★★★★ Directed by: #AniaGauer , #JulienGauthier Written by: #AniaGauer Starring: #PaulineChamalet, #DylanRaffin, #GunnarDeYoung Film Review by: Patrick Foley Quarter-life crisis is an amusing term. If the entirety of your years between 22-35 aren’t a total crisis anyway, are you even doing it right? Nevertheless, Marion, protagonist of Adulting (or Comme Des Grands) is jumping head-first into hers in true French fashion. With her career at a crossroads and her relationship unfulfilling, Marion (Pauline Chalamet) decides she needs to get away from it all. As she walks half-naked across the German-French border, she stumbles by chance upon Maxime (Dylan Raffin), the now-grown kid she used to babysit. Despite their ten-year age gap, Marion decides to join Maxime’s teenage gang on a roadtrip in order to rediscover herself and reconnect with her youth. But as she finds herself drawn to the younger man; she begins to question her relationship with fiancé Lukas (Gunnar DeYoung). Adulting is an enigmatic short about growing up and difficulties of leaving the carefree days of youth behind. What seems to promote itself as a romance is instead the personal journey of Marion. Her failing acting career, coupled with an unexpected marriage proposal triggers a soul-searching jaunt across the French border. Whilst Maxime and Lukas each play key roles, this is unquestionably her story – and it is welcome to see a usually male-centred plot outline inverted to the female perspective. It is Marion’s dream career that is being hindered by her boyfriend’s insistence on her presence at home. It is Marion who has the breakdown. And it is Marion who gets to enjoy the eye-candy of a younger, desirable paramour. The originality of the story makes it a welcome watch. The film wisely chooses not to idealise any of its characters – none of whom come out of the events without guilt. Marion’s decision to run away with a younger man is a selfish one, and we get no sense she has tried to communicate her displeasure with Lukas. But to be fair, Lukas himself is lost so far up his own backside it’s easy to see why. Maxime is keen to offer a shoulder when it suits him, but is still young and foolish. It is an excellent representation of the difficulties of growing up, and how the mistakes we make in these years are riddled with complexity. Despite some morally questionable choices, audiences will still root for Marion and understand her situation. The chemistry between Pauline Chalamet and Dylan Raffin is key to the film’s success. The pair bond over their history together, and the tension between them as they navigate the uncomfortable dynamic is powerful and intimate. The contrast with Lukas could not be more obvious, and this is essential for the audience’s sympathy with Marion’s actions. Chalamet herself brings her A-game to the role, and mixes guilt and excitement as she embarks on her adventure that is wrong morally, but essential personally. Ania Gauer and Julien Gauthier’s direction invigorates the story – with cold and distant scenes at Lukas and Marion’s home replaced by warm and soulful cinematography when Maxime comes into the picture. The film reflecting Marion’s own emotional state in this manner further evidences that this is her story. The only slip on the director’s parts is a tired and stereotypical party scene that could have been lifted from a fifteen-year-old Skins episode. This sequence drags on far too long and clashes stylistically with the rest of the tightly-woven direction of the film. But overall Adulting perfectly captures the emotional toil of growing up, and how commitment without personal satisfaction is a recipe for inner turmoil. Fine acting, directing and plot make this an enjoyable and relatable watch.

★ Stars Directed by: #KimTaeHyung Written by: #KimTaeHyung Starring: #LeeSungMin, #ParkHaeJoon, #KimYooJeong, #NamDaReum Film Review by: Alicia Moore “With prayer beads in one hand and an axe in the other, a monk hunts down a millennia-old spirit that's possessing humans and unleashing hell on Earth.” The 8th Night, now streaming on Netflix, presents the story of a demonic eye looking to complete its ‘set’ to restore its true power. It possesses a series of people while enacting an ancient prophecy, with only two monks standing in the way of its journey. This is an immensely strange comparison I’m about to make but it actually fits well: if you’ve seen the Monsters at Work episode ‘The Cover Up’ with the inspector and his small briefcase of eyeballs – that’s exactly what The 8th Night feels like; just much less child friendly of course. And yes, unfortunately I do mean this in a way that puts Monsters at Work at a higher level of recommendation than this film. The 8th Night takes a long time to get going and is overloaded with exposition sections; so much so that the main intent or meaning of the story and the history behind it starts to become lost rather quickly. The film carries a steady pace even as the tension finally begins to build which heavily damages a viewer’s response to what should be a horror/thriller experience. I do think the story of The 8th Night could have been something interesting if it was executed in a more delicate and balanced way but, since the core of this story lost its integrity somewhere throughout the film, the only thing I’m really able to explain to readers of this review is that the film is about a squishy, blood-red eyeball that possesses people. That isn’t necessarily intriguing at all, is it? One huge problem I have with the demonic eye being the focus within the film is that it completely takes your attention away from becoming immersed in the story. The CGI used is amazing, incredibly well done from a visual perspective, but you can’t detach yourself from the fact that it is just CGI. It takes the element of fright away almost instantly when you can’t help but view the evil in the plot as the artificial addition that it is in production. I always look forward to hearing the music used in different horror and thriller films as the tracks can create a stomach-twisting sense of anticipation even if the plot starts to feel muddled somewhere, somehow. Much to my dismay, The 8th Night gifts viewers with an overdramatic soundtrack that further diminishes any sense of suspense. A fellow critic mentioned that it sounds like an overpowering ‘Call of Duty’ soundtrack and they are exactly right – it’s understandable why one would think music of this nature could benefit a film within this genre but, in reality, it simply can’t. The cinematography of The 8th Night is probably the most appealing aspect overall. As a lover of Korean cinema, especially this genre, it is easy to pinpoint some popular uses of camera in specific scenes that introduce the feeling of apprehension. There are definitely some moments like this within the film that grips your attention due to the fact that it’s a widely recognisable frame. This familiarity brings an odd feeling of comfort, which might sound totally out of place considering viewers aren’t meant to feel comfort throughout this film. However, when you aren’t gripped by the plot and find yourself staring at the screen somewhat uninterested, it’s nice to be pulled back into the film by something identifiable. If you’re looking for a real fright, I don’t think The 8th Night is the film for you. I’d suggest going back to the roots of Korean and Japanese horror for that instead of these newer releases. Although there is one scene in particular that did give me chills… let’s just say that if someone smiled at me the way she did I’d be booking a trip to Mars and you’d never hear from me again - prepare yourself for that, you’ll know it when you see it.

★★★★ Directed by: #ShahabHabibi Written by: #MauriceSinner Starring: #RezaBrojerdi, #NazmiKirik, #FatimaBalaghi Short Film Review by: Emily Davison Iranian refugee Pouya (Brojerdi) is constantly looking over his shoulder for potential enemies, but he must take a risk in order to finally be reunited with his wife, Nikta (Balaghi). Ba Ham (2021), with the appropriate meaning of ‘together’, is inspired by the real life events of director Shahab Habibi and produced by the Hamburg Media School. This riveting political thriller tells an inspirational, heartfelt story of a man just trying to get by and find a way to bring his wife to safety any way he can. The short exhibits exceptional filmmaking to a high standard and is paced perfectly, never once letting up with its engaging screenplay and thought provoking themes. The cinematography is enthralling, with many varied and creative camera angles ranging from handheld to smooth. The film is grounded in reality, with a gritty down to earth tone established by on location shooting and natural dark lighting often implemented to heighten the paranoia and isolation of our world-weary protagonist. Intriguing long shots such as Pouya and his friend Erfan (Kirik) sitting in a car, seem harmless at first until we see another vehicle pull up several yards away to watch them, reinforcing the precarious situation the refugee is currently in. Maurice Sinner’s screenplay is tight and well crafted, with strong characterisations all around. Erfan in particular has a well realised backstory with the death of his brother. Pouya soon questions his loyalty, used to not knowing who he can trust, and their friendship is put to the test but is quickly strengthened when Erfan puts Pouya back in his place. Performances are good and believable all around, with the relationship between Pouya and his wife Nikta presented through the only time they get to interact with each other, either over the phone or video chat. Nazmi Kirik in particular does an excellent job as Erfan’s supportive friend, who helps him reunite with Nikta. The closing credits depict the real life sweet reunion between the two, which leave a touching final impression. Ba Ham is a very well crafted political thriller with admirable direction and a stellar screenplay. There is a perfect balance of suspense and heart, with great performances keeping the pacing fresh; a lovely film! #EmilyDavison Ba Ham (2021) trailer:

★★★★ Directed by: Josh Pickup Written by: Josh Pickup Starring: Lily Walbeoffe, Iona Champain Film Review by: Jason Knight Two sisters embark on an emotional journey on foot in the countryside. Ella (Walbeoffe) and her estranged sister Grace (Champain) are two young siblings who are going on a camping trip by themselves. They walk long distances every day, set up their tent and cook food. They cross huge fields and pass through towns. Although things between them are unstable, they have a few laughs, relax and talk about their lives and plans for the future. The atmosphere is more or less peaceful for a while, however things take a dramatic turn when the sisters start an argument regarding their parents. This short could be described as a female buddy road movie drama. The main focus is the relationship between Grace and Ella and as the narrative progresses, more is revealed about their lives and past. The film explores themes concerning family, self-discovery, regret, reconciliation and coming-of-age. Both Walbeoffe and Champain deliver terrific performances and they are very convincing as siblings with a troubled past. They have good chemistry between them and the result is great as they create scenes of heavy drama. Pickup does an amazing job as the director and makes wonderful establishing shots of nature, including fields and forests. The methodical directing successfully captures the beauty of the areas. The screenplay contains very well written dialogue and interesting characters. There are well-constructed montage sequences and the filmmakers make effective use of jump cut techniques. The soundtrack is one of the strongest aspects here. It includes a variety of beautiful songs by artists such as Marshall Ursinger, Nicole Reynolds and Nick Mulvey. The tracks were chosen wisely, as they help create the right atmosphere. Gates deserves a great deal of praise and recognition. It tells a moving story and with superb acting and directing it is an experience that is worth pursuing. #JasonKnight Trailer for Gates:

★★ Directed by: #GurveerSingh Written by: #GurveerSingh Film Review by David Richards At first it is hard to determine the genre of this short film. Within the first two minutes the footage can be seen to suggest that this is a drama-based film, and yet from then on, the sense of real emotion hits home when documentary -like footage emerges shows a real home with real children in a real family. This project can viewed as a video diary of filmmaker Singh’s emotional journey in the morning of a family relative. The transition of time is well displayed by repeating similar shots of the same garden from the same window, but seasons apart shown by the climate change of snow. Now in retrospect this transition is the bulk of this film meaning that it’s hard to outline the substance to this five-minute piece. In reality it is just a string of clips captured through a period of time, not particularly show anything of significance. On the other hand, the lack of substance allows the audience time to embrace certain emotions that the filmmaker is trying to convey, giving a sense of tranquillity and calm encouraging a message of “hey let’s just take five minutes”. The cinematography isn’t particularly bad but not too great either, creating a flat atmosphere by not adding much to the Mise en scene. Some of the imagery captured is slightly underwhelming as the seaside views are stunning as are some of the compositions, however the lack of colour and depth tends to leave no emphasis. In terms of mise en scene, it would have been nice to see more care for what we are seeing. For example, in the final outro shot we see a woman (whom I believe to be the protagonist) approach the water, to which a group of girls can be seen galivanting in the background in where we as a collective are heading. This definitely pulls away any fulfilling climax. The sound recording is unclear as conditions such as strong winds have not been assessed and approached in a manner which allows for uncorrupted capturing. This suggest that the filmmaker thinks that by slapping a suitably emotional soundtrack over the top of some footage is sufficient. This is not the case. Even with having an excuse of this being a silent short film (which it clearly is not going by the diegetic sound and intro dialogue), the sound still needs to hold on its own and be strong enough to carry this film. The editing is basic and a tad cheesy with generic crossfades but is forgivable giving the deep emotional atmosphere and ultimately works for the film. In Particular, I enjoyed the outro cut to black but allowing the soundtrack to play out giving the audience time to assess what they have just seen. Overall, as an emotional video diary this piece was endearing and satisfactory. It could be improved massively by simply adding some stunning cinematography and cutting some rather awkward and poorly staged blocking by the sea. I thoroughly like the idea of capturing ones grieving journey through a lens giving the filmmakers a chance to emotional express themselves through the art of film.

★★★ Directed by: #EdgarWright Starring: #RonMael and #RussellMael Documentary film review by: Brian Penn In every 1970s household there was a vinyl album that only got played once. It was bought on the strength of a hit single and still had its original shrink wrapping. However, when played the rest of the album was sadly found wanting; or so everyone thought. For me that album was ‘Kimono my house’ by Sparks. The two hit singles were the brilliantly inventive ‘Amateur Hour’ and ‘This town ain’t big enough for the both of us’. The remaining tracks fell into a pit of indifference as my brothers and I turned our attention elsewhere. I now attribute this omission to youthful ignorance as Sparks are one of the truly original recording artists of their time. This new film by Edgar Wright is a welcome retrospective of their contribution to popular music. The film does its best to break free of the clichés that so often bedevil the documentary format. However, Wright is still hemmed in by convention with a standard mix of interviews and archive footage. Key players in the band’s journey are featured including former band members and producers. A smattering of celebrity fans also offer their observations; but it scores additional points by interviewing ‘joe public’ fans who excitedly pick themselves out on film during a Sparks concert. There are occasional animated inserts with one dimensional characters portraying conversations in the narrative. These inserts don’t work as well as they should and sometimes make the film appear amateurish. That might have been the intention but was an annoying distraction. Nevertheless, it’s an impressive compendium of the brothers’ work over a period of 50 years. This slavish attention to detail is both a strength and weakness. Virtually every one of their 25 albums is reviewed; manna from heaven for the fans but heavy going for newcomers. Clips of their early appearances on Top of the Pops are an absolute treat as the brothers’ unique talent became obvious. Lead vocalist Russell Mael, tall and angular with a staccato delivery; and keyboardist Ron Mael, passively tapping a piano while staring into the camera. A passing resemblance to a certain wartime leader made him the talk of every playground. There’s absolutely no question how significant their contribution has been. The influence on every synth band from Duran Duran to New Order and Heaven 17 is plain to see. But Sparks are an acquired taste, and a film of this length and detail is unlikely to win over many new fans.

UNDERGROUND SOPHIE DUPUIS’ GRIPPING TALE OF REDEMPTION GETS UK RELEASE IN AUGUST “A nuanced portrayal of real, human characters; both dramatic and poignant, Souterrain is one of the best Canadian films of the year.” Whistler Film Festival “A thoughtful exploration of the emotional lives of men working in a Quebec mine. What’s most emotionally resonant in Souterrain is the way that the men react to losing their colleagues.” Seventh Row Sovereign is proud to announce the UK release of Canadian drama UNDERGROUND (Souterrain) on20th August, in cinemas and on Virtual Cinemas and VOD. Maxime works in a mine in Val d’Or. He shares his time with his girlfriend and his childhood friend, Julien, who was disabled after a car accident he caused two years earlier. Feeling guilty, Maxime wants to redeem himself. But he is held back by Mario, Julien’s father who also works at the mine and who still holds it against him. One day, an explosion resounds underground. As part of the rescue mission, Maxime descends into the cave of the mine with the firm intention to save his colleagues. Joakim Robillard (King Dave) is outstanding as the conflicted Maxime, with excellent support from Théodore Pellerin (Genèse), in a thought-provoking and deftly-handled examination of masculinity in crisis. UNDERGROUND had its world premiere screening at the 2020 Whistler Film Festival, where Dupuis won the Borsos Competition award for Best Director of a Canadian Film; and opened the Rendez-vous Québec Cinéma Film Festival in April 2021. UNDERGROUND writer/director Sophie Dupuis’ debut Family First was Canada’s submission for the Best Foreign Language Film at the 91st Academy Awards. It was nominated for eight Prix Iris at the 20th Quebec Cinema Awards. WATCH THE OFFICIAL TRAILER UNDERGROUND WILL BE RELEASED ON 20 AUGUST 2021

★★★ Directed by: #TimBenjamin Written by: #TimBenjamin, #AnthonyPeter Starring: #RobertGlyndwrGarland, #SophieDicks, #ElspethMarrow Film Review by: Patrick Foley There’s a reason Queen named their album ‘A NIGHT at the Opera’. Operas are usually best enjoyed as part of a live audience, not sat on the couch in your boxers eating Quavers. The Fire of Olympus ,or on Sticking It to the Man is a film version of the eponymous opera’s live show, that manages to brilliantly capture the cast’s performances, but cannot truly match the theatrical experience. Zeus (Robert Glyndwr Garland) rules Olympus with an iron fist. Assisted by Pandora (Charlotte Hoather) and Hephaestus (Michael Vincent Jones), he prepares to crush an uprising of the proletariat to display his divine might. But when Prometheus (Sophie Dicks) and Epimetheus (Elspeth Marrow) break into his palace, their initial plan of pulling a prank is cast aside when they discover a legend that may help them start a revolution. It feels wrong to critique Fire of Olympus… the same way as a traditional film. Much like last year’s Disney+ release of Hamilton, the film is largely a recording of a live performance that would usually take place in front of an audience. Very different skillsets, design choices, production methods and priorities apply to theatrical art as opposed to cinematic. Blurring the two inevitably leads to certain qualities of either being lost, and despite it being evident that the show is a majestic piece of work, something feels missing watching it through a screen. The story is an innovative one, with the classic Greek myth told using modern-day overtones implanted thematically. Robert Glyndwr Garland’s tyrannical Zeus could easily swap places with a Trumpian strongman of today, and his cursing of the proles and praise of the police shows this is a story out of its original time. The plot is relatively straightforward and told entertainingly despite unavoidable production limitations. Director Tim Benjamin’s focus is on performances first, which does feel appropriate given their brilliance. The film is largely shot theatrically, with occasional cinematic intercuts inserted during scene changes. The director does allow for the occasional use of cinematic techniques to amplify the performance that would not be possible in a stage production – such as a quick cut to a raised fist as Prometheus calls for revolution. Small adjustments like this add to the story and themes of the show. Similarly, close-ups of the actors demonstrate the tiny, intricate details they put into their performances, which may not be appreciated if you’re sat in row Z. It’s enough to give opera-newbies respect for the art. However, the loss of the live experience hurts the show more than helps it. With 2 hours 10 minutes consisting largely of opera singing, audiences will need to be fans of the genre to stick with the film. But if the viewer is, wouldn’t they want to see it live anyway? Taking the show out of its’ original format is only wise if the new one can add to the overall artistic value. But the film never really makes use of being a cinematic production, beyond close-up shots and occasional cutaways. The story’s climax is a classic example of an epic scene that cannot be easily recreated live on stage (at least without an enormous budget), but could have improvised on film. This depiction of the show may attract audiences who would not have set foot in a theatre, but the version of the story they see is one that lacks the aura of the stage. There’s certainly nothing wrong with Fire of Olympus…, which is a fine rendition of a unique and innovative opera. But the performance’s true might struggles to manifest on the screen. More focused use of the cinematic format may have helped, but some shows just have to be seen live.

★★★★ Directed by: #RyanHenryMekenian Starring: #EdinBarrientos #ColinBogart #RachelHorn #OddaroJohnson #JimmyLizama #AdoniaLugo #BeverlyOwens #AndreaPerugini #SpencerSims #JaneVoodikon Short Film Review by: #ChrisBuick In the early 1900s, the humble bicycle was one of the most prominent modes of transportation for LA citizens, which when coupled with what was then one of the most extensive street car systems anywhere in the world, transformed the City of Angels into a “public transportation mecca” Now, over a hundred years on thanks to the invasion of the modern-day freeway, Angelenos find themselves living in one of the world’s leading cities in terms of traffic, pollution and road accidents, the bicycle and street car having since been overtaken both figuratively and literally by the ever-increasing presence of the motorcar, with bikes and their riders now having to fight harder and harder not just for their place on the road, but their safety on it as well. Here to help champion the cause of the two-wheeled marvel is award-winning documentary Spokespeople by #filmmaker Ryan Henry which manages to find a perfect balance between earnest celebration of the freedom-giving machine while equally highlighting the miles still to be travelled in order for cyclists and their communities to feel safe and respected on the road. Henry’s film delivers in a simple yet extremely effective way, letting his talking heads do the talking and allowing their passions and personalities to drive home the film’s important messages. We hear from people running “bike kitchens”, places that teach those new to the bike more about their new friends and how to care for them, as well as founders of some of LA’s popular cyclist enthusiast groups, all equally advocating the mental and physical benefits that come from cycling as part of the films aforementioned celebration of the hobby which becomes so infectious, it makes you want to immediately get out your bike, dust it off and go for a ride. But at the same time, we find these same people sadly lamenting the dangerous animosity or just sheer, blatant ignorance for their kind, not just from those behind the wheels of more and more cars, but also the lawmakers seemingly unwilling to do anything about the dangers these LA cyclists face. Footage of packed, bumper-to-bumper LA streets, shocking first-person camera footage of grimace-worthy near-misses and eye-widening statistics (approximately only 0.2% of LA roads have dedicated cycle lanes) spread throughout the film all help emphasise these points but what is important and remarkable is that the film never at any point feels like a lecture, yet is always stern enough to never lose the gravitas of the very pertinent point it’s trying to make. What helps tie the whole film together and gives it a central narrative to navigate around is the tragic story of Frederick "Woon" Frazier, a cyclist needlessly knocked down and killed, leaving behind a son and a mother, due to an abhorrent lack of adequate infrastructure and cycle lanes simple enough to implement in order to protect riders from the dangers around them. It's a story that is never laboured or drawn out in order to try and provoke sympathy, but in fact is handled as tenderly and respectfully it should be without ever letting it lose its potency as a tale of caution. Spokespeople not only puts the modern-day bicycle on pedal-stal, awakening some long-forgotten childlike joy of freedom they can bring, but also brilliantly celebrates these LA riders and indeed an ever-growing community of cyclists all over the world that aren’t asking for dominance of the roadways, but simply parity on them. #ChrisBuick Watch the trailer for Spokespeople here:

★★★ Directed by #JaumeColletSerra Written by #MichaelGreen #GlennFicarra #JohnRequa Starring #DwayneJohnson #EmilyBlunt Film Review by George Wolf Dr. Lily Houghton (Emily Blunt) wears trousers in 1916 London, so she’s “pants.” Frank Wolff (Dwayne Johnson) is the skipper Lily hires to guide her and her brother MacGregor (Jack Whitehall) into the Amazon jungle, she he’s “skippy.” As Lily and Frank’s verbal sparring grows more and more flirtatious during the swashbuckling adventures of Jungle Cruise, the sheer charisma of the two leads succeeds in steering the film away from dull waters. Director Jaume Collet-Serra fills Disney’s latest with plenty of wink-wink spirit from the original theme park ride, right down to the cornball jokes Frank insists on telling to his tour boat clients. But Lily is no tourist. She’s a botanist in search of the Tears of the Moon, a legendary tree said to contain magical healing powers. The closer Frank gets them to the prize, the more dangers come out of the jungle. Not only does Kaiser Wilhelm’s son Joachim (Jesse Plemons) also want the magic flowers, but a 400-year-old undead conquistador (Edgar Ramirez) is seeking to break the curse that ties him to the jungle. Yes, there’s much going on, but Collet-Serra keeps the CGI action sequences (some of which will remind you plenty of Pirates of the Caribbean) front and center on a journey that never loses the family adventure vibe. Not that the five credited writers have forgotten about us grown-ups who took this actual Disney ride as kids. An extended bout of Blunt v Johnson innuendo becomes a frisky delight, while the subtle nods to marriage equality and the savagery of colonialism are fleeting but effective. The film’s third act delivers a major surprise, which results in extended exposition and the first signs of treading water. But even at its most formulaic, there’s enough humor, heart and genuine movie star appeal here to make Jungle Cruise an excursion full of rollicking good fun. #GeorgeWolf

★★★★ Directed by #MelissaHaizlip #SamPollard Written by #MelissaHaizlip Film Review by George Wolf Who do you think of when you hear the title “Mr. Soul!”? James Brown? Otis Redding? Marvin Gaye? Give writer/director Melissa Haizlip 104 minutes, and she’ll more than convince you the correct answer is her uncle, Ellis Haizlip, the trailblazing producer and host of the first “Black Tonight Show.” Ellis and his team televised the revolution on Soul!, a landmark “love affair with blackness” which ran on New York public television from 1968 to 1973. Under Ellis’s guidance as visionary producer and thoughtful host, Soul! confidently promoted the liberation of Black people. Tossing a truth bomb into the lily white television landscape of the late 60s, the show brought a focus on Black arts never before seen on screen. Melissa Haizlip presents it all in absolutely riveting fashion. She primes us with the fascinating story behind the birth of the show and Ellis’s somewhat reluctant ascension to host, and then drops our jaws with a litany of archival performances that make the past crackle with new urgency. Of course there are rousing musical segments from Stevie Wonder, Al Green, Gladys Knight, Billy Preston, Earth, Wind & Fire and more, but Ellis made sure Soul! also brought an overdue showcase to the “original avant-garde” of Black dance, writing and poetry. Ellis’s goal was to share the Black experience first, and then educate and entertain. Bringing the brilliant work of Toni Morrison, the Last Poets, Nikki Giovanni and James Baldwin to television audiences cemented Ellis’s vision, and Melissa provides context to transcend the decades and allow the voices to speak their truth to current power. And as you would expect, Melissa makes sure we see the caring soul of her uncle. With help from Blair Underwood often narrating Ellis’s writings (Ellis died in 1991 at the age of 61), we get to know an openly gay man who raised the topic of homosexuality with his audience and guests, and filled his own production team with a majority of female staffers. Of the new interviews that Melissa weaves into the history lesson, hearing from Amir “Questlove” Thompson seems especially fitting. Though Mr. Soul! was completed 3 years ago, a more widespread release now makes it the perfect complement to Thompson’s own Summer of Soul. This is Black history coming thrillingly, vibrantly alive, through the life of an enigmatic man earning that exclamation point. Mr. Soul! Get to know him. #GeorgeWolf

★★★★ Directed by #DavidLowery Written by #DavidLowery Starring #DevPatel #AliciaVikander #JoelEdgerton #BarryKoeghan Film Review by Hope Madden Lutes and mead, chainmail and sorcery—director David Lowery’s Camelot is just as rockin’ as ever in his trippy coming-of-age style The Green Knight. Dev Patel stars as King Arthur’s nephew, Gawain. He’s a bit of a ne’er-do- well and it looks like he’s ne’er going to actually be knighted. But Christmas warms old Arthur’s heart and he asks the boy to take a seat of honor at the round table. When this menacing giant (think Groot, but sinister) drops in for a beheading game, Gawain offers to play so he can keep his uncle’s respect. The story itself is more than 700 years old. Credit Lowery, who adapted the old ballad for the screen, with finding fresh intrigue in the old bones. He’s slippery with symbolism and draws wonderful performances from the ensemble. Joel Edgerton is especially fun as The Lord, just one of many helpers and hindrances Gawain finds on his journey. Barry Keoghan is likewise wonderful playing a brash, angry scavenger. But Edgerton and Keoghan are always good. The real surprise here is Patel. That’s not to say he’s unproven, just that his performances until now tend to rely heavily and falsely on an earnest streak. Gawain does not. Patel doesn’t shy away from or judge the character’s weakness or cowardice. Instead, he uses those very characteristics to make Gawain human. It’s the kind of compassionate portrayal rarely depicted in an Arthurian fable, and it ensures that you care enough for the character to puzzle through his adventures with him. There’s sorcery afoot, and also psychedelic mushrooms, so who knows what’s really going on? Here’s where Lowery really excels, though. His visual storytelling has always been his greatest strength as a director and this tale encourages his most fanciful and hypnotic visual style to date. The Green Knight is gorgeous. The color and framing are pure visual poetry. Together with this exceptional ensemble, Lowery’s created a magical realm where you believe anything could happen. #HopeMadden