan Browne on a number of previous projects, and with his good looks, natural self-confidence and easy smile he was a natural choice for Max. He’s just not a guy you expect to lose! For Charlie, I am extremely lucky we found Jye Frasca and grateful to him for all his genius! His performance brought out brilliantly the subtle power of the character but he also brought a good deal of humanity to the role, which is exactly what Charlie needed UKFR: When you were making Reality Mine, were there any influences you regularly drew upon? And in your filmmaking in general, do you have any Greats that you lean on? N.G: In the writing and prep phase I frequently referred back to ‘One For The Road’ in order to remind myself of the tone I was aiming for. I also looked at a lot of films that shared the same themes, but also, critically, had a similar structure to Reality Mine. Most important in this was the issue of the long hotel room sequence of something like 12 minutes, happening essentially as one scene in one room. There was a huge danger this could get extremely dull, especially as the piece was always going to be dialogue heavy. Nevertheless, I didn’t want to dilute the film by cutting away somewhere else. Taking the lead from films such as 12 Angry Men, I resolved to split the action into French scenes and move the action to different areas of the room to suit the different beats of action. During filming itself, there was very little time for anything other than shooting the thing but in the hotel room this issue resurfaced and I am very grateful to cinematographer Adam Scarth for his input on how to structure the shots to compliment the blocking and inform the whole scene. In terms of the greats, of course there are many. I would point to Sam Peckinpah in particular for Reality Mine, as Max shares many traits of the classic Peckinpah protagonist of a rugged, independent-minded man struggling to survive in a modern world in which his worldview and beliefs are ill-suited. Unfortunately, I forgot to drink heavily during filming, and I didn’t have a bowl of coke by the monitor, so I’m still missing a few Peckinpah tricks. Maybe next time… UKFR: Speaking of next time, where is everybody headed now in their perspective film careers? A.G: I’m working closely with Nick at the moment on quite a few projects, but the most exciting one is a black comedy feature film about an old lady who wants to jump off a cliff so she can keep her independence. Believe it or not, it’s a feel good, family movie! N.G: Next in terms of filming I’m looking to shoot another short around January, but have yet to find the right project (please let me know if you know one!). In terms of features, I’m currently writing the black comedy, aforementioned, called ‘Grace Escape’ about an old lady who decides to thwart her children’s attempts to put her into a home by jumping off a cliff – except she needs her grandchildren’s help to do it. There’s also a feature length version of Reality Mine in development, which I’ll be focussing on after Grace Escape. I am also hoping to work with writer Nic Alderton on a psychological thriller in the vein of Christopher Nolan’s ‘Following’ and the ‘Bourne Identity’, but that will have to wait for a gap in the schedule! J.F: Well, I have just moved across the pond to the USA and now live in LA. So as for what’s next… I have no idea?! But it’s exciting! UKFR: And...of course...what would you say if you were a dolphin? A.G: I thought you’d never ask! I would say, “Humans! Please stop throwing all of your rubbish in the sea! And start being nicer to all the fishies.” And then I’d end it with an impression of a whale. N.G: I would complain that there aren’t enough opportunities for dolphin directors in the current climate. J.F: If I were a dolphin I’d say “I need new head shots”! S.b: A series of clicks and nods relating to my other-worldly origins and how man as a species should really stop shitting on each other and this fragile rock we all share, and yeah - so long and thanks for all the fish. Click here to read the full film review of Reality Mine. #Interview #Shortfilm #SupportIndieFilms #Britishfilmmaking #Film #Filmreviews #FilmReviewsUK

★★★★★ Directed by John Crowley Starring Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Julie Walters and Jim Broadbent Film review by Chris Olson Given the current state of gender politics and the discourse which has evolved over the last year, especially in the film industry with many Hollywood names speaking out against inequality in terms of pay and creative opportunities, John Crowley’s film seems to slide in perfectly in the aftermath of a politically powerful film like Suffragette. Brooklyn is led by a central performance, by the incomparable Saoirse Ronan, which is totally self-sufficient and utterly enrapturing, as well as depicting a character who transcends many stereotypes of her gender. Ronan plays Eilis, an Irish lass who travels to America after finding her hometown offers no prospects in terms of jobs or marriage. Although seemingly confident about her choice, the epic journey across the pond is fraught with trepidation, both physically and emotionally. Staying at a boarding house run by an endearingly curmudgeon Mrs. Kehoe (Julie Walters), Eilis finds her social skills completely out of tune with the American way of life. Learning from the young women around her, Eilis carves out a path for herself, working at a trendy department store whilst studying to be a bookkeeper, with an end goal of becoming an accountant. Along the way, Eilis develops a romance with an Italian-American named Tony (Emory Cohen), whose gentlemanly courtship is a welcome change from the usual depiction of 1950s red-blooded men - no casual sexism here. Just when Eilis looks to be living the American Dream, though, her roots take hold of her, and the two countries which make up her identity begin to pull her apart. A subtle and sophisticated existential romantic drama, Brooklyn is a piece of gorgeous filmmaking and beautiful storytelling. Director John Crowley shows complete control over this movie, never yielding to pressure in terms of pace or tired tropes. Viewers who get bored easily should probably queue up for a blockbuster, Brooklyn is a substance over style kind of outing. Based on the novel by Colm Tóibin, and with a screenplay from Nick Hornby, the plot is allowed to flourish on screen without resorting to cheap theatrics. There is no need for any of that anyway, with Ronan delivering one of the best performances this year. Her portrayal is completely engaging, stoic at times and then emotionally blustered at others, it is a strong delivery throughout and a fantastic example of female prowess. The supporting cast is far from ornamental either, with some delightful performances. Including Walters, who adds a fantastic levity to the scenes she rocks up in, and Jim Broadbent plays a much needed touchstone for Ronan’s character. As a piece of period drama, the film has a wonderful aesthetic to lose yourself in. Sumptuous backdrops, both Irish and American, are done with an authenticity which is easily missed in other such attempts. At no point did the story lose its realism, and with the heavy, relevant themes, Brooklyn is able to throw its hat in the ring for the awards season. I would say that the film is most likely not going to compete with the bigger movies, but Ronan cements her place as one to continue watching. For more film reviews click here. #Filmreviews #FilmReviewsUK #TheatricalReleases #ChrisOlson #moviereviews #MovieReview #UKFilmReviews

Written and Directed by Gordy Hoffman Starring Marci Miller Short film review by Hannah Sayer This troubling tale is hard to pin down into one genre as, with its shifting tone, there is something odd but likeable about Gordy Hoffman’s short Dog Bowl. The short film opens with a shot of Debra, played by Marci Miller, and her dog; comically, the dog is being fed from the jar that she is eating out of. This is strangely effective in setting the audience up to think that the narrative they are about to witness is just a quirky comedy. Some of the darker scenes later shock and build up the intensity as the viewer racks their brain trying to figure out what is going on. The quick and focused editing allows for realism to play a huge part in the depiction of this story. The intercutting of shots of Debra at work and at home suggests that the viewer is meant to pick up on the small details that are happening in her everyday life. This is uncompromising filmmaking, as within the first few minutes of the film the viewer witnesses Debra being groped at work.. It is clear that she is repeatedly used for sex at work. The viewer feels like a voyeur of something they should not be witnessing. This is reinforced as someone is on look out while the act occurs, who tells the man to stop when a car approaches. Hoffman impresses in his tackling of these scenes; the camera fails to pan away and we are forced to witness what is happening right in the centre of the frame. Then, a development in the narrative occurs, where Debra is watching a lady walking her dog alone at night, when she steals the vest of the service dog and locks herself in her car. This is the unclear introduction to Dog Bowl and it certainly creates a sense of intrigue to find out more about who this woman is and what is motivating her actions. No music is used up until this point and it encapsulates the narrative when it is finally used. The score by Petra Haden is effective throughout of creating a dystopian feel, reminiscent of Chilean composer Cristobal Tapia de Veer’s haunting original score for Channel 4’s excellent television thriller Utopia. There is certainly an underlying theme of women being seen as objects to be used for service, which is evidenced when Debra decides to put on the service dog’s vest. There is a focus on the intensity of her actions, as she is told she is not allowed to wear it at work, leading her fragile nature to be exposed. The groping continues once she is no longer allowed to wear it. It is as if the vest acts as a barrier protecting her, but also suggesting that she is of service to be used by men. The film’s dystopian tone is reinforced at the big twist, as something is found in the vest when her dog is found to be bleeding when wearing it. Hoffman is ambitious in the scale of the subject matter that he tackles in this short film, as it is revealed that everything all adds up to be part of a bigger picture, where Debra’s loneliness is explained to be of no fault of her own. With its slightly absurd but comedic ending, that seems like it could be part of a different film altogether, the juxtaposition of tones throughout creates an overall dark but at times light-hearted dystopian vision. Click here to read more film reviews or head over to our Festivals page for more reviews of films at this year's Cork Film Festival. #CorkFilmFestival #shortfilmreviews #shortfilm #shortfilmreview #HannahSayer #Filmreviews #FilmreviewsUK #FilmFestival

As December approaches, and the big hitters of cinematic releases are winding up (Star Wars, The Hunger Games), audiences will probably hit January with an all-time low of post-Christmas blues! Here at UK Film Review, we care about the mental health of our film-loving readership, so have compiled a short list of movies, along with their film trailers, to look forward to in 2016...sadly at the time of publishing this, there is yet a trailer for Captain America: Civil War...#sadface. #1 - The Revenant As UK Film Review's current "Trailer of the Week", we are eagerly anticipating this movie starring Leonardo DiCaprio and Tom Hardy. The trailer itself is utterly atmospheric and ballsy... #2 - Suicide Squad Arguably the only other film to rival Civil War's hype, this DC film starring the likes of Jared Leto, Will Smith and Margot Robbie has been the touchstone of many movie conversations since ComicCon 2015... #3 - The Jungle Book Not everyone will be be excited about this remake of a Disney classic, but the New Year is alwasy about hope. This movie trailer has enough style and flair to get us excited and even features the classic tune from the original...if only whistled... #4 - Kung Fu Panda 3 Jack Black is back as everyone's favourite fighting Panda, proving the franchise has been a big hit with animation and film fans alike. The films have a respectful nod of the head to the anime genre, as well as some excellent slapstick moments cemented by a star studded cast... #5 - Zoolander 2 Okay, we may be reaching here a little. But Ben Stiller is a firm favourite with audiences, and his funny fashion film is getting a "much needed" sequel that we should all "respect". That being said, the movie trailer is pretty funny... Still depressed about the end of 2015? Head over to our YouTube channel and check out our Film Trailers 2016 Playlist. #Filmtrailers #movietrailers #films2016 #trailers2016 #Filmreviews #FilmreviewsUK