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Directed by Jordan McGibney Starring Jordan Smith, Luke McGibney, Kyle Turlunch, & Noor Lawson Review by Amaliah S. Marmon-Halm Set against a dark urban city background, Stereotype revolves around a young teenage boy, Leroy (Jordan Smith), who has to come to terms with the loss his brother to a knife attack. In a very violent display of racism, a gang of white racists manipulate a mentally challenged man called Judas (Luke McGibney) to stab Leroy's brother Dez (Kyle Turlunch), in what comes across as a sort of sick way to get further kicks out of their attack, especially as Dez cared for Judas. Watching the hurt and disruption that his brother’s death has caused his family, Leroy sets to take matters into his own hands. In order to achieve his aims, Leroy is confronted by a gang leader to take revenge. Alongside the pressure of media and his own conscious, eventually Leroy decides to go out into the night and seek on Judas’s pregnant girlfriend, Tracy (Noor Lawson), creating moral choices that he must confront. At the centre of the film is the idea of morality and the power that stereotyping can hold. Add this to the theme of knife crime and loss, we are left with a storyline designed to challenge an audience's views on urban ethnic minority youth. As a result, the film does a powerful job of highlighting the painful consequences of knife crime. I don’t know whether it’s the swelling music, intense themes or the sheer emotion which pours from each of the actors, but it is impossible to not sit and watch this film without feeling that intensity. The audience’s own judgements and views of stereotypes guide them to what they think the outcome will be. Not only is this a highly emotive film, it is also a film with a cause as it is being supported by several bodies trying to pave a better way for young people; Made Corrections, Stretch and The Kiyan Prince Foundation, all of which are charities that mainly work with young people and ex-offenders. Some of the young people these organisations work with have experienced the type of circumstances like those displayed in the film. As well as this, the film is apparently being donated to these charities to be used in workshops over the next year, Dean Stalham Founder of Made Corrections said, “The film is a marvellous achievement and a film that we can use to challenge mindsets”. Director Jordan McGibney managed to bring his own personal experiences into the film, as he himself grew up in a council estate and experienced what it’s like to live in these rough settings. When asked about his motives in making a film like this, McGibney said, “It is never black or white, in my experience the situations are complex and are not the stereotype clichés that we see in many films today”. Overall, this film is wonderfully made, highly emotive and has a clear message about looking into the power of choice. It is obvious that it has been designed to be provocative and make you squirm in your seat in order to create the intended dialogue, mainly the issues of knife crime, the dangers of stereotyping and the power of morality and choice. This film will premiere at The British Urban Film Festival on the 21st September 2015. #Stereotype #Shortfilm #amaliahsaramarmonhalm

Directed by Dean Charles Written by Owen Mowatt Starring Neil Reidman, Naomi Ryan & Roger Griffiths Review by Amaliah S. Marmon-Halm Written by Owen Mowatt and directed by Dean Charles, Hard Time Bus is a romantic drama following the (mainly) lows of Mark Bishop. After a rude awakening and what seems like a series of bad dreams, Mark (Neil Reidman) is brought back to reality with a bump. This causes him to make the hasty and forced decision to start making plans to marry devoted girlfriend, Denise (Naomi Ryan). After discovering his friend’s feelings towards his decision, his newfound direction opens his eyes to the life he led and the friends he thought he knew. He turns to best friend Fitzy (Roger Griffiths) for advice on what he should do next, only to be ridiculed for not following the Fitzy Rules: never marry and never settle. While all this is going on, Mark might already be too late as he learns that Denise has already caught the eye of a possible new suitor and is seriously considering a different proposal. Pool, alcohol and young “tings” are all that he and his friends can focus on. After living a life of carefree apathy and complacency, the years finally catch up with him, especially after news of his friend Shaun (Bailey Patrick) falls on hard times. Mark receives an overdue wakeup call and now faces a race against time to prove to Denise that he is worthy, but has it all come too late? And what will it take for him to get his life back on track? I did find this film enjoyable and relatively easy to watch, however as no film is perfect, there are a few negatives. It does seem that some parts might have either been unnecessarily stretched or could have been left out of the final cut altogether. There were also a few instances where characters with the main purpose of helping the plot along have such a forced performance, it does temporarily ruin any creation of atmosphere. That being said, Reidman’s performance as leading man is very well done and he does a very good job of pulling in the audience into Mark’s conundrums. Overall, this is a well-made tale reminding us to take care and remember what is truly important to us, before the chance to keep hold of them slips away. Otherwise, someone else might swoop in and take it from beneath your nose. #Indiefilmreviews #SupportIndieFilms #amaliahsaramarmonhalm #HardTimeBus

Review by Chris Olson Danny Boyle’s notoriously brilliant drama starring Ewan McGreggor as a heroin addict in Edinburgh, who attempts to free himself of his substance dependence. Renton (McGreggor) is a full-time heroin addict. His involvement in the drug scene spans all aspects, from the recreational use of the substance, to the crimes committed in order to pay for the habit. His friends are also mostly users, as well as deadbeats. However, after one too many nasty accidents, Renton vows to rid himself of his addiction, hoping to avoid time in prison, or a worse fate. Unfortunately for Renton, his former life as a junkie is just as difficult to shed as his heroin dependency, and his old buddies continue to haunt his attempts at forging a new life for himself. From an extraordinary director, Trainspotting captures a darkly hilarious atmosphere to this small group living in Scotland during the heyday of heroin. The starkly bare and tragic lives that these addicts live is represented in both physical and emotional terms throughout the film, and it is the vulnerability of these characters which makes for the most conflicting aspect. Renton is a very likable character, with some witty narration during the film and some very funny lines to his mates, but his delusions about the scale of his problem are quite scary. One of Renton’s friends, called Begbie (Robert Carlyle), is violently disturbed, but not a drug user. His addiction to confrontation and aggression is seemingly more destructive than drug taking, and his reliance on Renton for a better life is a terrifying relationship to watch unfold. Music is chosen well in this film, using some great tracks from the likes of Iggy Pop, Lou Reed, and Underworld. These artists, and their connections to drug scenes, is unmistakable, and gives the movie a great deal of authenticity. The film has some pretty heavy themes, which are unavoidable given the plot, but there are a few moments of happiness which emerge, and give the viewer a more rounded viewing experience. Such as: the group’s enduring bonds to each other, their commitment to their addictions, and their unyielding creativity when it comes to staying high. One of the best films I have watched from my 50 Films To See list, and probably the best performances I have ever seen Ewan McGreggor and Robert Carlyle give. #Trainspotting #ThrowbackThursday #ChrisOlson

September Preview - by Hannah Sayer As Oscar season gets officially underway in September, the cinematic calendar is already looking promising and intriguing this fall season. This coming month plays host to an array of films being released; some that definitely should not be missed! Me and Earl and the Dying Girl received its official premiere at the Sundance Film Festival in 2015, where it received a standing ovation and won the U.S. Grand Jury Prize: Dramatic and the Audience Award for U.S. Drama. This critical darling, released on the 4th September here in the UK, is directed by Alfonso Gomez-Regon and written by Jesse Andrews; the film is also based on Andrews’ 2012 debut novel. Greg Gaines, played by Thomas Mann, is a high school student who befriends fellow student and past childhood friend Rachel Kushner, played by Olivia Cooke, who has recently been diagnosed with leukaemia. Greg’s love of movies means that he spends most of his free time with his best friend Earl, played by Ronald Cyler II, making short film parodies of classic films. As Greg’s and Rachel’s friendship blooms, he decides to make a film for her. Described as both heart warming and tear jerking, Me and Earl and the Dying Girl is a sure winner for any film lover. What’s better than a film starring Tom Hardy? A film starring two Tom Hardy’s: Legend. Based on the notorious life of the Kray twins, the film is written and directed by Academy Award winner Brian Helgeland (Best Adapted Screenplay, L.A. Confidential). Although an already well-known and brutal tale, Helgeland has chosen to tell the story from the point of view of Reggie Kray’s wife Frances, played by Emily Browning, as the film follows the rise and fall of the East-End gangsters. With Tom Hardy playing both roles of Ronald and Reggie Kray, it will be interesting to see him blur and differentiate the two characters, in a likely legendary dual-performance. Released on the 9th September, Legend is going to be the most thrilling British film of the month. With an impressive cast made up of Jason Clarke, Josh Brolin, John Hawkes, Robin Wright, Michael Kelly, Sam Worthington, Keira Knightley, Emily Watson and Jake Gyllenhaal, Everest is a real life dramatisation of the 1996 Mount Everest disaster directed by Icelandic director Baltasar Kormákur. On the 2nd September, the film will open the 72nd Venice International Film Festival; a coveted premiere spot which led Birdman last year to Oscar glory where it won four Academy Awards, including Best Picture and Best Director for Alejandro González Iñárritu. The film follows two expedition groups, one led by Scott Fischer (Jake Gyllenhaal) and the other Rob Hall (Jason Clarke), as they attempt to reach the summit while being faced with one of the strongest snowstorms that tested these climbers to the limit. Expected to be a 3D visual spectacle, Everest is likely to be a thriller that needs to be experienced on the big screen. It hits cinemas on the 18th September. The Martian, directed by Ridley Scott, is based on the 2011 debut novel by Andy Weir. Matt Damon stars as Astronaut Mark Watney who is presumed dead and left on Mars by his crew when a storm causes their mission to go horrifically wrong. Watney is in fact alive and has to struggle to adapt and survive on his own while trying to send a signal of his survival to Earth. Upon successfully sending a signal through, NASA and Watney’s crew plan a rescue mission to save him. With a strong supporting cast including Jessica Chastain, Kristen Wiig, Jeff Daniels and Chiwetel Ejiofor, this is an exciting new project from Ridley Scott, who is of course no stranger to the Sci-Fi genre, having directed acclaimed films such as Alien and Blade Runner. On the 11th September, The Martian is premiering at the Toronto International Film Festival, where it will follow with a general release in the UK on the 30th September. Upcoming Films and Release Dates in September: 4th September American Ultra No Escape Ricki and the Flash The Transporter Refueled Dope Miss Julie Me and Earl and the Dying Girl Buttercup Bill 9th September Legend 10th September Maze Runner: The Scorch Trials 11th September The Visit Irrational Man 18th September Aloha A Walk in the Woods Everest 25th September Lessons in Love Life McFarland 99 Homes Captive Solace Miss You Already The Messenger Just Jim 30th September The Martian #Comingoutin #Legend #MeandEarlandtheDyingGirl #TheMartian #Everest #HannahSayer

Directed by Antoine Fuqua Starring Jake Gyllenhaal, Rachel McAdams and Forest Whitaker ★★★★ Review by Chris Olson “Hope & Glory” Rarely does a film get defined by its genre as much as a boxing film. Those viewers familiar with movies like Raging Bull (1980), Rocky (1976), Warrior (2011) etc, will be no strangers to the structure of a boxing/fighting film - where violence and brutality are kept within the confines of an organised structure. Antoine Fuqua’s lively and gritty Southpaw follows a riches-to-rags-to-riches story, rarely subverting the genre, but still pummels the viewer with enough emotional blows and intensity that you won’t ask for a refund. Jake Gyllenhaal plays professional boxer Billy Hope - a man at the top of his career, only to have it snatched away after a violent and tragic run in with a challenger’s entourage. Left broken and unstable, Hope’s situation goes from bad to worse, as social services deem him an unfit parent, taking his daughter Leila (Oona Laurence) into the system. Having grown up in the system himself, Billy channels his anger, fear and frustration into his boxing in order to climb the ladder once again - using the wise teachings of local trainer Tick Wills (Forest Whitaker). With the hard-edged hip-hop soundtrack and the definition of Gyllenhaal’s abs, viewers entering into Fuqua’s Southpaw may forget to bring with them a box of tissues - but be warned, you should need them! The ferocity of the fighting is matched by the depth of emotion that is poured into certain scenes, allowing a gripping variety for the audience that is not Raging Dull. Gyllenhaal is formidable in this film, tackling every aspect with intense purpose that is believable and filled with pathos. Forest Whitaker serves up his own impressive combination of jabs, his character’s integrity and blunt honesty is beautifully combined with Hope’s raw rage. 50 Cent is as thin as a coin, portraying the slimy organiser who shamelessly benefits from his fighter’s misery without any sense of trying. Where Southpaw finds itself on the ropes is in the inevitability of it all. Aside from the shocking tragedy near the beginning (spoiled in the trailer), the film never hits the audience with an unexpected uppercut - it follows the footsteps of all its predecessors. Like watching a classic fight on ESPN. Antoine Fuqua’s direction is evenly handed and captures the emotional turmoil with fluidity. There is no chunky, pointless dialogue or scenes. In essence, much like Gyllenhaal’s abs, he trims all the fat and has viewers gripped until the end - where we realise it looks like any other set of abs. Watch the Southpaw trailer below... #Southpaw #TheatricalReleases #ChrisOlson #JakeGyllenhaal #ForestWhitaker #AntoineFuqua

Directed by F. Gary Gray Starring O’Shea Jackson, Jr.; Corey Hawkins; Jason Mitchell; Neil Brown, Jr.; Aldis Hodge; and Paul Giamatti Review by Jack Martin “You are now about to witness the strength of street knowledge” – so goes the opening lyrics of the N.W.A’s most famous track Straight Outta Compton, and also serves as one of the first things we hear in the group’s biopic of the same name. That strength is what carries F. Gary Gray’s film all the way throughout, and even when it hits certain points of melodrama that come with every musical biopic, the power and ferocity of the people it’s representing is so strong that it’s perfectly acceptable to overlook its obvious flaws. The film charts the rise of the N.W.A, which consists primarily of Ice Cube (O’Shea Jackson Jr., the offspring of the real Cube), Dr. Dre (Corey Hawkins) and Eazy-E (Jason Mitchell) – or at least, that’s who the film decides to focus on the most, while other members MC Ren (Aldia Hodge) and DJ Yella (Neil Brown Jr.) are mostly reduced to secondary background characters – and how they inspired a whole wave of hip-hop artists and even entire communities with their anti-authority stance and truthful lyrics. Of course, each member experiences hardships along the way, from contractual complications with their white Jewish manager Jerry Heller (Paul Giamatti) to the untimely deaths of close relatives. Standard biopic fare, you might assume; but the film is endlessly entertaining and, even at nearly two and a half hours, never boring which gives it an edge that similar biopics might not have been able to have. Gray’s direction manages to highlight the obvious racial boundaries that the group members and other black civilians at the time were forced to go through – there are multiple instances of racist police officers manhandling our protagonists based purely on what they look like – without sugar-coating it for a wider mainstream audience. The LA Police Department depicted in this film are as brutal and assuming as they would have been around the time of the Rodney King incident – in one scene, each member of the N.W.A is forced on the ground outside their recording studio by a couple of police officers (one of whom is significantly also black), and refers to Heller as their “master” when he comes to their aid. In the context of this film, they are clearly bullying obstacles that the group needs to overcome in order to succeed, and Gray portrays this struggle as some sort of crowd-pleasing resolution when they do in fact rise above the pressure – but again, it’s entertaining enough to ignore much of that. The film also benefits from its casting, placing into the roles of the group members a fine bunch of young and untested actors who are more than up for the challenges that the script requires, and each one of them leaves an extremely impressive mark as a result. Jackson Jr., aside from being almost the spitting image of his father, is able to replicate Cube’s mannerisms down to a tee while also making the role decidedly his own, though we wonder how strange it must have been for the real Ice Cube, one of the producers of the film, to have watched his son on set score with several groupies and other adulterous activities whilst playing his own father. Hawkins, as Dre, exhibits a certain on-screen charisma that will surely carry him a long way in his career, with this being a perfect example of a breakout performance; he’s emotional, he’s enduring, and he’s even funny at times. The true stand-out, however, is fellow newcomer Jason Mitchell as the late Eazy-E, who the film dedicates itself to in its closing credits. The closest this film gets to a true main protagonist, even opening with his character during a drug deal that soon becomes interrupted by a violent police raid, Mitchell carries the weight of the film on his shoulders and delivers some of the film’s strongest emotional scenes with his natural on-screen abilities, and gets you to care unreservedly about his character which makes this one of the better tributes to the late rapper. What some critics will have undoubtedly highlighted about this film is its, erm, less than honourable portrayal of women, and to be honest it’s for good reason. When the female characters aren’t crying or emotional banks of support for the men, they are mostly portrayed as sultry groupies with hardly any clothing (or sometimes, none at all). It also neglects to reference the women that had allegedly been physically assaulted by their partners (former muses of Dr Dre have recently made public their own disappointment with the film’s lack of mention of their own suffering), or even some of the female artists that N.W.A members worked with in the studio, such as JJ Fad or Tairrie B. As far as the male-dominated movie seems to be, the N.W.A certainly does not stand for the National Women’s Association. It’s likely that there are some dramatized versions of real events that may distort things slightly for the common viewer – scenes such as Ice Cube trashing a record producer’s office seem a little exaggerated, and representations of other figures such as Suge Knight (played by R. Marcus Taylor) as a borderline psychotic can be somewhat cartoonish. However, none of that really seems to matter because, at the end of the day, Straight Outta Compton is a compelling and well-crafted cinematic experience that you’ll forgive the dramatized nature of it all. It is, as Dre would call it, “dope”. SO, TO SUM UP… Straight Outta Compton is a very entertaining biopic of the N.W.A, with F. Gary Gray’s committed direction and pitch-perfect performances by its talented cast being more than enough to forgive its more obvious flaws. To read more of Jack Martin's reviews, visit - http://www.filmfeeder.co.uk/straight-outta-compton-review/ Watch the Straight Outta Compton trailer below... #StraightOuttaCompton #JackMartin #TheatricalReleases #UKFilmReview

Directed by Jake Schreier Starring: Nat Wolff, Cara Delevingne, Austin Abrams, Justice Smith, Halston Sage ★★★ Review by Keiran Freemantle Author John Green has had great success with his novels targeted to a young adult audience. The adaptation of The Fault in Our Stars (2014) was a huge critical and commercial success and the same production and writing team were hoping to repeat that with the comedy-drama Paper Towns. Quentin AKA “Q” (Nat Wolff) and Margo (Cara Delevigne) are neighbours and childhood friends who grew apart as they got older. Q is a nerdy kid who wants to become a doctor and Margo is a popular yet rebellious girl who keeps disappearing. But on the eve of their senior prom Margo asks Q for his help with her revenge schemes against her cheating boyfriend and his cohorts. By this Margo gets the boy to find his lighter, freer side. After that night Margo disappears again and leaves clues for Q regarding her whereabouts. Q with his friends, Rader, the nerdy black kid (Justice Smith), Ben (Austin Abrams), basically Jay from The Inbetweeners without the vulgarity and Margo's best friend Lacey (Halston Sage) set out to find the clues and piece together the mystery that Margo has left behind. Paper Towns is a film that is made for its core demographic of teenage girls, a coming-of-age tale that aims to show the depths of teenagers beyond their sub-groups. It plays out like an updated version of a John Hughes film as teenagers from different walks of life come together to solve the mystery that is Margo as their time in high school comes to an end, a period of hell in form for most people. Despite characters being in certain cliques, Green and the screenwriters aim to show there is more them than what is on the surface suggests, whether it is taking Q out of his comfort zone, showing Margo to be an arty hipster beyond her popular girl image and Lacey states she is a smart girl beyond her beautiful image. The humour in Paper Towns is of a light-hearted nature resulting in small chuckles, but no major laughs. It suffers the same problem that affects a lot of comedy-dramas, it is not funny or dramatic enough, aiming for an unsatisfying middle ground. The most humorous parts of the film come from the dialogue as characters having exchanges with each other. The relationship between the three male friends was very realistic, they took the mick out of each other in form, like Rader's relationship with his girlfriend Angela (Jaz Sinclair), Radar's parents’ embarrassing collection and Ben saying he fancies Q's mother (Cara Buono) - again being like the lads from The Inbetweeners and this does makes Ben grating at times. Woolf, Smith and Abrams had excellent chemistry together and their interactions seem very natural and were fun to watch. They felt like they really have been friends for years. The film is about the friendship between the boys, the end of chapter in their lives and their parting of ways as much as it is a story about finding Margo and having characters taking risks. Other jokes involve an African-American character accidentally wearing an inappropriate t-shirt, thought recent events in South Carolina make it a much darker joke then it was intended to be and on the road trip the film lifts another joke from The Inbetweeners is one from the episode "A Night Out in London". Some jokes do fall flat and feel out of place, like a moment at a party that was awkward then funny. Delevigne as Margo has some witty lines being a quirky girl with a capital Q when she appears in the first act of the film (she writes notes with capital and small letters anywhere in a word) and her pranks raise a smile. Margo was Delevinge's first major film role and she gives a solid performance having a charm despite well being a selfish young woman who plays games, only cares for living for the moment and is overly idolised by Q. We are set to see her again as Enchantress in Suicide Squad. Paper Towns is Jake Schreier’s follow-up film from his directional debut Robot & Frank and he brings a certain flash to the proceedings. His cinematographer David Lanzenberg gives Paper Towns a bright, sun-drenched look, particularly for scenes with Margo adding to her seemingly being a dream girl. There is also a jovial soundtrack to adds to the mood of the film. Paper Towns is a soft comedy-drama that has excellent cast and will appeal to teenage girls and fans of Green's work but beyond that the film is average. Watch the Paper Towns trailer below... #PaperTowns #KieranFreemantle #UKFilmReview #TheatricalReleases

Directed by Judd Apatow Starring Amy Schumer & Bill Hader Review by Monica Jowett Judd Apatow’s fifth time directing, written by Amy Schumer, Trainwreck is a delightfully romantic sex comedy. Set in a summery New York that makes great use of the city, forming jokes over the nuisance of the Staten Island ferry and the Subway, with references to other New York-set films that place you on familiar ground. For first time screenwriting, Schumer shows that her unabashed feminist comedy style works well on screen. The simple plot of boy meets girl rom com formula is mixed up and changed, working well under Apatow’s comedy genius directing. What was thoroughly enjoyable was how certain scenes would go off on a tangent, with no effect to the overall storyline. One example, Aaron (Bill Hader) is having lunch with LeBron James (as himself) and arguing over paying the bill. Aaron is annoyed once again to find James has left his wallet in his car. The cute bickering between friends builds the laughter. Schumer came as surprise to be a brilliant leading lady. She proves how great it is to have a comedienne in a leading romantic role. She is actually likeable as the boozy, pot smoking woman who has strings of one night stands and stumbles around in stilettoes and short skirts. Her comical anecdotes are hilarious and quotable (tampon as bloody as the Red Wedding). However, her acting ability suggests she doesn’t need to always rely on the comedy. Her relationship with her sister (Brie Larson) and father (Colin Quinn) is heart-warming and shows a softer side to the brazen character. Supporting cast is phenomenal. Bill Hader – not usually the first go-to for a romantic lead but he is adorable and the perfect straight man opposite Schumer, convincingly so. From their first meeting on screen as sports doctor and sports hater journalist it is clear they should be together, and even better that they suit one another. Then there is Tilda Swinton who is unrecognisable as the bitchy English boss of Amy’s and a joy to see in a mainstream comedy like this. There is also Amy’s other eccentric co-workers who match the crass humour of Schumer and the ridiculous magazine they work for. Jon Cena pops up as Amy’s casual boyfriend, who’s stereotyped as the gym guy but clearly in the closet and Mike Birbiglia as the boring brother in law. Then similar to other Apatow films is the heap of cameos, from sports stars to famous actors and acclaimed sports commentators. These actors show brilliant comedy chops, even when up against SNL alumni like Bill Hader (LeBron James particularly) but it feels as though Apatow has stuffed them in to see what gains the laughs and what does not. What starts off as a new take on a romantic sex comedy soon falls into a cliché of rom coms, as Amy falls out with friends and family and has to change her ways to get back on her feet. She stops the drinking, proves she is a great journalist and makes a big gesture to prove how good she is for Hader’s hard working doctor. Schumer’s screenwriting debut is a surprising comedy hit for the summer. Schumer herself is a hit with her unpredictable personality and rapid comic delivery, there is a lot more to come from Amy Schumer. Watch the Trainwreck trailer below... #Trainwreck #TheatricalReleases #MonicaJowett #JuddApatow #AmySchumer #UKFilmReview

Directed by John Watson & Richard Miller Starring Alex Lochrie, Sam Foster & Robert Laird Review by Amaliah S. Marmon-Halm Giving us an interesting portrayal of a modern love story, ‘The Guy with the Bow Tie” tells the tale of a boy, a girl and the daily highs and lows of any relationship. The main twist is that they are constantly followed around by a quirky, spectacled man wearing a bow tie. What is even more peculiar about him is that he is also making note of their every move…a little creepy but let’s just see how this plays out. As things take a turn for the worst for the couple, it looks like it’s up to the “guy” to save them and their relationship. In order to do that, he’ll need to remind the couple of what brought them together and to remember the little things they love about each other. It is adorable to watch as he gives us a modern day version of cupid. There are only a few negatives that I can really note. There is an obvious change in quality and stability when the camera is switched to one set on a drone, which unfortunately results in some scenes lacking in quality. As sweet as the story is, there is a slight issue with the acting. The main premise is that there is no dialogue and that the audience must just feel what the actors are saying and going through. There are a few moments when the chemistry between the actors doesn’t feel as strong as it should but that may be just a slight directing issue. Other than that, this is a lovely little short film that will strike a little chord, even with the coldest of hearts. This story is sure to leave you going “aww” and looking for your nearest and dearest for a cuddle. Maybe there are times in our romantic and platonic relationships where we all need a “guy” to guide us and remind us to show a little love. #shortfilmreview #TheGuywiththeBowTie #amaliahsaramarmonhalm #supportindiefilm

Directed by Alfred Hitchcock Starring Ray Milland & Grace Kelly Review by Joseph Banham If you’re a film enthusiast, you probably don’t need me to tell you who Alfred Hitchcock is. It’s no new revelation to state that his contributions to cinema are legendary. His 1954 film “Dial M for Murder”, which was adapted from a play of the same name by Frederick Knott, is among his less celebrated work. In the timeline of his work “Dial M for Murder” takes its place just after the midpoint, just before Hitch’s glorious indian summer of continuous revered hits at the tail end of his filmography. These include “Rear Window” (1954- succeeding “Dial M for Murder” by a few months); Vertigo (1958), which many consider to be his magnum opus; “North by Northwest” (1959); and “Psycho” (1960). Being eclipsed by such masterworks makes “Dial M” no less of a fantastic achievement, albeit a more subtle and unimposing one. On a personal note, this was the film that acted as my introduction to the grandmaster of cinema. As a kid idly spending a summer holiday afternoon in front of the TV, the film came on after another ( one which I clearly didn’t find nearly as impactful as I’m struggling to remember what it was… possibly the original “Journey to the centre of the Earth”… but I’m digressing). After the typical 11-year-old boy reservations, (“Why would I want to watch anything without monsters or special effects?”), I was promptly gripped to the screen within 10 minutes. I may have been completely unfamiliar with Hitchcock, and never even heard of Grace Kelly, but I knew what I was watching was one of the most viscerally exciting films I had ever experienced. I think this touches on what makes Hitchcock’s work so universally accessible. The feelings that he often taps into are those of fear and suspense- two very primal instincts of human nature. Even if some audience members don’t understand all of the small plot points or pick up on the deeper themes, everybody bolts up on the edge of their seat when the stakes are life and death. The film stars Ray Milland as Tony Wendice, an ex-tennis player who now resides with his wife Margot (Grace Kelly) in a modestly cosy flat in London. It is revealed that Margot has been having an affair with a handsome television crime writer named Mark Halliday, something Tony has come to realise. As the two forbidden lovers go to spend an evening at the theatre, Tony invites an old college friend around, originally referred to as Captain Lesgate (Anthony Lawson), under the guise that he intends to buy a used car from him. In the first of the film’s lengthy dialogue scenes it is gradually revealed that Lesgate is a crook who uses a number of aliases (his real name being Swann) to elude the police, information which Tony intends to use against him in order to extort him into committing his adulterous wife’s murder. And so a complex plan is laid out by Tony, in which Swann can surreptitiously sneak in, strangle Margot, and slip back out without anyone ever knowing he was there whilst providing Tony with an airtight alibi. Of course it doesn’t all go to plan, thanks to some conveniently placed scissors, causing the astute Tony to hastily recalculate, this time framing the scene to implicate Margot. It is then up to the proficient Chief Inspector Hubbard (frequent Alfred Hitchcock Presents actor John Williams) to put the pieces together and prevent Margot from being incriminated and sentenced to death. The film in essentially split into two halves, quite literally, as there is even an intermission screen at the halfway point (this wasn’t uncommon for older films of a certain length.) The first half deals with a setup of the “perfect murder” whilst the second half deals with the aftermath. The script expertly flips the viewer vicariously into the point of view of several characters, creating an emotionally rich and rewarding experience. In the first half the audience is sided with the conspiring villains, with the camera placing them in the room as the third member in on the murder plot. The second half offers up the extremely gratifying experience of following Hubbard as he gradually uncovers the solution to a puzzle we already know the answer to. It is a very Hitchcockian trope for his films to feature fiendishly polite villains; Ray Milland’s performance as the well-mannered Tony makes the character all the more insidious. He is without a doubt the film’s most compelling character, making him a worthy adversary for Inspector Hubbard in the latter half of the film. The script juggles the character in a way that makes him despicable as well as completely relatable. We feel his nerves as the cracks in his scheme start to show, bringing him closer and closer to being found out. During the film’s pivotal centerpiece, the actual execution of the murder plot, the tension is wound to its tightest point creating the most memorable sequence in the film. Having set up the meticulous details of the plan in the previous sequence, knowing exactly what needs to happen and when, the viewer is plunged into the excitement of uncertainty when every little thing that can go wrong does go wrong. Our stomach plummets when Tony realises his watch has stopped making him late for the vital phone call to his accomplice; we lean forward in anticipation as he runs to the phone booth only to find it’s occupied etc. It’s suspense building 101 from the master of the craft, not to mention absolutely riveting filmmaking. The suspense would not work if the audience didn’t have a guilty affection for the gleefully sadistic Tony. This actually leads me to my one major complaint with the film which is that the two main protagonists, Margot and Mark, are simply not very interesting characters. At least not compared to Tony, who completely overshadows them and becomes a more likeable character, leading part of you wishing for him to succeed. This may have been the intention; the film is much more about the machinations of the murderous than the prevailing of the innocent. Margot and Mark are rendered to feel more like plot-devices than fully fleshed out characters, which doesn’t really detract from the core essence of the film but it would have been nice to feel more emotionally attached to Margot’s impending doom. The film was based on a play, and through the dialogue and staging it clearly shows; this is a very talky film. The vast relaying of facts, especially in the first act by Tony to Swann, requires firm attention so as not to get lost in all the minor details of the scheme. There are also several key items integral to the plot (Hitchcock referred to these as “McGuffins”) including a number of house keys which get swapped around and stolen, making them difficult to keep track of. The dialogue driven scenes with many lines of exposition will not be to every viewer’s taste, who may yearn for the atmospheric simplicity of “Rear Window” or “Psycho”. However if you have a fondness for devilish wit sprinkled with irony, then these scenes will prove utterly engrossing. Also like the play, the film is mostly confined to one location: The Wendice’s flat. The structure draws instant comparisons to another claustrophobic Hitchcock Thriller, “Rope” (1948), which incidentally is also about two immensely intelligent men trying to commit the perfect murder. The confined space helps amplify the tension; all the answers the police are looking for are always right under their noses, precariously placing Tony on the verge of devastating failure. Restricted to having only one main set, Hitchcock is reserved in his camera movements. The camera is simply there to subtly frame the action as a quiet observer, accentuating the film’s theatre roots. There is only one instance, during Margot’s trial, where Hitchcock flexes his over-the-top expressionist muscles; The scene sticks out like a sore thumb from the rest of the film as gloriously cheesy, but it works nonetheless. Its worth mentioning that the film was originally meant to be viewed in 3D. Yes, before the surge of stereoscopic stories brought upon us by Avatar, 3D had a short lived run in the early 1950’s. It was later re-released in 1980 in its 3D glory as well as recently in 2013. I unfortunately have never experienced it in 3D, despite owning the 3D compatible blu-ray ( I am yet to own a 3d TV). From what I hear the extra dimension is well implemented, recieving Martin Scorsese’s blessing. I must say, though, it doesn’t seem like the sort of film that would be necessary 3D viewing; the understated camerawork doesn’t really suit the ostentatious nature of three-dimensional filmmaking. If anyone has experienced this version, I would love to hear your views on it in the comments. If you have never seen “Dial M for Murder” and are interested in suspense thrillers, I would highly recommend buying the DVD immediately; it’s a classic of the genre. It’s a great shame that it seems to be less remembered than some other Hitchcock films; Hitchcock himself was less than enthusiastic about the final film, something I just do not understand. I’m personally kicking myself I missed the opportunity to see it on the big screen in 2013. It may not have any moments that are ingrained in the history of cinema as much as the church tower scene from Vertigo or the shower scene from Psycho, but the sum of its parts are no less powerful. #ThrowbackThursday #AlfredHitchcock #JosephBanham #DialMforMurder

Written & Directed by A. P. Stevens Review by Monica Jowett Highly developed technology like Artificial Intelligence and clones have created theories of their actual existence, which The Clone Theory, a short film written and directed by A.P. Stevens, addresses. The first short film from writer/director A.P. Stevens follows a man who has a theory on human clones. Technology is getting smarter and taking over actual life. We see the man sitting at his computer, typing away. As he finishes he rubs his hands over his face, as though fatigued by something. Narrated by Stevens in a lulling and echoing voiceover that states the conspiracy theory he believes, that human clones are real and have formed from the advanced technology we use. The clones have formed personalities based on social media and mimic human traits having watched people through their webcams. The script, performed through the voiceover, has a clear ending though at times generates confusion in what exactly these clones are and what they do. Nevertheless the enigmatic tones of the narrator leave you wanting to find out more, and how this theory developed. A.P. Stevens also stars in the short piece as the human, and the clone. The subtle change of white t-shirt to black t-shirt informs us of this, also symbolising the good and bad. The film consists of many close-up shots; of Stevens’ face, with his glasses reflecting the computer screen, then his hands as he types or places carefully on the table. There are very few wider shots, possibly due to space limitations. However the close ups do enhance the tense atmosphere, that is further developed through the narration and deep sounds of the music. As the clone, which is also portrayed by Stevens, he shifts his performance to show the subtle differences between human and clone, to good effect. For the first film from Stevens, The Clone Theory is a great example of an alternate sci-fi short film. The theory the narrator puts forth could easily be developed into a longer piece and I am interested to see what else Stevens has up his sleeve. #TheCloneTheory #Shortfilm #MonicaJowett #shortfilmreview

Directed by Ben Davies Written by Iestyn Davies, Ben Davies Starring Ollie Parsons, Nathan Apps Review by Hannah Sayer Ginger, directed by Ben Davies, is a short Sci-Fi comedy that was shortlisted as one of the final set of films in the ShortFilm48 2015 competition. Filmed and edited entirely in just 48 hours, this film experiment showcases the talents of a group of teenagers aged 16 to 18 as they create an odd but funny story of an alien’s journey to earth for the perfect root of ginger. This short film focuses on only two characters; a human and an alien, played by Nathan Apps and Ollie Parsons. While walking through the idyllic and peaceful Shropshire countryside, the human notices something crash to the ground in the distance. The alien is introduced into the narrative, as he informs the human that his spaceship has crashed on earth, leaving him stranded. The rest of the short is entirely conversation driven, allowing for understated humour to be at the forefront of the dialogue. The viewer learns that the alien is a chef who has come to earth to collect the spice ginger, as it is the only place in the universe where the perfect root can be found. The opening of the film parodies the Star Wars opening sequence and the Sci-Fi genre as a whole. This is effective as it enables the scene to be set quickly without wasting too much of the restricted running time. At times, there are clear pacing issues where the film feels rushed, but this is understandable considering the timing constraints laid out by the competition. As the human first notices the crash and gets closer to the aftermath of it, the smoke effects used and the atmospheric, eerie music reinforce the Sci-Fi aspect of the genre. However, the slapstick comedy used straight after he runs into the force field and the sharp script demonstrate that this short is more impressive when the focus is turned to comedy and parody. The film is shot entirely outside so the viewer can marvel in the beauty of the Shropshire countryside. The main strength of the short is in its cinematography; the good use of camera work and the impressive panning shots highlight and draw particular attention to the landscape. The cleverly executed ending is notable for a film of such a short nature as it causes the humour to shift from light to dark with the utterance of two single lines. This understated humour that carries the piece allows for the young filmmakers to truly excel in such a demanding time frame. #Ginger #Shortfilm #HannahSayer #ShortFilm48