★★★★ Directed by: Richard Corso Written by: Rebecca Gorman O'Neill Starring: Sean Michael Cummings, Cody Dermon, Leonard Barrett Jr., Terry Burnsed Film Review by: Jason Knight Time to take a trip back to the Middle Ages and experience a story involving four individuals (one of whom is dead). In the countryside, two men, one a jester and the other a fool are chatting and besides them is a hanging cage, inside which is the decomposing body of their king, who lost his life due to an illness that is taking over the land. Underneath the gibbet is a picnic blanket. The two men have opposing opinions regarding how to stay safe from the deadly disease. Then, a plague doctor arrives, claiming to have a cure for the plague and wishes to see the king. The three engage in conversation regarding his permission to speak with his majesty, the malady that everyone fears and whether the time has come to elect a new king. This short period film is based on the short story by Gregory Ferbrache and it basically is a dark satire. It was filmed on location during the late summer of 2020, which was a time of political uncertainty and the COVID-19 pandemic. The plot touches on these subjects by involving a lethal illness and elections to its storyline. Although the story involves a plague and a dead body, the mood is rather humorous and light-hearted, with awkward and funny dialogue. Cummings and Dermon deliver very entertaining and over-the-top performances as two jokers who seem to have reached a point in their lives where they do not know what to do. Both of them appear to be having a lot of fun with their characters. As far as the mise-en-scene goes, it is quite interesting. The costumes are the work of Jakob O'Grady and they look great. The cage gives the impression that it is authentic and the body of the deceased one looks gruesome. Kevon Ward was responsible for the makeup and and did a good job. One of the best features here is the music, a wonderful addition by Greth Ligon The score is very entertaining and provides a comedic feeling and might make the audience think of medieval times. It kind of sounds like Danny Elfman's work and it is a pleasure listening to it throughout the film. The film was shot in black-and-white, giving it a dark atmosphere. Burnsed provides narration and does a convincing job. The directing is well executed and includes closeups of flies moving on food. Special mention goes to the medieval-themed closing credits. This short is a rather interesting achievement. Thanks to the intriguing plot, jocular performances and dialogue, this dark comedy offers an entertaining experience. #JasonKnight

★★★★ Directed by: David Wain Written by: Michael Showalter, David Wain Starring: Paul Rudd, Michael Showalter, Elizabeth Banks and Janeane Garofalo Throwback Film Review by: Rachel Pullen Wet Hot American Summer (2001) Film Review Remember last week when we spoke about the glory that was Bio-Dome, and Pauly Shore was a real person, not someone I dreamed up? Yeah, I do, well it turns out a lot of you, my loyal servant readers, had also not heard of Bio-Dome!! And it got me to thinking, how many other obscure comedy gems do I know of, that you may not know of, that soon you may know of because I do? The answer is some, you know about some. One of my fav’s and unknown loves of my life is Wet Hot American Summer, a film so pointless, so directionless, so goddamn crazy that it cannot be compared to anything else - well it can but we will get to that later. The film tells the tale of a group of camp counsellors and the things they get up to on the last day of camp, things that include confessions of love, losing kids on a boating trip, taking drugs in a crack den and scientific experiments, oh and a talent show, which I think is meant to be the point B in the scriptwriting, but there is also the science experiment that climaxes at the same point so who knows? Either way, we follow this loveable gang as they try to round up all their unfinished business before they leave camp. Straight off the bat you’re screaming, “Hey! This film sounds like a rip off of that movie Meatballs which starred Bill Murry before he got super famous.” and you would be somewhat right, but only because it's in a camp and some people were in this before they got super famous, i.e Paul Rudd, who plays the bad boy of the movie and wears a denim jacket, because that’s how you rebel in the 80s. But unlike Meatballs this film is way wackier, I mean really, wacky, for example, there is a can of vegetables that can talk and a man who is in love with a refrigerator, need I say more? Wet Hot American Summer is absolute nostalgia for anyone who lived through the 80s or even summer camp, absolute laughs for people who like obscure comedy, and anyone who just likes seeing actors in their youth, all smooth and hair-free, or cans of vegetables talk, whatever floats your boat. And even though I would class this as a rather obscure movie, once it was put on Netflix it became quite the cult classic, so much so that it had a Netflix spin-off series following the councillors into their adult years…hmm they were not so smooth but hey, it still was good watching. So, what have we learned while at summer camp? You can be in love with a fridge if you want. You can talk to cans of food if you want. And you can hate kids and work in a summer camp if you really want. #RachelPullen

★★★ Directed by #AbdelhamidBouchnak Written by #AbdelhamidBouchnak Starring #YassmineDimassi #AzizJebali #BilelSlatnia Film Review by Hope Madden Any break from Judeo Christian supernatural horror is always welcome. That’s not to say that your traditional Western religious zealotry can’t make for a fine scare, but it has certainly been done. From The Exorcist to The Omen to the entire Conjuring universe to the best horror of 2021 so far, St. Maud, cinema is forever teeming with the biblical unholy. Why not try something else? Tunisian filmmaker Abdelhamid Bouchnak does what he can with a tale of North African witchcraft in Dachra. The grim story follows three journalism students trailing the origins of a wild urban legend about a witch found on the highway decades ago. They track the source of the legend to Dachra, a tiny, backward village unlocatable via Google. Yassmine Dimassi plays Yassmine, headstrong and clearly the leader of the trio of investigators. Still, once they find the village, Yassmine and her bickering sidekicks Walid (Aziz Jebali) and Bilel (Bilel Slatnia) are hard-pressed to find their way back out. Dimassi’s angry, unyielding performance drives the film, giving it a blind urgency that can’t help but push things onward. Jebali and Slatnia counterbalance, their dunderheaded sibling-esque rivalry creating sweet but organic opportunities for Bouchnak to get in the way of that forward momentum. This is how filmmaker and crew generate tension, but it’s always upended by contrivance. Like so many films that rely on characters’ inability to leave someplace, unexplained lapses in time and delays that strain believability puncture whatever dread the film has built. Perhaps what’s most disappointing about Dachra—Tunisia’s first official horror movie—is how uninspired it is. Unlike Baskin, for example—one of the very few horror films to ever come out of Turkey. Can Evrenol’s meat-loving mindbender positively reeks of originality. Bouchnak, on the other hand, pieces together every cliché he can think of, winding up with a film both clumsily familiar and unpleasant. #HopeMadden

Filmmaker Interview by Chris Olson You wear many filmmaking hats. Of all the titles you have (actress, producer, director, writer etc) which do you love the most and why? I love being an actor. Don’t get me wrong; being able to write and create a story to build on and see it come to life is amazing. Directing it to make sure that what is being put together in real life matches what I see in my head is also amazing. But my goodness, to actually be able to bring to life, to feel those emotions, to experience that life that I imagined, to become that character, to be that character and tell her story… now that, that is what sets my soul on fire. If I don’t feel that fire, that passion when I’m playing a character, then what’s the point? If I don’t believe ME, if I can’t move others the way that I want to be moved, I didn’t do my job. And oh what an honour it is to be able to move another soul. You have recently written, directed and starred in a short music video called "Kid" - with music from Rob Mayes. How did you come to be part of this? This is a fun one for me. I did this to myself actually (lol). Rob and I have been friends for a while and I am a huge fan of his music. There is one song in particular that came out a year ago called ‘MY HEART IS BLEEDING’ which is a different style than what he puts out and I just fell over that song. The mood, the beat, the energy of it. I joke with him that if I had to have a stripper song that would be it. Listen to it, you’ll understand why. That being said, when he sent me the unfinished version of ‘KID’, it reminded me of the style of ‘MY HEART IS BLEEDING’. I’ve been in a lot of music videos and at times I felt that the story being told didn’t match the song. I’ve always toyed with the idea of writing a story for a song so that I can do a music video. Rob doesn’t have music videos, just one if I’m correct, so for me, this song was a perfect way for me as they say, to get my feet wet. Why did you want to make this music video? Where I was in my life at that time, it hit all of the right heartstrings, as I’d like to call it. I’ve been out of the spotlight for about three years due to an injury suffered on a set of a show I was in and for me this song is like an anthem. I asked Rob if I could use this song and he honestly had no idea what I was doing with it. Then he saw the teasers and was surprised because all he saw while I was shooting and putting it together were BTS of what he thought was another production, so to have him love the results and supporting me in this is huge. I wanted to show the industry that I’m back. That it’s go time for me. What better way to do that than to show some of my skills in one video? I am an island girl who grew up in France so a country song with a blues undertone is a bit out there, but that is what this is for me. It’s my fight song, my comeback song in a way. I have always tried to live my life the way I wanted, going against what my family wanted for me and what society depicted for me as well. I still want to act of course that is my main love, and now I can do so much more. LET’S GO!!! What have been the challenges getting it made? COVID!!! My goodness. Taking on anything while there is a pandemic is very challenging. So I had to make sure that I wrote a story that could be done with a skeleton crew and barely any other human being around. The focus is on the heroine; her journey and the decisions that she needs to make for her life to live in her truth. So that allowed for not having a ton of people around. Shooting in the desert was a plus and smart also, so we got a ton of production value for what was available for us to use. Timing, shooting with natural light. I wanted this to feel real, raw. So racing against the sun and then being my own hair and makeup and wardrobe person was challenging. Making sure that I knew and projected the emotions that I wanted to convey on camera, then watching the playbacks to make sure I did what I saw in my mind was also challenging but a great feeling. I learned a lot making this video. Mainly that ‘I CAN’, and I am. You have directed a few shorts and acted in a lot. How can audiences watch your work? Yes, I have. Right now because I am shopping a few of those projects around I have not shared them with the public to view yet. They did the film festival rounds and I am proud to say that three of them have brought home over 25 awards combined. The one that is on public display is ‘Voodoo Vanessa’ and that can be found on my youtube channel. Here is the link if you want to check her out, and also, I have a lot of my other work on this channel. I will release MAMBA and DAHLIAS on Vimeo soon and I will share that link publicly as well. I will post that on my Instagram, Twitter and Facebook accounts when it’s time to share. Who would you love to work with and why? SALMA HAYEK. I’ve had a lot of time on my hands lately, like A LOT. And yes, I have my favourites that I’ve admired for years and have wanted to work with. Directors, actors etc. Yet this week, I’ve thought about Salma. She’s the reason why I came to Hollywood. I watched her in a movie, ‘DESPERADO’ to be exact, and I thought then, wow, she’s Latina, a firecracker, funny and goofy yet an amazing artist. Age has never defined her and she is still going strong, sexy, and confident all-around badass. I thought that if she can do it, maybe I could too. JENNIFER GARNER. I am a huge action junky. I am a huge fan of hers, especially since her ALIAS days. There are more and more women doing action and for me, she is on my top list of badass women that I want to work with. She’s sweet, honest, has integrity and also is an all-around badass strong female. Yeah, I want to work with her too. One of my projects that I’m working on at the moment has a character that I want her to play actually. So yeah. I’ll stop there for now. What's next for you? The music video is my focus right now and we will be rolling the teasers for it soon. We will announce the release of the music video in the near future also. It’s taken me a bit over three years to get here. Two major surgeries, physical therapies, and a lot of pain. I had to learn how to walk again. To get strong again. It’s been a battle that I haven’t shared or talked about much publicly, it’s been extremely hard to come back from that. Now it’s back to the grind. Auditioning, writing, producing. I am working with some producers to get some of my projects made and until that happens I am back to being an actor. I was just brought on to a project called ‘voodoo Biker Gangs’where I play a Dominican witch, very fitting if you ask me, and we are waiting for the green light to head into production for that. For now, I am enjoying being back fully. Before the accident, I lost track of me somehow, lost my focus. I’ve was given this gift of time, as painful as it was, to refocused, to get back to living my life the way I want and I am not going to squander it. What would you say if you were a dolphin? Catch up human, you are evolving too slowly. #ChrisOlson

★★★★ Directed by: Leigh Janiak Written by: Zak Olkewicz, Leigh Janiak, Phil Graziadei Starring: Sadie Sink, Emily Rudd, Ryan Simpkins, McCabe Slye, Kiana Madeira, Benjamin Flores Jr., Olivia Scott Welch, Gillian Jacobs Netflix Film Review by: Chris Olson Fear Street Part 2: 1978 (2021) Film Review [SPOILERS AHEAD] We’re heading to summer camp in “Killer Capital USA” for the second instalment of the Fear Street trilogy and things are about to get even more cursed - seventies style. Director Leigh Janiak is back at the helm, delivering a smorgasbord of teenage promiscuity, classic rock tracks, and bloodbaths, as we see Shadyside in 1978, after C. Bergman (Gillian Jacobs) reveals to our two survivors from the first film that her experience with the town’s witch goes back 16 years at least…[play nostalgic harp sounds]. Ziggy and Cindy Berman (Sadie Sink and Emily Rudd respectively) are sisters with a tumultuous relationship. The former a designated “weird kid” and the latter a fun-sponge. Whilst at Camp Nightwing, the sisters prepare (in their very different ways) to survive the endless tirade of town rivalry and teenage drama, as well as the upcoming “Color War” - not quite as dramatic as it sounds, each town wears a blue or red t-shirt. Two tweakers drag Cindy and her boyfriend Tommy Slater (McCabe Slye) into dangerous territory when they go looking for the town’s legendary witch’s house. Once they get there, the writing is literally on the wall. Beautifully confined to the summer camp for the majority of the film, Janiak is able to create a cauldron of tension and thrills that continue to bubble frantically throughout the whole run time. Once the slashing begins, viewers are treated to an array of engaging set pieces and carefully choreographed encounters with the newest witch’s recruit. Fear Street Part 2: 1978 is another mashup of classic horror tricks and treats, and, much like Part 1: 1994, does so with no qualms. Horror tropes are aplenty, such as the Cindy character's virginity being referenced, and the dialogue even goes into Stephen King influences to a good degree of detail. A pun using the word “Carrie” was almost too much to take but felt somewhat appropriate for this 2021 film paying tribute to its heritage with a bit of flair. Soundtrack highlights include Don’t Fear The Reaper, Carry On My Wayward Son, and The Man Who Sold The World, among others, with a clear enjoyment of the 70s period being exercised in Part 2. It was great to see a horror film depict more female leads (in both part 1 and 2). The film also explores a heavy theme about truth and whether people choose to ignore it, for personal gain or just to survive, which is brilliantly characterised in the younger version of Nick Goode (Ted Sutherland) who falls for Ziggy but must also consider his destiny within the town. For Fear Street Part 3: 1666 viewers may expect the soundtrack to be less rocking but the stakes are higher, as we finally get the answers to Sarah Fier’s story. Put our names on the wall for that one. #ChrisOlson

★★★★ Directed by: Chris Carter Written by: Chris Carter Starring: Brittany Altenbach, Mary McCullough, Peri Susanne Jackson Film Review by: Jason Knight A woman is diagnosed with systemic lupus erythematosus, which is a chronic and currently incurable illness of the immune system. She goes to great effort to deal with her condition, while simultaneously trying to pursue her demanding job. Sarah Myers (Altenbach) is a successful district attorney, known for her drive and determination, who is being promoted to the position of South Carolina's State District Attorney. However, she is devastated to find out that she has lupus. Although at first she attempts to conceal it, eventually she seeks medical assistance and joins a support group for people who are living with the same condition as her. After a great deal of endeavours, including the loss of a loved one, she manages to stay strong, follow her career and help raise awareness of lupus. This emotional drama operates like a documentary and focuses on how one person's life is affected by this disease and how they try to deal with it. It is a journey from desperation to determination and victory. There are distressing scenes that show Sarah suffering from her condition and there are moving scenes in which she is being supported and comforted by her loved ones and the individuals in the support group. Sarah is often shown in a courtroom, questioning witnesses and pursuing her new job. There is also footage of people raising awareness of lupus. Particular acknowledgement should go to Sarah's powerful speech about living with her illness and encouraging people not to let it take over their lives. As she speaks her words turn into voice-over that accompanies a montage of various individuals or crowds as they raise awareness regarding this condition. This sequence also includes a powerful, dramatic score and it provides hope and support to people who are living with lupus. This short is an inspiring story. It contains loss and struggle but also hope and courage. It raises awareness about lupus and offers support to the ones who are affected by it by encouraging them not to let their illness destroy their lives. #JasonKnight Trailer for Mark Of The Butterfly:

★★★ Directed by: #NickolasBird and #EleanorSharpe Starring: #PhilLiggett and #TrishLiggett Documentary film review by: Brian Penn Sports commentators are a unique breed of broadcaster; they can amuse, excite and frustrate in equal measure. The finest purveyors will inform the viewer without intrusion and ensure you don’t notice them too much. Phil Liggett is a master of the craft with his calm and measured delivery; the voice of cycling could be no finer sobriquet for such a highly tuned wordsmith. This documentary gently teases out the man behind the microphone and a wonderfully rich career covering the world’s greatest road races. His life is neatly captured from his beginnings as a cyclist through his transition to journalist and legendary association with the Tour de France. The narrative is interspersed with his lifelong passion for wildlife conservation and ‘helping rhinos’ initiative. There is no question that a huge debt is owed to Liggett, who helped to popularise cycling and provide the sport with much needed identity. He was one of the first journalists to write whilst still competing as a cyclist. It gave him unique insight as he later became technical director of the Milk Race. His distinctive voice had a gentle Scouse intonation and made him a natural broadcaster. Liggett formed a memorable partnership with former cyclist Paul Sherwen as their commentaries were heard across the world. Key moments in his career are captured including his misguided defence of drugs cheat Lance Armstrong. However, the film’s real weak spot is the frequent diversion into Liggett’s wildlife conservation activities. He is a primary fundraiser for the protection of rhinos; breath-taking panoramas of South Africa feature prominently and his commitment to the cause is genuinely moving. However, this film was not billed as a wildlife documentary; ostensibly it is the story of Phil Liggett, the voice of cycling. His efforts are to be admired and respected, but I would have preferred this footage to be saved for a separate documentary. Having said that, we have a pleasing account packed with anecdotes of a remarkable life well lived and reassuringly there is more to come. You can buy tickets here - https://uk.demand.film/phil-liggett/

★★★★ Directed by #CateShortland Written by #EricPearson #JacShaeffer #NedBenson Starring #ScarlettJohansson #FlorencePugh #DavidHarbour #RachelWeisz Film Review by Hope Madden and George Wolf Avenger Natasha Romanoff had to wait awhile to get the green light on her own standalone origin story, and then even longer for the big screens to carry it. Now Black Window is finally here, and Natasha’s not even the most interesting character in her own show. And the film is better for it. Director Cate Shortland and writer Eric Pearson surround Natasha with uniquely compelling personalities that become important parts of a whole, while surrounding star Scarlett Johansson with a supporting ensemble skilled enough to make this one of the MCU’s most character-driven successes. Oh, there’s action, too, but we start with a prologue set in 1995 Ohio, when Natasha’s family is trying to flee the country at a moment’s notice. Father Alexei (David Harbour), and mother Melina (Rachel Weiss) were prepared for this day, so they scoop up young Natasha (Ever Anderson) and sister Yelena (Violet McGraw) and put the escape plan into action. An overlong, Watchmen-style montage mixing music and news headlines brings us up to 2006, when the family is long estranged. Natasha is on the run since the Avengers “divorce” (between Civil War and Infinity War), Yelena (Florence Pugh) is taking names in Norway, Alexei is in prison and Melina’s loyalties seem tied to some talented pigs. Meanwhile the villainous Dreykov (Ray Winstone – nice! His accent – not so much) has plans to build an army of mind-controlled “Black Widow” assassins. That means females only, but while the reveal lands as a clear metaphor for sex trafficking, Shortland (Berlin Syndrome, the underseen gem Lore) and Pearson (Godzilla vs. Kong, Thor: Ragnarok) never belabor any well-taken points. Even better, they fill the entire adventure with enough organic, self-aware humor about posing, too tight supersuits and the need for pockets that very few of the 133 minutes seem laborious at all. The core foursome is uniformly terrific, as you would expect from actors of this caliber. Performances blossom and surprise, their chemistry buoying the familial longing required of every superhero backstory while anchoring action in characters you can care about. Pugh—sympathetic, comedic and badass—is the standout, but Johansson shines, especially in a climactic bout with Winstone that makes satisfying points about weak men. Shortland never forgets the point of a superhero film, though. The breathless action in Black Widow impresses as much as it entertains, whether hand-to-hand or aerial. And it is a Marvel film, so be sure to stick around post-credits for an intriguing stinger and a welcome addition to the universe. #HopeMadden #GeorgeWolf

★★★★ Directed by: Leigh Janiak Written by: R. L. Stine, Kyle Killen, Phil Graziadei Starring: Kiana Madeira, Olivia Scott Welch, Benjamin Flores Jr., Julia Rehwald, Fred Henchinger, Ashley Zukerman Netflix Film Review by: Chris Olson Fear Street Part 1: 1994 (2021) Film Review A horror story “300 years in the making” released its first instalment on Netflix last Friday, with Fear Street Part 1: 1994 landing on the popular streaming service. With 2 more films based on the R. L. Stine books releasing on consecutive Fridays, the Fear Street films have created a much-needed film event for movie fans withered by the ongoing pandemic restrictions. Part 1’s early 90s charm gets off to a thrilling start when a shopping mall worker is hunted and slashed in a terrifying opening bloodbath. From here, the credits start and we learn more about the setting of Shadyside, a town known for gruesome killings and horrific events. The town’s neighbour, Sunnyvale (est. 1666 - oooooh) is far less afflicted and in fact, seems to be incredibly prosperous. The two sides collide during a candlelit vigil for the aforementioned mall worker, and after chasing a school bus out of town, Samantha (Olivia Scott Welch), who has recently transferred from Shadyside to Sunnyvale, puts her hands on a deeply-buried secret. She now must rely on her old girlfriend Deena (Kiana Madeira) and the Shadyside students to survive a curse 300 years in the making. Slickly produced and well-paced, Fear Street Part 1: 1994 gets the trilogy off to a phenomenal start. Yes it’s laden with tropes from all of yesteryear’s horror classics like Scream, The Witch, and It Follows (among countless others) but it carries the baton with confidence and shameless energy making it compelling viewing. The film has a delicious soundtrack, with the likes of Radiohead, Cypress Hill, and The Pixies all rocking up, not to mention the fact that technology is only so far as AOL and beepers - so no easy outs here! Viewers going into the film with the preexisting knowledge of two more films cannot help but be filled with intrigue, and the fact that those films have titles with years that will set the stories decades and then centuries earlier will only add to the spectacle. There are references to characters who are almost certain to turn up in films 2 and 3, allowing audiences to don their detective hats early on in the hopes of piecing the events together like a good true-crime tale. The acting chemistry is brilliant, with a slightly more grown-up (but still very similar) dynamic to something like Stranger Things, this is pure high-school horror at its best. The kids are believably sweary and offensive, and the central lesbian relationship felt organically delivered without teetering into unnecessary distraction. It cemented the emotional depth and eschewed the horror pitfall of disposable characters for a crew worth investing in. By the final third, the gang’s vibe is Goonies-Esque and audiences will be fully on board. One of the characters says during Part 1: 1994 “There are no answers in the past” which feels like a massive clue to the reverse being true. With this Friday seeing the release of Fear Street Part Two: 1978, we won’t have to wait 300 years for the middle instalment and more answers to this compelling horror franchise. Watch the Film Trailer: #ChrisOlson

★★ Written & Directed by: #RickeyBirdJr Starring: #DTCarney, #JamesDuval, #KelliMaroney Short Film Review by Taryll Baker Set in 1995, two young boys find themselves trapped in a video store in the midst of an alien invasion. The Video Store is a comedy drama supercharged with ridiculous sci-fi elements, infusing wacky acting with slightly serious tones. It’s as if we’ve jumped into a time machine and ventured back to the time the film takes place, with common tropes and cliches being used full-on as a representation of fun filmmaking and a nod to the movies that raised the kids born in the 70s and 80s. If you pay enough attention you’ll even notice the shoddy miscommunicated problems that filled those old classics. I mean, apart from the fact that it’s set in 1995 and a video copy of The Matrix is on the shelf (not even released theatrically until 1999), amongst others, it’s pretty clear that attention to the finest detail is not Bird Jr.’s focus. The Video Store places that focus on the fun thrills that can be created when making something for the heck of it. There are laughable moments in the presentation of this film. Mostly unintentional, such as a green-screened window onto a wall outside the video store. There are also strange fuzzy TV effects that intrude the frame every now and then, as if we’re watching through an old box television. Interestingly, though, the film gets more enjoyable with the introduction of a practical alien in the UFO, which unfortunately doesn’t use up much of the film’s runtime. The actors do a great job of creating that odd aura that plagued movies from the 80s, with cringe-worthy lines (which is presumably intentional) and slightly wooden but tonally fine and passable performances. And they’re supported by a synth-induced score, written by Aaron Novak, that expands on the flimsy alien oriented atmosphere. The cinematography is, at times brilliant, and other times a little amateurish. But the colouring is pleasant to look at, if only it wasn’t for the unloved visual effects scattered in here and there. In terms of plot and execution in general, it’s difficult to figure out what exactly happened. The story begins with good intrigue and you’ll want to see it through to the end if only to see what the film has to say, which doesn’t seem to be much. It has charm but burns out pretty fast. The Video Store is a fairly decent short independent film, and it will most likely have its targeted, niche audience, but for the general viewer it’ll just be an “alright” time. Watch the trailer for The Video Store below. - #TaryllBaker

★★★ Directed by: #LorrainePrice Documentary Film Review by: Corey Bulloch One's life always has value, especially when the end is near. I have seen the work of palliative care first-hand, through the compassion and the humanity shown to my family members in their final months; I can say with no doubt that they truly are heroes. Heroic through the simplest of acts, the acts that remind their patients that their lives are still here, that they have not been abandoned. Sharing in prayer, helping one to eat, all these normalcies that have becomes rarities through terminal illness, even the act of getting a haircut. Lorraine Price presents a portrait documentary of Kathleen, the titular hairdresser, in a mixture of intimate and clinical imagery showing the small yet crucial impact her volunteering has on patient Madame Lalonde. It is business as usual within this Montreal hospital’s palliative care unit but inside Madame Lalonde’s room, it's far more personal. Price and editor Pauline Decroix show how life endures, ends and eventually remembered through simple actions. This haircut against Kathleen’s voiceover explaining her delicate methods and experiences in palliative care emphasis the care she provides. Jacquelyn Mills’s cinematography never makes you feel like you are intruding on these moments, its intimacy disarms you from cynicism or awkwardness and Price just lets the truth guide the film. My reaction to The Hairdresser was to think of the family I’ve lost and to appreciate those who committed their time to help them, I found Kathleen and Madame Lalonde’s time together to be beautiful and a testament to the dignity that so many deserve in their final days. It is easy to think that terminal illness just means the end, that there’s nothing left to do but wait. I have complicated feelings over that time between diagnosis and death but I appreciated how The Hairdresser reflects on how the absence of a cure does not translate to an absence of hope or even life. Kathleen doesn’t volunteer out of a sense of pity or guilt, her words express her passion for hairdressing and sharing that passion with others. It’s that spark of humanity that gets us through the pain, that kindness of strangers that reaffirms that old belief the human race isn’t as hopeless as we once thought. It’s easy to forget the little things when the larger picture looms, but it’s been said that the little things make life worth living. Price and Decroix make sure we see the framed photographs of Madame Lalonde’s life displayed across from her at the end of the film. It was a full life of love and memories, no doubt she will be missed when her time comes if it hasn’t already but while those are just reminders of time gone by, it’s Kathleen that shows life’s little things aren’t over yet. Price and her team deliver a beautiful little portrait of people’s kindness towards one another, a glimpse of life that has you reflect on your own. Its simplicity is to its benefit, focusing solely on its subjects rather than any flashy technique or manufactured drama. The Hairdresser is simply a day in the life, with Kathleen ending the film with a reflection on how “life is beautiful” and after witnessing the bond she forms with Madame Lolande this bitter cynic can’t help but agree. Watch the Film Trailer #CoreyBulloch #shortfilm #documentaryfilm

★★ Directed by: #NebulousState Written by: #NebulousState Starring: #WilliamTimberlake, #NebulousState & #TomMT Film review by David Richards First and foremost, ‘Punished Liver 4; volume 1’ cannot be heavily critiqued due to its lack of professionalism and seriousness. This film holds no standards or quality and is clearly a product of friends having fun with nothing but themselves, imagination and a camera. And yet, I cannot help but enjoy this poorly absurd creation. Due to its low standards of production this short is laughable which plays to its advantage in adding an extra sense of humour to its already funny script. With the particular soundtracks, this short film is obviously influenced by 80’s cult classics such as Rocky, Rambo and other Grindhouse pictures enabling its viewers to tap into their adrenaline cravings. Although this type of film is often shunned by many, believe it or not some individuals such as the filmmakers of Punished Liver live for the sub-genre. This type of short film series can be seen as a parody to the b-movies of the 80’s and comparable to the hit YouTube series ‘The Big Lez Show’. Although their styles are completely different by one being live action and the other a paint animation, the sense of humour and string of episode-to-episode narrative is very similar. The opening epilepsy warning is definitely needed however the inclusion of strobe lighting in the cinematography is completely unwarranted. So, the decision to keep the flashing light with the admission of an epilepsy risk, to me, is bizarre. But then again, so is this entire film. The initial location of a flat covered in litter is lazy and underwhelming and yet, other locations such as the concrete structure within the dream sequence seem unique and offer great use of on-location lighting. An aspect of punished liver which I enjoyed was the incorporation of the COVID-19 pandemic and its social effect on the public which yet again is done in a not-so-serious manner for comedic purposes. It is clear that the result coming from this segment was an insight to the filmmakers and their situation at the time of filming, suggesting that the silliness of this short film has been outstretched. This shows a sudden turn of maturity to what could be conceived as a childish film. The filmmakers question the return of octopus and Co in comparison to the end of the pandemic (whether or not the pandemic will end). Overall, this film is utterly dreadful in many aspects. However, it still holds a strong comedic value incorporated into a dodgy backyard picture, which I for one enjoyed. An element of filmmaking could be narrowed down to individuals having fun with the prospect of making films with no real experience and ultimately entertaining an audience, no matter how niche that audience is. Despite the low rating, I hope octopus and general x return in the next instalment of the Punished live series.