★★★ Written & Directed by: #LucaSpreafico Starring: #SilviaBonavigo #EugeniaCaruso #AlessandraSbordoni Short Film Review by: #ChrisBuick Blending a soulful narrative with eye-popping aesthetics, fashion film Alex from Milan-based filmmaker Luca Spreafico is exactly as the filmmaker describes; a film “at a crossroad between fashion film, short film and dance video”. But this isn’t simply a throwing together of ideas to see what happens to stick, Alex is a meticulous and imaginative look into the human psyche and focusing on the effects of trauma in a way that you might not have seen before. We meet our eponymous lead Alex (Bonavigo) undergoing a session of EMDR therapy, a psychotherapy treatment that aims to help people attempt to process and alleviate traumatic memories. For Alex, being left home alone in the dark at a young age by her mother, albeit briefly, is a painful memory that she still carries with her some fourteen years later, and we see that insidious trauma take root via a flashback sequence of the film that plays out like a condensed thriller of sorts which even though seems like it ends a bit too quick to have a greater effect, does what it needs to in order for us to understand the anxiety Alex now has as her desperate cries for her mother pierce the air as she runs through the empty house. Now, encouraged by her therapist to think of a happier, more comforting memory, for the remaining two thirds of this short film we are transported with Alex to her safe-haven of a beautifully grand villa fully realised within her mindscape and this is where the film really starts to find its feet and quite frankly, show off in the best way, although this is admittedly also where the film might start to lose a few people. What no one will be able to deny is that Alex is an impeccably stylish feast for the eyes with the utmost attention paid to almost every aesthetic detail, which yes might be the very least you would expect from someone like Spreafico who has over a decade of experience working with in the fashion industry, but the unwavering consistency in quality on display here from the director/photographer is still an incredible achievement that, along with the stellar work of cinematographer Alessandro Ubaldi, should be fully commended, particularly throughout the film’s interpretive dance centrepiece which is beautifully choreographed and incredibly cinematic. With that however, it does become a film that definitely finds itself leaning more towards fashion film with a somewhat lesser emphasis on the narrative, which means those looking for some more meat on the bones story wise might be frustrated here, and although its highly likely this was the intent all along, it perhaps could have benefitted slightly from expanding on this aspect a touch. It might not be for everyone and perhaps it could have leaned into its narrative a bit more, but Alex is a film that knows what it wants to be and what it’s trying to say, the creative ideas at play here are great and unique and ultimately the film succeeds in achieving everything it wants to as well as being a technical and visual delight to watch. #ChrisBuick Watch the entire film, Alex here:

★★★★ Directed by: #PhilipMartin Written by: #PhilipMartin Starring: #GedPurvis, #JuliaRogers, #ChrisIddon Film Review by: Isabelle Ryan There is little that can be said about Adéla that won’t veer immediately into spoiler territory, but that may be its greatest strength. In this deceptively simple short, drug dealer Jacek (Purvis) endures the ramblings of a prospective customer (Iddon) before leading him home where his sister, Adéla (Rogers), awaits them. Set on the streets of Manchester, Philip Martin’s film balances a grounded, gritty narrative with something far more sinister. The story itself is a familiar one, but this is far from a tired narrative, and a few key choices make it feel fresh. The film strives to maintain an impressive sense of realism throughout, and Daniel Patrick Vaughan’s cinematography helps. It makes great use of natural light, both inside and out; the sun filtering through newspaper taped to the windows in Jacek’s house lends the film an odd warmth, jarring against the sparse, crumbling interior, and the shock of the climax. This is unfortunately overshadowed by Tom McLaughlan’s distracting score, an almost constant presence that undercuts much of the film’s tension. The music itself, rising dramatically and optimistically, is effective at times, but sadly robs the climax of its power. Luckily, Adéla has a cast that, in such a short time, truly shines. Purvis’ exasperation with his customer is palpable, and as the film reaches its peak, the reason for his frustration becomes horribly clear; Iddon’s twitchy, desperate addict is pathetic and sympathetic in equal measure; and Rogers’ dreamy narration and dead-eyed stare fit the mood perfectly. These are not particularly meaty roles – like the plot, they are not even particularly original – but Martin’s script takes this familiar idea and reworks it, allowing for greater introspection: why, for example, Jacek has to be a drug dealer, and why a desperate addict is the perfect target. But the main theme here is that of a brother’s love for his sister. We see this in the lengths to which Jacek is willing to go to support and protect Adéla; and we hear it in Adéla’s tender, almost romantic narration, and in her contrite, sincere thanks at the film’s closing. As the film progresses, Jacek’s frustration with his customer reads more clearly as furtive, desperate guilt, and at the end of it all, he seems exhausted, but we know he will keep doing whatever it takes to keep Adéla safe, even if it means putting others at risk. Adéla takes a familiar narrative and presents it brilliantly. Despite a somewhat overbearing score, it maintains a dark, melancholy, and strangely uplifting tone. In the end, it is a love story that has been told many times before, and will no doubt continue to be told for years to come.

★★ Directed by #MichaelHaussman Written by #RobAllyn Starring #JonathanRhysMeyers by Christie Robb Director Michael Haussman’s biopic shows his background in music videos. Edge of the World is a sexy, dreamy kaleidoscope of tropical imagery, but as a narrative, it’s quite hard to follow. Which is too bad, as the ripped-from-your-history-textbook story is pretty interesting in a white dude trying to “civilize” an existing culture sort of way. Jonathan Rhys Meyers (Vikings, the Tudors) smolders as he plays Sir James Brooke, an Indian-born British subject who has failed to live up to proper Victorian expectations. He hopes to make a name for himself by making a great discovery on the island of Borneo as part of the Royal Geographical Society. Instead, he manages to get himself made rajah of a jungle kingdom. This involves a bit of political maneuvering among different tribes from Borneo and folks from Singapore and, I think based on costume and hairstyle choices, China. But Haussman doesn’t linger long enough to give us much of a sense of the complexities of the alliances, the individuals involved, or what the stakes are. Because of this, as much as the film seems to want to sell the audience on having witnessed some sort of character arc from Sir James, this isn’t actually achieved. We have no insight as to the motivations of characters except for the occasional voiceover from Sir James. The movie feels like a slog through the same marshy landscapes the characters so often maneuver through on the screen, with the occasional burst of beauty to take in along the way. #ChristieRobb

★★★ Directed by #MichaelChaves Written by #DavidLeslieJohnsonMcGoldrick #JamesWan Starring #VeraFarmiga #PatrickWilson #RuairiOConnor Film Review by Hope Madden It’s been a long wait for a lot of movies. The Conjuring: The Devil Made Me Do It has been baiting horror fans with its provocative trailer for well over a year. It is finally here. We open on an exorcism going awry. The torment of wee David Glatzel, (Julian Hilliard of WandaVision, relentlessly cute in oversized glasses) brings the Warrens (Vera Farmiga and Patrick Wilson) to Brookfield, Connecticut. But it isn’t they or the generally useless Father Gordon (Steve Coulter) who rid the boy of his affliction. No, David’s not free until his sister’s boyfriend Arne (Ruairi O’Connor) tempts the demon to take him instead. And here’s the thing. Children in peril are heartbreaking but grown men can do a lot more damage. Arne’s story is pulled from the Warrens’ files. Ed and Lorrain Warren were real people. (They did not look like Patrick Wilson and Vera Farmiga, although Farmiga’s costume work is spot on.) They were ghost hunters who profited from and fed the flames of the Satanic panic of the 1980s. That’s not really anything to be proud of, but it has led to several solid haunted house movies including any number of Amityville Horror films, as well as James Wan’s excellent 2018 film The Conjuring and its adequate 2016 sequel. Based loosely on the real-life trial of Arne Cheyenne Johnson, whose murder defense claimed demonic possession, director Michael Chaves’s film takes a different approach to its scares than the previous efforts. Rather than trying to expel a demon from a home or a person, Ed and Lorraine go sleuthing to find the sinister Satanist responsible for cursing poor Arne. Farmiga and Wilson remain the heartbeat of the franchise, their skill and rapport offering something akin to believability that grounds the utter ridiculousness of each story. We believe that Lorraine and Ed believe, which makes it easier to suspend our own disbelief. Even though it’s hard to believe a gifted clairvoyant could fall for some of the human treacheries afoot in this film. There are some fine performances, creepy images and a few inspired frights, but they don’t make up for the film’s weaknesses. The investigation gives the narrative a sprawling, disjointed structure and the Satanism angle makes the whole film feel silly. Chaves joined this universe with perhaps its weakest effort, 2019’s The The Curse of La Llorona. He’s hit about the same middling mark with this one. The Conjuring: The Devil Made Me Do It takes on the legal system but unfortunately abides by the law of diminishing returns. #HopeMadden

★★★★ Directed by: Kyle Kenyon Written by: Kyle Kenyon Starring: Hannah Garces, Geoff Ross, A.J. Salas Film Review by: Vikas Yadav The “daddy issue” predicament is not uncommon. Children have been scarred by it both in reel and real life. Many movies have extracted juice out of it for an intimate experience. So what makes Kyle Kenyon’s Dad Pals any different? Well, everything. Be it the over-the-top treatment or the zany style, every element here makes Dad Pals disparate from its fellow peers. This 5-minute short film not only confronts the daddy issues but also pokes fun at the various tropes and reasons behind it. Kenyon adopts the video game-y method for his narrative. The characters - Hannah (Hannah Garces), Geoff (Geoff Ross), and Pitters Jr. (A.J. Salas) - play a video game. Soon, Hannah and Pitters start playing with (or make fun of) Geoff’s chummy bond with his father. At first, Geoff is regarded as a loser and his friends as winners. But by the time the short ends, Geoff emerges as the champion while Hannah and Pitters turn out to be the defeated players. The fuss is created when Geoff casually mentions that he is attached to his father and vice versa. Hannah and Pitters are not able to digest this fact and initiate the mocking comments. They are not alone. A woman (Nina Concepción) briefly enters the frame and taunts Geoff (she ends up scoring double Dab Bonus). If you closely listen to the insults, you will discover the insecurities hiding behind them. At first, the taunts resemble the done-to-death cinematic tropes used in several similarly themed movies. As they pile up, you notice that they are further coming from a personal space. Hannah and Pitters project their bad memories onto the curtain of farce. You wait for them to trip and fall into the pit of melodrama. You know, mad laughter giving way to sentimental tears. Dad Pals, however, is not that kind of film. It’s dutifully committed to its waggish and absurdist tone and exhibits no intentions of deviating from its route. When tears stick on Hannah and Pitters’ faces, you wonder whether now the short would take an opportunity to set foot in the realm of mawkishness. But no, it does not. Yet, Dad Pals manages to be both amusing and heartfelt. The performances smoothly move from being exaggerated to charming. You smile and, for a few minutes, forget about your issues with your daddy.

★★ Directed by: Prashast Singh Written by: Prashast Singh Starring: Prashast Singh Film Review by: Jason Knight A look into the life of a professional hitman and his adventures. This Indian short thriller's subject is a contract killer named Neeras (Singh) and he talks to the audience about his profession, some assignments he has completed and the type of guns that he uses to carry out executions, including the difference between utilizing a modified firearm or a standard one. Then things get complicated with one of his clients and a policeman who is out to get him and Neeras ends up in danger of being exposed. The thing that stands out the most here is that there is no movement. The entire film consists of still images, edited together. There is no actual footage containing motion at all. The images show the protagonist as he walks, runs, interacts with his phone or brandishes his weapons. There are many pictures that show the killer's gloved hands holding a variety of firearms, ranging from handguns, automatic rifles and submachine guns. Several images are in black-and-white. Neeras is the only person who is seen and for the majority of the film his face is hidden. Since the whole film is like a slideshow, the viewer depends on Singh's voice-over in order to understand what is going on. His narration does not accompany the images well. Sometimes his words do not seem to have anything to do with what is seen on screen and the experience can be confusing. For instance, the film will cut from the killer to a picture of a river and it is not clear how the two are connected. Along with the narrator's spoken words, there is music that consists of drums and piano, which might not be to everyone's liking and their sounds do not create a particular kind of atmosphere. During the first half or so, the film operates like a documentary as Neeras explains who he is and how he carries out his work as an assassin. A narrative is added when he becomes aware that someone is attempting to bring him down. Neeras is basically like reading a book with pictures, only (as mentioned above) the words do not go with the images very effectively. The fact that this project is about an assassin is cool and the highlights occur with the closeups of the various guns. However, apart from that, there isn't much there. #JasonKnight

★★★★★ Directed by: #GabríelElíJóhannsson Written by: #GabríelElíJóhannsson & #EinarKarlPétursson Starring: #CamillaHjördísSamúelsdóttir, #SamúelÞórirDrengsson, #PálmiÞórKristinsson Film Review by Lucy Clarke It would be woefully misleading and derivative to describe Gleðipakkinn (known in English as The Joy Box) as an Icelandic response to the hit Netflix anthology series Black Mirror. While both Black Mirror and Gleðipakkinn are centred around a piece of technology that can rupture the lives of whoever owns it, Gleðipakkinn is filled with mysterious elements that are deliberately left unexplained, leaving many of the revelations up to the imagination of the viewer. Arna (Camilla Hjördís Samúelsdóttir) mans the phones for Joy Box. She's only been there for a few months. In her orange sweatshirt, she resembles someone who works for a festival box office more than a company selling one of the most sought-after things in Iceland. Arna doesn't particularly care about the role or the mysterious boxes, which have become status symbols everywhere. No one really knows what the Joy Boxes do. Although it seems that Joy Box is running an outrageous scam by selling cardboard boxes for the same price as a small car, the boxes have become a must-have item for the rich. Arna is asked to go on a delivery run the following day with Bjöggi (Samúel Þórir Drengsson), and as they journey through pitch-black snow-covered streets with the boot filled with empty – but pricy – cardboard boxes, the mythos of the boxes swirls around them. Are they magic life-solving boxes that will heal any of your ills? Are they simply a gimmick from a start-up that has cleverly conned their community into giving up their hard-earned cash for something that doesn't really work? Or are the boxes a product of something far more sinister than either Arna or Bjöggi are led to believe? Gleðipakkinn is strikingly intelligent in the way it chooses not to give you any of the answers. By the credits, the audience is left deeply mystified and under the boxes' spell. For the majority of its runtime, Gleðipakkinn takes the form of a scandi police drama. The camera slowly zooms in, and apart from Arna's fluorescent orange pullover, the tones coalesce into a dark greige. But in the film's final portion, it shifts into a dream thriller and an exploration of film. Beautiful textured patterns flow over the face of our main character, and the noise of static on an old television evoking nostalgia and terror. These two halves of the film – the static thriller and the unexplainable dream sequence - aren't two separate films oddly sewn together. Instead, the story evolves in a mesmerising way that seems completely plausible in this strange world. Ingeniously, the audience is left with more questions than answers, which will enchant the audience for days rather than leave them frustrated. Gleðipakkinn is richly imaginative but is also deeply grounded in reality. It will undoubtedly leave audiences ruminating on one question - what's in the box??

Filmmaker Interview by Chris Olson As a film critic, it has been my honour to interview a wonderful mix of filmmakers over the years and after my most recent Zoom interview with Matthew Paris, I am in awe of the grit and determination they often have towards their craft. During our interview, Matthew talks about his short filmmaking, his writing process, acting, directing, and the role of a producer. He also goes into a bit of detail about how to sell a film - which I am sure will be interesting reading for a lot of filmmakers out there. Film fans will be able to enjoy Matthew Paris talk about his short films, in particular The Eyes On Me, in which Paris plays a small part at the beginning. It was hilarious to hear about his character's need to smoke, especially when the lead actress was allergic to tobacco smoke! You can watch the entire video interview with filmmaker Matthew Paris below or on our YouTube channel. #ChrisOlson

★★★★★ Directed by: Michael Shlain Written by: Michael Shlain Starring: Yuri Lowenthal, Tony Amendola, David Rees Snell, Jack McGraw Film Review by: Jason Knight A broken, mentally unstable man recalls a traumatizing experience from his childhood. A doctor (Amendola) is speaking to a patient (Lowenthal) inside a psychiatric hospital. The patient's wrists are covered with bandages, after he attempted to take his own life, following the passing of his wife. He is clearly emotionally damaged and the doctor is trying to get to the source of his troubles. The patient then proceeds to tell the story about a day out he had with his father (Snell), that turned into a nightmare. His dad took him to another town for a carnival, where he encountered the terrifying Showman. This short horror film is a proof-of-concept for an anthology series which is currently in development and is based on original stories by horror author Thomas Ligotti. Right from the start the atmosphere is sinister, and as the plot moves forward, the tension rises and rises, leading to nail-biting moments. The terrific mise-en-scene resembles a Tim Burton film. The mysterious town the father and son arrive to is rather odd-looking, even appearing menacing. There is no one around and the streets are covered with smoke and fog, and filled with abandoned funfair equipment, such as carousel horses and various games. The walls are filled with posters announcing a funfair. Costume designer Jackie Gudgel did a fantastic job and created clothing that looks like it belongs to the fifties or forties. The film takes its darkest turn when the Showman appears, as he is very frightening and steals the show. Located inside a small theater, he stands on the stage, with his back towards the seats, which are empty, save for the scared boy. The Showman looks almost inhuman, the stuff of nightmares. He is tall and wears old, torn clothes, a top hat and has long hair. His hands look horrible, like a ghoul's. He does not speak and constantly makes sudden movements, giving the indication that he is turning around to show his (probably terrifying) face and stops just when his face is about to be exposed. Ans that is what makes this figure so petrifying. He keeps teasing the audience, making them anxious about when his face will be revealed. The music goes perfectly with the narrative. The score is intense and terrifying, helping develop a bone-chilling experience. There is also old-fashioned music that comes from a phonograph. The acting is great by all of the cast and the Showman was played by an actor who also works as a contortionist, making his menacing moves seem that they belong to a demonic creature. This achievement is a must-see. The plot is intriguing, the performances are outstanding, the cinematography is wonderful, the music is fearsome and it introduces a character guaranteed to give the viewer the chills. #JasonKnight

★★ Directed by: #ChrisRenaud, #JonathandelVal Written by: #BrianLynch Starring: #PattonOswalt, #KevinHart, #HarrisonFord, #EricStonestreet Film Review by: Emily Davison The Secret Life of Pets 2 (2019) is a computer animated adventure/comedy sequel, produced by Universal Pictures and Illumination Entertainment. Both directors are well known for their work on the 2010s animated box office hits such as the Despicable Me franchise (2010-), The Lorax (2012) and Minions (2015). The first Pets film received generally positive reviews from critics and audiences alike. However, in November 2017, it was announced that the featured comedian Louis C.K who voiced protagonist terrier Max would not reprise his role after being accused of and later admitting to sexual misconduct with women. Patton Oswalt, popular stand-up comedian and actor who is also known for providing his voice for Remy the rat in Pixar’s critically acclaimed Ratatouille (2007), took over the role for the follow up. After watching the first film in preparation for this review, this critic unfortunately had very low aspirations after finding the original far too reliant on fast paced slapstick comedic action to keep kids glued to the screen. Luckily, although the sequel does suffer from problems evident in the first, Pets 2 is a much more enjoyable outing for the ensemble cast with an improved, richer narrative and clean, crisp animation to boot. The plot continues the story of Max the terrier and his pet friends, following their secret lives as their owners leave them for work or school each day. Max and his dog brother Duke (Eric Stonestreet) face some major changes when their owner Katie gets married and has a child and when the family go on a family trip to the countryside, farm dog Rooster (Harrison Ford) helps Max to overcome his fears. These sections of the film’s three way narrative are by far the strongest with some interesting themes explored in a digestible way for young children to understand. Max forms a touching strong attachment to his owner’s toddler and this plot explores relatable and relevant concepts like needing to find the strength to let go and trust our loved ones to tackle life’s milestones on their own terms. Similar to other animated sequels, the film does suffer with having a bit too much going on, with two other narratives occurring alongside the main bulk of the story. One sees Gidget (Jenny Slate) try to rescue Max’s favourite toy from a cat-packed apartment and the other has Snowball (Kevin Hart) set out on a mission to free a white tiger named Hu from a circus. Both have plenty of slapstick comedy and some funny jokes every now and then to keep the younger kids entertained, but only come into fruition during the action packed climax when all must converge on the circus train to rescue Hu. Like the first film, the climax is holey unrealistic with animals being thrown about everywhere on a speeding train and not suffering any injuries, but a nice wholesome and sweet ending makes up for the film’s limitations. The voice cast is also strong all around, with Kevin Hart greatly toning down his over the top shouting performance from the first film and Patton Oswalt slipping into Max’s paws seamlessly. Harrison Ford has a small role in the film, but his usual gruff voice gives Rooster a nice respectable edge. Overall, The Secret Life of Pets 2 is a surprisingly superior film compared to the first, which is down to better, more developed characters and good performances from its cast alongside slick animation. The film is harmless popcorn entertainment for the kids for an hour and twenty minutes, but if you and the family are looking for more mature, nuanced storytelling from animated features, you’re better off going with a Pixar flick! #EmilyDavison The Secret Life of Pets 2 (2019) Trailer:

★★★★ Written & Directed by: #EwanGrant Starring: #DavidRankine, #RachelCassar, #CharlieAnderson, #MichaelNimmo Short Film Review by Taryll Baker A homeless man runs a bookclub during a quarantine. Shot entirely on iPhone during one of the lockdowns over the summer last year, Ewan Grant’s conceptual film follows a homeless man who decides to start a bookclub to share in the joys of reading. Escapism at its finest; The Bookclub, though made with an obviously low budget (probably none whatsoever), manages to capture the kindness of people, united through hard times. There’s really nothing more pleasing in a film than simple concepts being explored and captured with the limited equipment at hand. Grant’s focus on the man as he ventures around an eerily desolate neighbourhood is sharp and straightforward. Supported by a slight colour correction and with music by Callum Grant, The Bookclub is a subtle and delightfully charming look at the “little people” in a big world. With a relaxed tone throughout, the filmmaking also takes the liberty of feeling pretty laid back (with a couple continuity errors, though nothing so bad). There’s nothing but feel-good vibes from beginning to end, with each stop of the journey seeing people leave food and drink with their book for the homeless man to collect (they place a sign on their window for book trading). The Bookclub isn’t going to provide you with much content for thought or discussion, but it does gently remind you that there is some good in the world, and sometimes it’s right under our noses. Sure, this is a fictional story, but it wouldn’t surprise me if something like this were actually happening during the lockdowns in 2020. Where we’re all so glued to our screens and caught up in news headlines, it’s often nice to see people coming together. It’s like a change of scenery, and of pace. There have been a fair few films created during the COVID pandemic, but this is one that actually implements it into the film, making it a little more relatable. While it must be said that there isn’t much going on in The Bookclub, sometimes nothing else is required. It comes down to the creators; if they’re good storytellers, there will be little issue for an audience to find connection. This short plays out as casually as it would if it were real. There’s a “fly on the wall” feel to it, and it just works. The Bookclub is a simple film, and it’s quite pleasant. - #TaryllBaker

★★★★ Directed by: Jon Clay Starring: Johan Rockström, David Attenborough Netflix Film Review by: Chris Olson Breaking Boundaries: The Science of our Planet Review Having been a producer on David Attenborough: A Life on Our Planet in 2020, filmmaker Jon Clay is back with a post-COVID 19 documentary as director that slams even harder. Breaking Boundaries: The Science of our Planet examines the nine boundaries that stabilise planet Earth and whether or not the human race has already crossed the point of no return. Examining aspects such as CO2 levels, ocean acidity, and the ozone layer, the film becomes a devastating acknowledgement of human impact whilst presenting genuine solutions to the problems we have made. Less visually breathtaking than most Attenborough-based documentaries yet far more emotionally engrossing, Breaking Boundaries: The Science of our Planet has a significant amount of factual graphics that will gut-punch the viewer in submission, arresting them into a state of emergency. Whereas A Life On Our Planet felt like Dave’s plea to the world to fix up and look sharp, Johan Rockström is a more central figure here and he ain’t playing. This becomes a dire warning right to the top, as well as the masses, and acts as the collective voice for scientists everywhere who are sick of not being heard. The global pandemic offers a unique backdrop for the film to unravel in front of, after long months of hardship and forced change for communities everywhere, the idea of globally confronting something like climate change feels far less impossible and in fact, is the exact reason we need to do it. It is unlikely audiences will want to throw themselves at this Netflix documentary with a big bucket of popcorn but it is unmissable for, sadly, all the wrong reasons. Johan, David, and crew, all create resilient links between the science and the day-to-day impact we see around us. Rather than talking too much about the nerdy stuff, we are presented with real-life tragedies such as the coronavirus outbreak, the Australian bushfires, and the increased flooding, to really hit home the message that this is no longer the focus of researchers and white coats. The Earth is now becoming a formidable player in the games we have been playing for decades, turning on us and will only worsen if we ignore the boundaries set out by Johan and his colleagues. In an attempt to do my own public duty, for anyone happy to be given the spoilers which come at the end of Breaking Boundaries: The Science of our Planet, especially if you don’t plan to watch it, here are the things you can do to help planet Earth: Plant more trees Reduce your carbon emissions Eat healthier food (more plant-based) Eliminate waste and reject projects that promote it Hopefully, Clay won’t be back in 2022 with another kick to our crotch because we have all returned back to pre-pandemic wasteful ways but, regrettably, I fear we should all gear up for the next Netflix documentary Finding Shelter: Well You Didn’t Listen, Did You? #ChrisOlson #Netflix