★★ Directed by: Toni V. Genov Written by: Toni V. Genov Film Review by: Alex Crisp With no actors, no cinematography, and only minimal direction, this short film represents the extreme end of the lo-fi, DIY spectrum. The script is told entirely through a text exchange between two physicists, who are discussing the strange disappearance of a colleague. The dialogue hooks in, which is especially vital with all other filmmaking tools stripped away. On the whole it holds up, though an early instance of faulty syntax makes for a bumpy start. Bulgarian director Toni V. Genov is not a native English-speaker, but considering this short film looks to have been a one-man show, one can cut him a little bit of slack for the language misstep. What 2088 does demonstrate is that storytelling has no minimum budget—its drama is about as lo-fi as it gets. And it builds suspense, ratcheting up to a reveal in mere minutes. Just what was the disappeared physicist working on? Conversely, suspense needs a pay-off, and 2088 is only suspenseful until its reveal hits the dirt. You know those YouTube videos where someone puts out their hand, a cup is knocked over, and they claim they’re displaying telekinesis? Well, here those videos are used in a serious manner to portray that the missing physicist has discovered telekinetic powers, and the outcome is unintentionally comical. Just as the text exchange shows that lo-fi can deliver story, this effects failure shows that it has its limitations too. That dismal moment is partially ameliorated when Genov shows some imagination in the finale. Unknown onlookers, presumably the same “unknown” that kidnapped the physicist, ring the doorbell of the texter on our screen. The interlocutor sends increasingly frantic messages when our guy goes quiet. We know the reason he’s gone quiet, but it presents a problem for Genov—how to portray a physical struggle when you can only show a computer screen. The director comes up with a neat solution to it. He conveys the struggle simply by having a mouse wiggle around the screen. The audience can fill in the rest with the context provided. As a piece, 2088 is dinky, if not in any way filmic. As Toni V. Genov’s first short film, it pays to remember that everyone has to start somewhere.

★★ Directed by #StevenSpielberg Starring: #HarrisonFord #CateBlanchett #KarenAllen #ShiaLaBeouf #JohnHurt #RayWinstone #JimBroadbent Film review by Nathanial Eker And thus we reach the end (for now). The fourth entry in the Indiana Jones saga is infamous for its plethora of poor decisions and, in particular, its cheesy, mediocre script. But are such criticisms fair? Or is the film merely plagued by individual moments of lunacy that, had they been a singular incident, could've been forgiven by hardcore Indy fans? Alas, it isn't the beavers, the monkeys, the nuked fridge, or even the aliens that are to blame for Crystal Skull's failure. Rather, it's the uncharacteristically weak direction from Spielberg, as well as an over-reliance on CGI, and an ill-placed script that doom the sequel to the realm of universally panned follow-ups, alongside such stinkers as Batman and Robin and Pirates of the Caribbean: Salazar's Revenge. Harrison Ford returns as an older Indiana Jones, who has managed to outlive both the second world war and his father, Henry Jones Jr. In this time, Indy has stopped digging up artefacts and started digging up evidence on KGB spies, as he works for the American Intelligence agency. In the 1950s, he and his partner Mac (Winstone) find themselves kidnapped by Soviet agents led by Irina Spalko (Blanchett), who force Jones to identify the body of an alleged extraterrestrial being. This sets off a series of unidentified flying adventures that coincidentally see Indy reconnect with Raiders' Marion Ravenwood (Allen) and her son, Mutt (LaBeouf). The very idea of Jones dealing with aliens seems to be enough to condemn the film to the depths of "non-canon" in the minds of some zealous fanatics. Indeed, the introduction of futuristic technology does jar tonally with the series' penchant for the voodoo dolls, ancient arks, and life-giving grails of the past. However, a new era requires new sets, ideas, and concepts. Though some may have preferred another religious-themed romp for Dr. Jones, Speilberg can't be knocked for trying something bold. It isn't 7ft generic CGI aliens that signal Indy 4's failure, but the always lethal combination of an uninspiring script (courtesy of George Lucas) and sloppy direction. The plot seems promising at first, and the initial third is both nostalgic and reinvigorating, and seems to hint at a return to form for Spielberg and Lucas. Regrettably, the nonsensical script derails shortly after Marion is reintroduced, as its insistence on introducing triple, or even quadruple agents in a vain attempt to create a "gotcha" moment fall flat on their face. Furthermore, the characters simply aren't likeable this time around. It's quite amazing that the cast manages to feel so dissonant, when this is undeniably the greatest line-up of actors the franchise has yet mustered. John Hurt, Cate Blanchett, Jim Broadbent, and Ray Winstone are all top tier actors, yet with the exception of Hurt who brings his trademark curiosity and wisdom, each feels like they're playing a caricature. Sadly, even returning veteran Karen Allen isn't given much to do, as Marion is reduced to a damsel in distress, losing all the jubilant feminism she boasted in the first film. While Ford brings his characteristic grumpiness to Jones, even he seems bored by the whole affair. It makes one wonder how much gusto he'll muster in Indiana Jones 5, unbelievably, coming next summer. That film will also have to learn from Spielberg's mistake of relying on computer-generated monsters and set pieces, which simply don't gel with Indiana Jones' timeless aesthetic. The sparing use of CGI in the original trilogy, intertwined with real sets, real creepy crawlies, and real locations crafted a believable verisimilitude that simply isn't present in Crystal Skull. Like the Star Wars prequels before it, the film often feels like a cheap video game, cowering in the shadow of the wonderful, practical visual style that came before. Fortunately, also like the Star Wars prequels, it's saved by the work of John Williams, who once again brings his trademark flair to an otherwise flawed film. Action pieces are appropriately "trumpet-y" and the use of prior leitmotifs to signal nods to Raiders in scenes featuring Marion or the Ark of the Covenant is once again most welcome. Despite a strong first third and the always excellent music of Williams, Crystal Skull deserves its reputation as the weakest Indiana Jones film. It's flawed not for its infamous individual moments, but rather its grossly underutilised cast, an obsession with CGI, and a lack of directorial clarity. Sorry, Steven; everyone has one stinker, and this is unfortunately yours. Here's hoping James Mangold can regain the franchise some street cred, this time next year. Until then, stick to Raiders of the Lost Ark and The Last Crusade for your dose of magical, adventurous excellence, in some of the best blockbusters Hollywood has ever made. #NathanialEker

★★★★ Directed by: #DinaBurlis, #SergeyGavrilov Written by: #DinaBurlis, #DariaKiseleva Starring: #JoyAnnabelleWomack, #NikitaIvanovGoncharov Film Review by: Isabelle Ryan Joy Womack always dreamed of becoming a ballerina. Aged 15, she left her home in the US to join the Moscow State Academy of Choreography – more commonly known as the Bolshoi Ballet Academy. In their documentary Joy Womack: The White Swan, Dina Burlis and Sergey Gavrilov follow Joy in her quest to make a name for herself in Russia and, eventually, appear in the iconic lead role of Tchaikovsky’s Swan Lake. She becomes the first American to graduate from the Bolshoi Academy, confronts corruption at the iconic Theatre, and pushes herself to rehearse and perform through eating disorders and injuries. While at times feeling too staged, and not nearly openly critical enough of the more egregious discoveries, Burlis and Gavrilov have created a fascinating portrait of a fascinating – and at times frustrating – woman. The film discusses various problematic elements of a professional ballet career. Womack mentions in passing that at one time she struggled with both bulimia and anorexia, and that she longed to be “better or thinner” than her main rival at the Academy. More than once, she states that one must have a particular ‘aesthetic’ to be a truly successful ballerina. To support this, shocking black and white archival footage shows a group of nearly naked little girls standing before a panel of judges while a narrator tells us exactly what is ‘wrong’ with these children’s bodies. Strict diets, fitness regimens, and a fleeting shot of a case-full of pill bottles present a truly awful view of the reality beneath the veneer. Womack herself never criticises this, or suggests that it is wrong or even harsh. Instead, she states simply that one must have a certain mentality to succeed. We must therefore draw our own conclusions. Womack also discusses the more political issues she faced in Russia. Even though it was her dream to perform with the Bolshoi Ballet, she decided to leave in 2013. Allegedly, after too many promises of lead roles that never materialised, Womack was told to pay $10,000 for the parts she wanted. Additionally, according to Womack, she faced further suspicion and contempt simply for being an American. On this issue, she seems conflicted. She mentions that it is incredibly difficult to stop believing something you have been taught your whole life, and in that sense completely understands much of the animosity, but she also appears to have her own prejudices, and seems unaware of how these may influence her view. After divorcing her husband, Nikita, whom she married in order to stay in Russia legally, Womack and a friend discuss how Russian men expect women to be compliant, and perhaps are unprepared to deal with American women. Of course, women in the US also live in a patriarchal, misogynistic system, but Womack seems oblivious to this. However, most telling is her repeated reference to the ‘aesthetic’ that successful ballerinas must have. There is thinly-veiled contempt for American dancers, who may be successful no matter their body types and performance styles; but for Russian ballet dancers, the one thing Womack does not specify, though it is clear in the film, is that in addition to thinness, whiteness is paramount. There are many stories here. There is the story Womack wants to tell – about her hard work, her determination, how anyone can do what she did if they put their mind to it – and there is the story Burlis and Gavrilov are hinting at beneath Womack’s platitudes. There are also the many stories audiences may find, if they ask the right questions and prepare for honest answers. Available on digital 19 July 2021

★ Directed by: #MikeBurns Written by: #BillLawrence Starring: #BruceWillis, #JaimeKing, #LalaKent Film Review by: Patrick Foley Quite what Bruce Willis is doing in Out of Death, a low-budget, low-quality action film named by the first result from genericfilmnamegenerator.com is anyone’s guess. The cheap production suggests he sure wasn’t getting paid much. And his lethargic performance says this was no passion project. However it came about, the filmmaker’s gamble that the A-lister’s presence would mean they could churn out whatever lazy plot they liked and would still profit backfired – even prime Bruce wasn’t saving this one. Whilst hiking in the woods, Shannon (Jaime King) stumbles upon drug deal gone wrong. Corrupt police officers Billie Jean (Lana Kent) and Tom (Tyler Jon Olsen) pursue her through the woodland, but the three of them are confronted by retired officer Jack Harris (Willis), himself conveniently hiking right where their confrontation occurs. Jack and Shannon escape, and must work together to escape their pursuers. Out of Death is a bargain-bin action-pursuit film that features terrible editing, dialogue, performances, and barely a semblance of a coherent story. The film totally botches the execution of what should be a relatively simple premise with plot holes as empty as Bruce Willis’ expression, and relies heavily on characters making nonsensical decisions, or conveniently appearing in the right place at the right time in order to progress its paper-thin story. Viewers can overlook the outlandishness of a police force so corrupt that they’ve probably received a PPE contract from Matt Hancock. But inconsistencies like the constant teleporting of characters around what must be the smallest woods in the United States is harder to stomach. Similarly, the film’s depiction of how torniquets work is actually laughable, and made even worse by a character shaking off a STAB WOUND TO THE CHEST moments later. The dialogue is bland, first-draft action dirge, that sounds suspiciously like an amateur screenwriter’s best guess of how criminals and cops talk. Harrison Ford’s quip to George Lucas that “you can write this ****, but you can’t say it!” comes to mind – and the scenery-chewing delivery of the cast is not enough to give authenticity to the script. The majority of the cast themselves ham it up to try and salvage something from their blank page caricature roles, but unfortunately Bruce Willis could not be phoning it in anymore even if he was working in a taxi office - coming across as bored at best, embarrassed to be there at worst. The man sounds like he’s barely read the script (let’s be honest, he probably didn’t), and refused to even contemplate multiple takes. Given the entire film is marketed off of his presence, it’s disappointing that someone so accomplished falls short of the low bar a cheap action film would set for him. Much of this can be explained by Willis’ time on set being reduced to a single day due to COVID restrictions. Given this, there is some respectability to how much director Mike Burns managed to squeeze from him given what is clearly a difficult production. This is no ‘dead in the first 5 minutes’ cameo so often seen from big stars in low budget movies, and some credit should be awarded for taking time to build up a modicum of character in slower, more personal scenes. It’s not enough to save the film, but it’s at least an appreciation of what makes good action work. Lots of running around but not a lot of quality, Out of Death is a turgid and boring action film that is dogged by plot-holes and cringeworthy dialogue. Willis could have given the film some credibility, but delivers an all-time bad recital that banks on his reputation alone being enough. A disappointment. Coming to Digital Download from 2nd August & DVD from October 4th

★ Stars Directed by: #MarcosBucay Written by: #MarcosBucay Starring: #AldoEscalante, #RicardoPolanco, #NataliaTéllez, #FabrizioSantini Film Review by: Alicia Moore “Two directionless millennial bros get high and pitch a bold new social justice app that raises millions. Now they have to come up with the app.” Bankrolled is bursting with different concepts and intertwining subjects, but do they really fit well together? These certain subjects might have the ability to intertwine in a film but that doesn’t mean they fit together to make an enjoyable experience. Polo (Aldo Escalante) and Blas (Ricardo Polanco) manage to generate an idea for an app without anticipating how much attention the pitch could possibly receive. Audience members follow their fairly distasteful journey of attempting to make the app a reality and gain amounts of money they could have only dreamt of before. The story flows in a way that makes me wonder if writer and director Marcos Bucay approached the making of Bankrolled with a similar speed – here’s a pitch for a plot, but let’s just see where it goes from here now… The most obvious point to make about Bankrolled is that it is a comedy with no comedic substance. Instead of laughs or even small smiles, the screen was met with my frowned brows for pretty much the whole duration. The film has been written in such a bright light of trying to be funny that it completely misses the mark. The cringing exaggeration of certain characters’ actions and conversations actually makes them more dull due to the fact that they don’t have solid personalities in the first place. When dialogue is foul and at times quite robotic it really doesn’t help the lack of positive or negative emotional output. As well as this, the subjects being discussed within the film being so vastly different from each other makes most characters feel out of place in the story, especially from a viewer’s wider perspective. Despite the overwhelming arrogance of the characters and the story they are involved in, Escalante and Polanco create a rapport between their characters that gives audience members a bit of a break through Bankrolled’s duration. Their chemistry as friends unfolds naturally and is one thing that doesn’t lack an initial sense of connection. Their bickering at times acts as a short burst of comic relief in the film; they aren’t necessarily outright funny interactions but are definitely just a moment to let you exhale the breath you didn’t realise you were holding. Surprisingly, Bankrolled introduces incredibly interesting subjects into its storyline, such as toxic masculinity, body shaming, forms of narcissism and performative activism. The disappointing thing is that it doesn’t tackle any of these issues in the right way. They are brought into the plot and their value then diminished by obnoxious comedy and, at times, unnecessary snarky comments. This is where you’ll see the intertwining of different concepts in film that simply don’t sit well together — this type of comedy paired with serious matters is like finding a piece of a jigsaw in an entirely different box of other pieces. Bankrolled, now streaming on Netflix, has an average running time that unfortunately feels like an eternity. Although, depending on your sense of humour I guess, you might enjoy this as a lighthearted approach to the growing issues surrounding social media and also the development of new technology.

★★★ Directed by: Steven Adam Renkovish Written by: Steven Adam Renkovish Starring: Brittany Renee, Justin Livingston, Mary Miles Kokotek, Rachel Sims Jackson Film Review by: Jason Knight An isolated woman struggles to deal with her emotions following a terrible tragedy. Lilith (Renee) lives by herself in a house, rarely going out. She has been deeply traumatized after experiencing the loss of her partner Noah (Livingston). She has distanced herself from everyone, spending a great deal of time inside her home, by herself, mourning and been tormented by nightmares. Although she keeps in touch with her mother (Kokotek) and attends a study group meeting with acquaintances, her psychological state does not improve and she does not seem able to escape from the dark place she is in. This dark, dramatic feature contains elements of psychological horror and mystery. It brings the audience into the mind of a troubled individual, who appears to be mixing reality with illusion. Overall, the mood is downbeat, with most of the film observing the sad, lonely state Lilith has ended up in, looking in depth into how she tries to cope. She is constantly upset, lights candles before placing them around the house and observes objects that are dear to her, such as a photo of her and Noah and a cross necklace. The film also explores the unstable relationship she has with her mum and the ups and downs between her and Noah. There is plenty of drama and the feeling of isolation that the main character goes through. The narrative is nonlinear, repeatedly cutting back and forth through time, between Lilith dealing with her grief and spending time with Noah, during past happier times. Renee delivers a sentimental performance as an emotionally damaged person, whose life has gone downhill due to tragedy. Her character is well-meaning but unable to help herself. Livingston is moving as her partner, who is a good person and is also dealing with his own personal issues. The score is one of the strongest aspects of the movie. It is tense, haunting and dramatic, creating an atmosphere filled with dread and despair. The soundtrack also includes pieces of opera and classical music. The voice-over also adds to the drama. There are various interesting and well constructed montages that include stills and make effective use of dissolve and superimposition techniques. This feature looks into themes of family, trauma, isolation, regrets and religion. It focuses on the life of a troubled woman, who appears to be losing her grip on reality. At times, the pace is a bit too slow and the acting by some of the supporting characters is not very convincing, however this is still an interesting accomplishment. #JasonKnight Trailer for The Awakening of Lilith:

Press Release The SWN Screenplay Competition has some of the most respected judges in the industry. Enter your script and receive many of our submission benefits. Screenwriters Network (SWN) is dedicated to supporting all contestants, rather than just the winners. Our Judges ALEC SOKOLOW Screenwriter/Director/ Producer Alec Sokolow’s career as a storyteller has taken him from late night TV comedy to having written some of the most memorable films of our time including, Toy Story, Evan Almighty, Money Talks, Cheaper By The Dozen, Garfield and many more. He has written on 60+ Hollywood feature film & television projects, written children’s books, directed animation shorts, and produced documentaries including I Am Jane Doe. NICK JONES Screenwriter/Playwright Nick has worked as a writer and co-executive producer on the Netflix original series GLOW and Orange Is The New Black, for which he has garnered multiple WGA and Emmy nominations. He also served as Co-Executive Producer on Ramy on its Peabody Award winning first season. TERRY MATALAS Screenwriter/Director/Producer Terry Matalas is a television writer, director, and executive producer, best known for co-creating and showrunning the television series 12 Monkeys, which ran for four seasons on SyFy. His recent works include showrunning MacGyver as well as currently showrunning Star Trek: Picard for Paramount +. Submission Benefits - Every script submitted gets registered with SWN for free. No need to register with the writers’ guilds (WGA, WGUK etc.). - FREE eBook – How to Sell Your Screenplay. - 30% discount code for Final Draft 12. - You will receive a $10 gift card from us to be redeemed on our Script Coverage services. There are three main categories you may enter your script into: SHORT FILM: Up to 45 pages. FEATURE-LENGTH: Up to 200 pages. TV PILOT: Up to 75 pages. We offer the choice of receiving feedback on your screenplay at an extra cost. Feedback will be provided by our qualified script consultants. ★★★ Prizes ★★★ 1st Place - 1-1 one-hour workshop with Jessica Sharzer – The chance to go through YOUR winning script with a talented industry professional - Automatically qualify for our annual screenplay competition ($1200 Award) - Your script listed in InkTip's script directory (4000+ producers, reps & execs) - A lifetime subscription to Final Draft Pro screenwriting software (worth $249.99) - The SWN hanging frame award with your winning script and laurels inside - A promotion in InkTip's magazine (15,000+ producers, reps & execs) - 1-year membership at Screenwriter Staffing (worth $130) 2nd Place - Automatically qualify for our annual screenplay competition ($1200 Award) - Your script listed in InkTip's script directory (4000+ producers, reps & execs) - A lifetime subscription to Final Draft Pro screenwriting software (worth $249.99) - A promotion in InkTip's magazine (15,000+ producers, reps & execs) - 1-year membership at Screenwriter Staffing 3rd Place - Automatically qualify for our annual screenplay competition ($1200 Award) - A lifetime subscription to Final Draft Pro screenwriting software (worth $249.99) - 1-month membership at Screenwriter Staffing Script Feedback We provide an in-depth and thorough analysis of your screenplay. Passing through not one, but two pairs of eyes! Notes submitted by the judge of your script will be passed on directly to one of our professional script consultants (who reads it again). Notification Dates Quarter-finalists | 5th August Semi-finalists | 10th August Finalists | 15th August Winners | 2nd September For any further information, please contact info@screenwritersnetwork.org.

★★★ Directed by: Sophie Mensah Written by: Natascha Graham Starring: Sophie Mensah Film Review by: Bruna Foletto Lucas A voice over reads a poem and the camera frames a woman – the soothing voice and the woman’s emotional responses seem to move together in accordance. The woman does not move from where she is sat – inside a living room, next to a window, watching the world without being a part of it. The words seem to come from the woman’s heart as out-of-focus shots frame her distraught and emotional outburst. I Am Winter starts and finishes at the same place – within the 90 seconds it takes the narrator to read the poem, the protagonist does not go through a transformation, the short simply articulates how she feels: ‘I am frozen’ and ‘I am eerie stillness, the last bloom of white from dying blue lips’. No dialogue is offered to explain any information about the young woman, it is through the words of the poem that the audience is able to have the knowledge that the protagonist is a broken young woman who is trapped within a narcissistic and abusive relationship. Written by Natascha Graham and performed by Sophie Mensah, I Am Winter depicts the dread and lack of self love that mature and spread due to the abuse and, on the other hand, the utopian view that the victim paints of the abuser: ‘she is everything I am not’ and ‘she is the whisper of holidays and beach trips, barbecues and laughter’. The film is not set to offer a deeper analysis of abusive relationships or a story of recovery, it unveils one person’s experience without naming the victim or the abuser – it can be taken as a personal story, or it can be taken as a wider testimony that fits to other people’s experiences. Without showing the abuse, it illustrates how being in an abusive relationship might leave the abused person living in their own shell. The heartfelt poem and the honest performance in this short film work together to convey exactly that in only a minute and a half.

★★★ Directed by #MNightShyamalan Written by #MNightShyamalan #PierreOscarLevy #FrederickPeeters Starring #GaelGarciaBernal #VickyKrieps #RufusSewell Film Review by George Wolf The last 20 some odd years have been somewhat odd for M. Night Shyamalan. There was the meteoric rise, the faceplant fall, and the unexpected rise again. The writer/director’s highs (The Sixth Sense, Unbreakable, Split) have been clever, crowd-pleasing and well crafted, while the lows (The Last Airbender, After Earth, The Happening) became self-indulgent, condescending misfires. Old, Shyamalan’s first since the disappointing Glass two years ago, may not rank among his best, but there is enough here to hold your interest while it delivers an earnest message about precious time. Guy (Gael García Bernal) and Prisca (Vicky Krieps) are ready to separate but want to enjoy one last dream vacation with 6-year-old Trent (Nolan River) and 11-year-old Maddox (Alexa Swinton) before breaking the news. Shortly after getting a VIP welcome at their tropical resort, the family is offered access to a private beach paradise, just a short drive away. Once there, they find a few other guests have also gotten the invite to the pristine beach surrounded by majestic and imposing walls of rock. But of course, there is a price to be paid for this privilege: time. Trent and Maddox are suddenly years older (and now played by Alex Wolff and Thomasin McKenzie), while the rest of the group (including Rufus Sewell, Abbey Lee and Aaron Pierre) also begins to feel the effects of a rapidly increased aging process. Shyamalan’s camerawork – usually a plus – is again nimble and expressive. He’s able to fuel a feeling of confusion and disorientation on the ground, while frequent overhead shots provide the unmistakable suggestion that this group is being watched. His pace is also well-played, fast and frantic (with one very effective visual fright) in the early going, then a bit more measured to reflect cooler heads trying to plan an escape. But while Shyamalan’s script is an adaptation of the graphic novel Sandcastle by Pierre-Oscar Lévy and Frederick Peeters, dialogue can still trip him up. It’s too frequently both silly and obvious, yet almost always rescued by a talented ensemble that never shrinks from selling every word of it. It’s still a Shyamalan film, though, which will lead many to expect a humdinger of a twist. Don’t. There is something waiting beyond the clearly defined metaphor about appreciating every day. But like the film, the resolution of Old is more tidy than revelatory, as easy to digest and appreciate as it is to forget. #GeorgeWolf

★★ Directed by #RandallEmmett Written by #Alan Horsnail Starring #MeganFox #BruceWillis #EmileHirsch #LukasHaas Film Review by George Wolf This is the third Bruce Willis film so far this year. That leaves 13 more in production, and 1 in development. And if you’ve seen even a few of the titles in Bruno’s output over the last several years, you can assume a couple things about his latest right away. First, regardless of his presence in the poster and/or trailer, Willis will only show up for a few scenes in the actual film. And secondly, his character won’t be that integral to the story. Both assumptions prove true with Midnight in the Switchgrass, a thriller that manages to work itself a notch or two above most films in the “Exit Stage Willis” subgenre. Willis is Karl Helter, the old and tired FBI partner of agent Rebecca Lombardi (Megan Fox). Rebecca’s been going undercover as a hooker to try and catch the serial killer (Lukas Haas) stalking truck stops and roadside motels around Pensacola, Florida (a character inspired by real life “Truck Stop Killer” Robert Rhoades). There’s a string of similar cold cases dating back several years, a fact that still haunts Florida state police officer Byron Crawford (Emile Hirsch). When a new victim turns up, Byron is compelled to assist Rebecca and Karl any way he can. Well, he assists one of them, anyway, because Karl conveniently bails before Rebecca is kidnapped by the killer and events turn mildly interesting. This is the debut feature for both writer Alan Horsnail and director Randall Emmett, though Emmett’s long tenure as a producer appears to have honed his ability to craft a generic crime drama that imitates more gripping films – one in particular. A killer’s identity that is never in doubt, paired with parallel storylines and certain other flourishes I won’t mention for fear of spoilers, all bring a serious Silence of The Lambs vibe. That’s rarefied and ambitious air that Switchgrass can’t live in, though it does carve out a few respectably tense manhunt moments. Fox and Hirsch rise above some heavy-handed dialogue – even Bruno seems halfway interested while he’s around – and Haas is effectively creepy. Add it all up, check the scorecards, and on the sliding scale of Willis, its rank is roughly equal to Citizen Kane. #GeorgeWolf

★ Directed by: #VenturaDurall Written by: #VenturaDurall, #SandraBeltrán, #ClaraRoquet, #GuillemSala Starring: #AlexBrendemühl, #VerónicaEchegui, #AnnaAlarcón, #PabloMolinero Film Review by: Alicia Moore “Jan (Alex Brendemühl,) a mysterious character haunted by a deep feeling of guilt, tries to get Violeta (Anna Alarcón) back, a youth love he lost 20 years ago, with a sickening plan.” The Offering – what is it actually about? The short synopsis I have added presents an intriguing insight into a thriller but, unfortunately, the film itself feels quite lost and carries a sense of disarray from the beginning. It is evident that the cast have a lot of talent to offer the story, however this story doesn’t have much to offer them to let their talents fully shine. I don’t want to sound overly harsh, it’s just difficult to find an appropriate equilibrium when you’re reviewing a film that you had to watch three times in an attempt to grasp its concept and good qualities. When it comes to the technical side of The Offering, these elements are frankly boring – there isn’t any exploration in aspects such as editing or cinematography. As a viewer, you are stuck with the same techniques being used for nearly two hours… it does become tedious. With a weak script, I was hoping that the visual elements of the film would bring some redemption and help hold my attention instead. To my disappointment, the only thing that was holding my attention was the lack of variety I just watched unfold. To expand my briefly touched upon thoughts regarding the script and storyline, I have absolutely no idea what the point of the plot is meant to be. Even after more than one watch I still can’t wrap my head around what the purpose of the story is or how it evolves. Dialogue is rather sparse for a story that truly needs as much information as possible through character chemistry and conversation to allow viewers to become completely immersed. This also damages how the cast appear on screen; the relationships are rather awkward because they aren’t given enough meaningful context or time to properly flourish. The main relationship in The Offering is supposed to hold a certain level of passionate, a connection that has stretched over a number of years, but sadly it feels void of any true bond no matter the context of the situation. There are moments where voiceovers are included in the film, almost acting as a break in the forth wall. These lines attempt to give the film a sense of poetic value, adding a character’s perspective on… whatever the purpose of the story is. Forgiveness? Obsession? Simply making amends? I don’t know. Anyway, not so surprisingly these sections don’t justify anyone’s actions or any of the events that occur, as well as not giving any much needed extra context and ultimately not benefitting the film in the long run. My biggest issue with The Offering is how uncomfortable it is to sit through, especially when you feel that there just isn’t any purpose or meaning to the film. The subtle romanticisation of suicide would be enough to confuse audiences and possibly turn some stomachs if you’re that way inclined, but the over-sexualisation of the female body is painful. Unnecessary nudity that has nothing to do with the plot is shown countless times and the moments where it is an important section of the film the content is lacking any sensation of natural sensitivity. There’s a way of presenting bodies in film through nudity, it can be done in a beautifully balanced way, but having women being so much more physically open compared to men and having them be overpowered by the male gaze (which can be somewhat aggressive depending on what male character you focus on in the moment) is definitely not the path to take here. Ending on a lighter note, Verónica Echegui’s performance as Rita is by far the most compelling aspect of this film. She brings a spectacular range of emotion and exists as a breath of fresh air when she appears on screen – the first thought I had when the credits started rolling was that I needed to check out more of her work as soon as possible. Despite everything I’ve said on The Offering, don’t simply take my word for it. Maybe it just wasn’t my type of film, maybe I wasn’t attentive enough to fully grasp the fever of the story. If anything, I’d encourage you to watch it for Verónica Echegui; that’s how good her performance is. The Offering is released on 30th July, in cinema and on virtual cinemas and VOD.

★★★★ Directed by: Gracie Otto Starring: Sting, Mark Knopfler, Jimmy Buffet Documentary Film Review by: Chris Olson Under the Volcano (2021) Film Review Sir George Martin’s Caribbean recording studio was home to some of the most influential bands of all time. Set on the island of Montserrat, not only was AIR Studios surrounded by glorious nature and friendly locals, but also a dormant volcano. Over the course of a decade, the studio plays an important part in music history, bringing bands together for unthinkable reunions, transforming their music, and allowing a place to “calm down” (Sting’s words), all against the backdrop of a changing industry that was shifting towards mainstream TV and digital recordings. Filmmaker Gracie Otto captures the harmony of a bygone time for recording artists, one where freedom and creativity were nurtured by Martin’s choice of an island tucked away from the rest of the world. Montserrat, at that time, was unspoiled by American cash and the locals care more about cricket than cacophony. So what better place for huge stars like Elton John, Paul McCartney, and The Rolling Stones to come, chill out by the pool, and perhaps record some of their best music? This harmony also extends to a frankly bizarre balance that existed from the rock-style lifestyle of these musicians and the humble lives of the locals, living in tin-roofed shacks. As with a lot of music documentaries, Under the Volcano drifts into numerous reveries about the good ol’ days, and often becomes a love letter to the numerous bands who appear in the film itself. We are shown their recording days, and time at AIR Studios, but also their music videos and modern interviews that often dive into their own stories. These always seem to link back to the island, though, and a sense of mystical power seems to emanate from all these tales about Montserrat. Whereas a music documentary may attempt to tell the story of a band’s lifespan, or a particularly memorable show (Woodstock), Otto delivers something more unique and unshackled by a linear narrative. Small tensions are introduced throughout the piece which gets the audience into a state of sombre reflection. The artistry and creativity on display on this magical island feels like a time capsule, a place when the focus was put on the artist and not the cogs of the machine. The introduction of MTV was a blessing for some bands, who hoped to take not just their music but their image global, but for a lot of musicians, it signalled the end of a purity in music which was being diluted by a completely different medium. Couple this with Phillips creating the compact disc (CD), which saw production costs plummet and gave a huge erection to the moneymakers behind the music, and the idyll of Montserrat seems to become more of a last hurrah to the analogue days of studio recording before the digital revolution took hold and caused an eruption of accessibility and monetisation. Under The Volcano is available 26th July on digital, Blu-ray and DVD #ChrisOlson Watch the Film Trailer