★★★★ Directed by: #CraigGillespie Starring: #EmmaStone, #EmmaThompson #JoelFry, #PaulWalterHauser, #JohnMcCrea, #MarkStrong, #EmilyBeecham and #TipperSeifertCleveland Film review by: Brian Penn Such is the nature of today’s film industry we appear to be tripping over sub-genres with increasing regularity. The latest addition is the backstory spin-off; or in the case of Cruella, an origin piece featuring a character made famous by the Walt Disney classic 101 Dalmatians. Word around the campfire has questioned the need for a film like this. For example, is it necessary to know the back story of a baddie, we only need to know they are bad? It’s a fair point, but this entertaining romp lays to rest any lingering doubts that may exist. The story sparks into life with Estella (Tipper Seifert-Cleveland) as a 12-year old ridden with attitude. Complete with two tone hair she has a distinct St Trinian’s vibe going on and soon makes enemies at school. Mother Catherine (Emily Beecham) withdraws Estella before the headmaster can expel her. Mother and daughter head to London in search of a new life. However, disaster strikes and Estella is left to fend for herself. She meets Jasper (Joel Fry) and Horace (Paul Walter Hauser) who befriend her and become kindred spirits. The trio grow up as grifters in the moneyed environs of Central London. After Estella gets a job at Liberty’s she crosses swords with Baroness Von Hellman (Emma Thompson), the high priestess of fashion design. Estella is determined to topple the Baroness but she might just need the assistance of her alter-ego? It’s a brilliantly designed and executed film evoking the spirit of London in the 60s and 70s. Regent Street and Tower Bridge is lit to perfection with highly authentic detail. From the blue Rover police cars to Golden Wonder crisps it captures the period with a sureness of touch. A superb soundtrack also pins down the narrative with some top notch rock, rhythm and blues, and is a lesson in how to properly place a song in the piece. The reason for Cruella’s hatred of Dalmatians is well documented, but doesn’t actually matter as much as it should. The film works mainly as a standalone piece, and has a tenuous connection with the original film. Emma Stone has an absolute ball in the title role; a small face with hugely expressive eyes are irresistible. They pull the viewer in with a simple promise, ‘I’m going to cause total mayhem and you’re going to enjoy it!’ Similarly Emma Thompson is on top form with some brilliantly sharp asides to anyone who crosses her. I’m sure no dogs were harmed during the making of this film; but do wonder how close it might sail to accusations of animal cruelty even if they only hint at it. The door hasn’t just been left open for a sequel; they’ve ripped it off altogether. I remain dubious of sequels, but if this level of quality can be maintained there will be no complaints from me.

★★★★ Directed by: Ethan Jahan Written by: Ghazi Rabihavi Starring: Mamad Heidari, Amir Hosseini, Alex Moradi Film Review by: Jason Knight A dark, tense and dramatic story about a man being interrogated and brainwashed. A young prisoner (Hosseini) is brought into a special room, filled with medical equipment. He is chained up, is wearing a hospital gown and appears to be upset and frightened. In the room with him are a doctor (Heidari) and his assistant (Moradi), both dressed in white coats. The doctor explains to the inmate that he is being accused of murder during a protest, although he claims that he did not kill anyone. The doctor also tells him that an enemy has used the internet and media to put ideas into his mind, causing him to have tendencies that make him riot and protest. He is then forcibly given an injection containing substances that make him obedient and the doctor takes advantage of this by putting words into his mouth, while the assistant records the now barely conscious man's confession. This short raises awareness regarding a truth serum called thiopental, as it contains a text claiming that some countries utilize the drug in order to force untrue confessions from captives and broadcast them on television. The tone is rather upsetting and things become more and more distressing as the prisoner is injected and loses his mind. The entire narrative occurs inside the interrogation room and from start to finish the atmosphere is quite unpleasant, not giving much indication that things are going to work out well for the imprisoned man. Hosseini delivers a great performance as a terrified and vulnerable individual, who becomes victim of a vile plan to turn him into a scapegoat. Heidari is convincing as an intelligent, patient, methodical and manipulative man. The filmmakers make effective use of slow motion and the sinister score creates a feeling of dread, which goes well with the plot. Loophole is an achievement worthy of attention. With well-written dialogue and strong acting, it presents the reality of a very inhuman occurrence. #JasonKnight

★★★★ Directed by: #MasonThorne Written by: #MasonThorne Starring: #StephanieBarkley, #WillowHale Film Review by: Patrick Foley After a year of having the majority of our communication be done over the phone, audiences should be able to easily relate to the heart of Away From It All, a short film directed by Mason Thorne about a woman whose futile attempts to get through to her insurance company leave her on the brink of a breakdown. Shannon (Stephanie Barkley) is slowly being driven crazy by her insurance company’s automated call system. Her repeated attempts to get through are thwarted by a robotic voice and confusing dial options, to the point that she is winding herself up at her own imaginary phone calls. She flees to the beach to find solace, only for one last attempt to push her over the edge. But a chance encounter with a stranger Barbara (Willow Hale) offers an alternative solution to her stress. Away From It All is an eccentric and energetic look at how we communicate, and how the rush of the modern world can play havoc with our emotions. Director Mason Thorne ricochets viewers with fast-paced, intense edits that pulsate in the early stages as Shannon riles herself up, before slowing the pace of the film down to match the serenity she feels upon freeing herself from her phone and meeting Barbara. The frantic back and forth expertly mimics our inability to take ourselves out of the daily grind, and even when Shannon manages to ‘get away from it all’, its not long before that itch to re-engage returns – along with heavy drum-n-base music and jumping cuts. Tonally the film is contemplative and thoughtful, with a humorous side thrown in for good measure. Shannon’s inner-journey to shut the problems causing her anxiety away is a relatable one, and is well demonstrated as a real and serious challenge. Zen master Barbara’s dry method of disciplining Shannon, and toying with her after an outburst is both amusing and devilish, and pays off with a brilliant ending. Stephanie Barkley is a brilliant lead as Shannon, excellently portraying her justified frustration and anger which is clearly directed at issues deeper than being unable to change her registered e-mail. She also brings a helplessness and vulnerable side to the character, who clearly desperately needs to free herself of the complexities of the modern world. Willow Hale is enigmatic as the tranquil Barbara, whose own frustration at having her relaxation interrupted is intriguingly displayed. Production-wise the film is slick and professional, with imaginative editing and well-utilised video effects. The use of intercut footage helps create a chaotic sense whilst simultaneously alluding to technology as the cause of Shannon’s stresses. The sound editing is also a joy, as Barbara’s voice slowly morphs into the distance - mimicking a phone call – as she makes her own frustration clear. The transition to silence, which grows into the sound of the ocean is another nice touch to emphasise the difference when we shut off from the world. Original and creative, Away From It All is a worthy short film that tells an interesting and thoughtful story with comedic bite.

★★★★ Directed by: Dominic O’Riordan Written by: Sy Thomas, Oliver Britten Starring: Sy Thomas, Oliver Britten Film Review by: Vikas Yadav In Breakdown, Dominic O’Riordan does something unbelievable. He changes the gear from comedy to exasperation to conviviality to comedy again like a professional. There are times when all these things sit together like multiple passengers seated inside a vehicle (this is the unbelievable part). You experience all of it at once, and I was surprised to see how the director managed to contain all this without leaning heavily on one feeling or aspect. If this is a tightrope, then O’Riordan walks on it with confidence. When a man’s (Sy Thomas) car breaks down, little does he know that this is no temporary hurdle. This is a punishment. He calls a mechanic (Oliver Britten) to fix his problem. Soon he realizes this mechanic is a bigger problem. He takes out a hammer, hits on the engine, and then asks if he had done more damage than before. How did he enter this profession is a mystery left unsolved. Only a tow truck can now rescue the motorist from this complication. The mechanic decides to stay with the man until the help reaches. How sweet, right? The man wishes for something better as this mechanic is, well, different. He behaves like a child trapped in the body of an adult. When the man tries to open up about how he had to take care of his unwell mother, the mechanic starts to play piano on his phone. Despite the tomfoolery, Britten remains careful so as to not turn the mechanic into a complete idiot. His physical antics come off as natural. This is what he is like, and he is not consciously trying to act as a comedian. When these two talk, you notice how lonely they are. The words keep flowing out of them like an uncontrollable flood. The man gets irritated by the mechanic, but he never shouts at him or tells him to shut up. They take turns talking to each other. So if one speaks, the other listens (or not). Whatever be the case, their chats don’t reach a conclusion. They are stopped in the middle. Breakdown winks at it by referring to the wood pigeon (the mechanic imitates the wood pigeon and throws in a trivia). Breakdown opens with the yearning lyrics of Out On The Plains. I cannot place my finger on it, but there is something magical about this song that just changes the way you look at this film. When it’s over, you are left with a strange sensation. It’s not the comedy but the pain of these characters that stayed with me. You get a feeling that they are not the most welcomed individuals. No best friends are waiting for their phone calls. When I think about Breakdown, I think of images like that of a lonely sky, a lonely tower, and then there are these two characters who are close but never manage to get intimate with each other. I don’t want to paint Breakdown as an emotional melodrama. The film has humor, all right. Maybe it’s my mood that gravitated me towards the sadness. Or maybe this is what I could grab from this short. Whatever be the reason, do check it out as it's freely available on YouTube. 14 minutes won’t do you any harm.

★★★★ Directed by: Ross MacGibbon, Ian Rickson Written by: Conor McPherson Starring: Roger Allam, Richard Armitage, Anna Calder-Marshall, Toby Jones, Aimee Lou Wood Film Review by: Vikas Yadav Uncle Vanya Film Review Ian Rickson’s stage production of Uncle Vanya (based on Anton Chekhov’s play of the same name) gets a life on the screen under the direction of Ross MacGibbon. Filmed at the Harold Pinter Theatre in August 2020, Uncle Vanya is packed with a spectacular cast who hypnotize you with their terrific skills and dialogue delivery. There is no dull moment here as every second draws you closer into this poignant setting before finally breaking you to pieces in that aggressively charged third act (more on that later). Divided into four acts, Uncle Vanya deals with themes of love, lust, beauty, ambition, money, and heartbreak. The whole affair is drenched with sadness and not just within the play. The sights of empty theatre seats joined with melancholic music create an air of despondency. If you survey the set, the room in focus is in the state of decay. The sofas are ripped, the floor is covered with dry leaves, and the furniture is haphazardly arranged. The room needs tending and so do the occupants of this estate. Everyone and everything is gradually disintegrating. Watching Uncle Vanya is like helplessly witnessing a group of people digging their own graves. They participate in illicit, unrequited, and one-sided romance. Yelena (Rosalind Eleazar) has captured the hearts of Vanya (Toby Jones) and the country doctor named Astrov (Richard Armitage). The problem? Yelena is already married to Serebrayakov (Roger Allam), a retired university professor. To further complicate the matter, Sonya (Aimee Lou Wood) has fallen for Astrov. The problem? Astrov does not reciprocate her feelings. While talking to her, he looks right through her while she glues her eyes on him with extreme adoration. It’s not difficult to figure out Sonya’s love for the doctor, but the man is blinded by Yelena’s beauty and his passion for environmental causes. He ardently talks of planting trees and what magic it does to him from the inside. The characters in Uncle Vanya live with regrets. Vanya wishes if only he had proposed to Yelena when they first met years ago. Yelena mourns her life and griefs on her choice of marrying Serebrayakov. What seemed to be true love at one point in her life now appears as a case of infatuation. The subjects, instead of getting out of the pit, surrender to their wretched fates. With pressure constantly mounting, Uncle Vanya explodes with a bang in the third act when Serebrayakov decides to sell the property. I swear I would have been devastated if I had been there in the same auditorium as the actors during this segment. After watching Uncle Vanya on my laptop, I am not sure if I can ever submit myself to view this version live at a theatre solely because of this overwhelming sequence. This is the first time I have witnessed a recorded play in the form of a film. It took some time for me to adjust to the experience, but once I was in, I didn’t avert my eyes for even a second. If I were seated in the Harold Pinter Theatre, you would have spotted me at the end - crying, cheering, and giving a standing ovation. On Blu-ray, DVD & Digital 14th June #VikasYadav

★★★ Directed by #DanielleLessovitch Written by #DanielleLessovitch Starring #FionnWhitehead #LeynaBloom Film Review by Brandon Thomas Something about the magnetic attraction between opposites has captivated audiences for centuries. Whether it’s warring families, societal taboos, or just plain differing personalities, these stories stir up emotions as few others do. Port Authority might not end up being talked about in the same breath as Romeo & Juliet, Brokeback Mountain or The Notebook, but it’s a noble effort to tell a fresh and inclusive story. An emotionally and physically battered Paul (Fionn Whitehead, Dunkirk) arrives in New York City fresh off the bus. One of the first people he sees outside of the Port Authority is Wye, pronounced like the letter Y (and played by trans actor Leyna Bloom), voguing with her friends. Alone in an unfamiliar city, Paul falls in with a rough crowd that performs questionable evictions and not-so-questionable shakedowns. After running into Wye again, Paul is unable to contain his attraction for her and they fall into a whirlwind romance. After finding out that Wye is trans, Paul must contend with his own feelings of inadequacy in regards to his family and his own identity. Thematically, Port Authority is simultaneously commenting on the idea of family and identity. Paul’s bruised appearance when we first meet him perfectly mirrors his equally battered psyche. The film gives us brief nuggets about Paul’s past with his mother, and his upbringing in various foster homes. Through Whitehead’s performance, it’s more than enough to know how damaged and untrusting this young man is. On the opposite end, Wye shows incredible comfort in her own skin – at least on the surface. Scorned by her biological family, Wye has surrounded herself with the family she’s created. It’s a wholesome glimpse at what Paul could have if he allowed himself to look inward. Her character comes dangerously close at times to only serving Paul’s growth, but Bloom’s captivating performance brings much passion and power to a slightly underwritten role. The success of Port Authority hinges primarily on the chemistry between Whitehead and Bloom, and they more than rise to the challenge. The two young actors bring a passion that any good romance needs to jump off the screen. The trauma both characters have experienced through their short lives is brought to life with a simmering intensity that both actors tackle so differently. They are subtle performances in a film that’s not always so. Writer/director Danielle Lessovitz knows the story she wants to tell even if it’s a little bumpy getting there. The predictability in its structure (we all know Paul is going to get caught in his web of lies) doesn’t sink the film, but it does strike a certain, “Oh, we’re doing THAT?” chord. Her taut understanding of character arcs and casting help overshadow some of the more clunky story beats. The wonderful lived-in New York aesthetic (it’s executive produced by Marty Scorcese for Pete’s sake) helps the movie achieve a level of visual authenticity. The best NYC movies make the city itself a character – this one is no exception. The subways, the street corners, and the fire escapes all feel like extensions of Paul and Wye. Port Authority is a film that means well and mostly does well with its characters and cast. The story gets a little clumsy at times, but the genuine care shown for the characters more than makes up for any script blunders. #BrandonThomas

★★ Directed by #MichaelPolish Written by #VanceOwen #DarrylHicks #MichaelPolish Starring #AlPacino #MeadowWilliams Film Review by Hope Madden A film about Mildred Gillars—better known as Axis Sally, American broadcaster based in Berlin during WWII—could be interesting. Gillars was an Ohioan and thwarted entertainer who found herself in Berlin just before the war. She threw her talents to Goebbels’s propaganda efforts and became one of the most popular radio announcers in the world, even in the U.S. She was eventually tried for treason. But was it treason if she was no longer an American citizen? Was it treason if she was simply a voice talent, not the writer of the content? And even if she stood behind what she had to say, wasn’t that just free speech? So much to dig into! And the director is Michael Polish, whose career is littered with underseen treasures like Twin Falls, Idaho, Northfork, and For Lovers Only. Those gems were penned by Polish’s brother Mark. American Traitor: The Trial of Axis Sally was not. Michael co-wrote this script with first-time screenwriter Darryl Hicks, as well as Vance Owen, co-author of the book on which the film is based. They do not possess Mark Polish’s poetic gifts. They do have Al Pacino, though. As defense attorney James Laughlin, Pacino is Pacino—disheveled, fun, scrappy. He gets to deliver one of those passionate closing arguments you find only in movies. And he mines this dog meat of a script for a character. Every moment he is off-screen is unendurable. Meadow Williams takes the approach opposite Pacino’s, delivering an entirely superficial turn as Gillars. Part of this performance could pass for stoicism, but in flashback sequences of levity, she is painful. During her emotional breakthroughs, you may need to look away. So, she fits right in. Aside from Pacino, the cast is uniformly awful. Some are worse than others. Thomas Kretschmann and Carsten Norgaard do not embarrass themselves as Goebbels and Gillars’s beau Max, respectively. As Laughlin’s in-court right-hand man Billy Owen, Swen Temmel does. Pacino’s in his eighties and still makes about three films a year. Before this, it was The Irishman and Once Upon a Time…in Hollywood. Two out of three ain’t bad. #HopeMadden

★★★ Stars Directed by: #PaweenPurijitpanya Written by: #VasudhornPiyaromma, #PaweenPurijitpanya, #TossaphonRiantong Starring: #ParisIntarakomalyasut, #ThanapobLeeratanakachorn, #NuttanichaDungwattanawanich Film Review by: Alicia Moore ”After witnessing a haunting in their hospital, two doctors become dangerously obsessed with obtaining scientific proof that ghosts exist.” How far would you go to seek a conclusion to an in-depth experiment? Hopefully you wouldn’t go as far as Gla (Paris Intarakomalyasut) and Wee (Thanapob Leeratanakachorn) because, well… I’m afraid I might have to hand you over to the police if that’s the case. Ghost Lab, now available to stream on Netflix, follows these two doctors as they embark on a journey to prove that ghosts exist and are among us in different forms. However, this journey goes further than one would expect when conducting something simply labelled as an ‘experiment.’ Ghost Lab has been promoted as a film that fits into the horror genre but, in my opinion, it is actually a film that would be classed as a drama. The supernatural element of the story doesn’t carry the terrifying core that other horror films do; it is based on the impact of relationships and boundaries between the characters rather than a horror-type follow through. I definitely wasn’t scared at any point, and I’m very jumpy when it comes to supernatural films, but regardless of this, there is a constant tension that can be felt which ensures that you feel on edge through its duration. The overall concept that the plot follows is extraordinary and really makes your head spin with possibilities and explanations that could fit into the film’s universe. Writers Vasudhorn Piyaromma, Paween Purijitpanya and Tossaphon Riantong developed a thoroughly interesting storyline that flows brilliantly from start to finish. The theories portrayed by the characters on the subject of the supernatural are powerful and understandable as well, keeping the tension high as events unfold. I personally don’t believe in ghosts and supernatural beings but a plot this good makes me want to talk to more people that do – not often do I find a film that makes me want to seek connections with people in such a way and learn a little more about their own beliefs and views. Unfortunately, this great concept just wasn’t executed in the best way possible, leaving the film lacking a sense of success that it easily could have had. Events in scenes can feel somewhat forced and are clumsily presented, especially towards the end when the climax of the film starts to show its colours. The last section of content in Ghost Lab spirals out of control in places, slightly undoing the more sophisticated and well depicted parts revealed earlier in the film. I can’t seem to decide if there is a balance between the bad and the good here; I think the film’s presence in its entirety can be described by the idea of a spirit level assisting a painter in hanging their works in their studio. The bubble bounces back and forth as the painting is twisted until it finds the right level for viewing pleasure. The film does tend to drag on a bit as it tries to come to an agreeable conclusion, just like the frustration a spirit level can certainly cause. Thanapob Leeratanakachorn is without a doubt the main spark that keeps this film alive. His acting abilities gain more vibrancy and strength as tension in the story increases; he matches the energy of each scene with immense accuracy and brings heavier emotion to his character’s stance within the experiment that is unfolding. Ghost Lab dives right into action with the experiment being established not long after the film begins, leaving little room to decorate the space with deliberate characterisation. In Leeratanakachorn’s case, characterisation comes naturally with how well he immerses himself in each situation that he is thrusted into. As an audience member, it’s very difficult to detach yourself from Wee’s emotional output because of how enveloping it is, which only increases the tensity that can be felt from the film’s enticingly uncomfortable atmosphere. Ghost Lab is an enjoyable watch for those who find interest in films of a dramatic nature as well as ones with supernatural concepts. A pleasant equilibrium of these subjects can be found here, with the addition of striking music (Bill Hemstapat) to keep your ears on high alert too… I had to mention the use of music somewhere because it’s just too good not to give praise to, even if it’s in a single sentence.

★★★ Directed by: #JustinMelson Written by: #JustinMelson Starring: #AdamAraujo, #ChristyStJohn Film review by William Hemingway A young man (Araujo) runs through the streets of his home town. He wants to tell us his story and decides to do that entirely through the narrative device of a voice-over. We find out that he's holding onto things from his past, things that provoke him to wax lyrical, so he tells us how he feels in woolly reminiscences, old cliches and tired metaphors. We don't know who this young man is because he never tells us and the narrative device he has chosen doesn't allow us an introduction. We have to wait until the credits roll to look for his name and eventually we find out that he is Stone – not that that helps us. Stone's story is one of two parts: A love story and a war story. In Angora Road these two opposing scenarios are mish-mashed together when Stone tries to pick through the meaningful moments of his life for us. Bookending the film are his romance and enduring love for Sophie (St. John), the girl he met when he was out running one day; and sandwiched in the middle is his time on tour as a soldier, in what can only be imagined is Afghanistan. All the way through we get no real idea of who Stone or Sophie are because there is no characterisation to tell us. The only dialogue that comes along is perfunctory, in the battle sequence, and the rest is listening to Stone warble on in his head as he tries his best to add poetry and meaning to his life. Even though he is trying to make sense of it all, everything seems confused in Stone's head. In fact everything in Angora Road seems confused, much like it suggests in the film's subtitle, 'A Love Story War Film' where it doesn't really know what it is trying to be or in which direction it should be going, so it just decides to do it all and see what emerges. It all seems highly reminiscent of another film that similarly tried to broach these two subjects together, Star Wars Episode II: Attack Of The Clones, and we all saw how that turned out. It's as if writer/director/producer Justin Melson turned up to his first screenwriting class one day and was told that for a film to be successful it needs to have action and romance and so that's what he endeavoured entirely to provide. That's not to say that Melson doesn't know what he's doing. His talent and skill behind the camera as director and cinematographer are plain to see in every shot of the film. From sunny love-filled days by the river, to dusty shoot-outs in a canyon, to muted longing by the graveside, the visuals are stunning to look at and well put together. Everything on the screen screams high production value and for an indie film to look so much like a full budget feature is testament to the hard work, dedication and undeniable talent of Melson and his crew. The music by Jacob A. Cadmus only adds to the quality feel of the production and the way the film is pieced together it seems as though everyone is channelling their inner Clint Eastwood. Sadly though, the story just doesn't stand up. The fact that there is no dialogue makes everything seem like a series of montages and completely negates any way of getting into and identifying with the characters. There are issues with the battle sequence too, where hundreds of rounds are fired and our hero escapes despite being ambushed from higher ground and pinned down in a bottleneck. The jingoistic nature of it all also rings hollow, and in everyone's attempt to make this film all things Clint, they seem to have missed the mark entirely. In the end Angora Road turns out to be more Lone Survivor than American Sniper. Shame, really.

★★★ Directed by #NatalieMorales Written by #JoshuaLevy #PrathikshaSrinivasan Starring #EdiPatterson #VictoriaMoroles Film Review by George Wolf Even before theaters shut down, there was no shortage of solid R-rated comedies getting woefully ignored. One of those was the wonderful Booksmart – which put a female friendship at the center of a Superbad-type coming-of-age romp. Hulu’s Plan B takes the Booksmart model, mixes in some trusty road movie hijinx and even more sexual honesty than Blockers to concoct a teen sex comedy with plenty of smarts and sustained laughs. South Dakota teens Lupe (Victoria Moroles) and Sunny (Kuhoo Verma) are best friends on slightly different social levels. The confident, outgoing Lupe is, ahem, “dating,” while the reserved Sunny has zero prospects and just pines for her crush to come over for a “Disney Plus and thrust.” But then Sunny’s Mom goes out of town, so party! After Lupe’s cheery advice to “make good choices!” an impatient Sunny wants to get it over with already, leading to a very awkward bathroom hookup and an unfortunate condom accident. Trading puke buckets and talking it over the next morning, the girls decide the best thing to do is get Sunny the morning after pill. This turns out to be a lot harder than they expect. Moroles and Verma are both terrific, each finding distinct ways to give their characters authentic levels of the angst, curiosity, self-doubt and cautious confidence that are perpetually bouncing off teenage walls. Once the search for Plan B involves a road trip to Rapid City, the script from Joshua Levy and Prathiksha Srinivasan deliver welcome surprises alongside inspired silliness and moments of outright hilarity (like the bit about Footloose and a doll museum). There are some dry stretches along the way, but director Natalie Morales shows good instincts for when to pivot, and for making sure this teen sex comedy ends up speaking to some mighty serious issues. So expect Rachel Dratch teaching abstinence by way of driver’s ed, but also young women exploring their sexuality amid an onslaught of mixed messages, double standards and threats to their freedom of choice. Don’t let the dick jokes fool ya, there’s heart and brains here, too, and a sweet friendship illustrating the importance of unconditional love from your family, as well as the ones that feel like family. And also dick jokes. #GeorgeWolf

★★ Directed by #GeorgeRomero Written by #WallyCook Starring #LincolnMaazel Film Review by #GeorgeWolf and #HopeMadden This long-lost film from the legendary George A. Romero is an awkward, clumsily-assembled metaphor with a glaring lack of subtlety. And armed with the proper context, you should probably see it anyway. In 1973, Romero was far from a legend. He had lost the copyright to Night of the Living Dead, and he was a nearly broke filmmaker that needed work. So he was more than happy to accept a commission from right in his own hometown. Pittsburgh-based Lutheran Services wanted a film to explore societal discrimination of the elderly, and turned to the local boy who’d hit it big a few years back. But they weren’t at all interested in the Twilight Zone treatment that Romero and first time (only time) screenwriter Wally Cook gave the subject, so they passed. Each party put the film behind them, and it sat unreleased for nearly fifty years. The 52-minute feature stars Lincoln Maazel (who would co-star in Romero’s classic Martin four years later) as an affable, white-suited man who greets a beaten down and disheveled version of himself in an empty waiting room. The out-of-breath Maazel advises the energetic one not to go outside. “There’s nothing out there. You won’t like it!” The warnings go unheeded, and the nattily-clad Maazel begins his day at the amusement park, where he is subjected to nothing but torment, ridicule and abuse. Some of the vignettes are rooted in solid ideas. The grim reaper wandering the park and riding coasters is a striking juxtaposition, and a fortune teller’s unpleasant premonition for a couple of young lovers manages to deliver confrontational cynicism with a somewhat lighter touch. The elderly gentleman’s metaphorical trip through the carnival of agism is flanked by footage of Maazel, as himself, explaining what we are about to see, and later, what we have seen. No doubt someone thought a late-addition prologue/epilogue would help an audience make sense of the narrative’s structureless string of abuses, but the Serling-on-steroids material is so lengthy and so at odds with the otherwise experimental nature of the core content that it only serves to make the entire film even less enjoyable. For completists, The Amusement Park is available in select theaters and on Shudder, and merits consideration. For anyone thrilled by the idea of George A. Romero siccing amusement park horror on unsuspecting old people, be warned: you will be sorely disappointed. #GeorgeWolf #HopeMadden

★★ Directed by: #ReshavChowdhury Written by: #ReshavChowdhury Starring: #ManishMaharshi #KunalChowdury Film review by: Max White Little else says troubled and contemplative like a man sucking on a cigarette. True to the title of writer/director Reshav Chowdhury’s film, someone smokes in almost every scene. The relevance of that theme isn’t particularly clear, except maybe for the more sinister connotation? Smoke is a short film about a love affair that drives a wedge between two friends. When we meet our protagonist, known as Boy 1 (Manish Maharshi), he’s in a small, scruffy dwelling holding his head in his hands. There’s a loud buzzing sound that threatens to detonate before cutting to the din of the streets outside. A fag or two later and he’s on the corner tracking someone, careful not to be seen. It’s his friend, Boy 2 (Kunal Chowdhury). At about the film’s halfway mark (roughly 4 minutes in) we hear the first spoken line. It tells us there’s a conflict between the two men. It’s over a girl. Now, occasionally an indie film will have a genuinely interesting idea, but the budget hasn’t stretched far enough for the effects or the talent to hold the concept up. Sadly, this one has neither effects, talent nor idea. It’s a story that takes you from A to B with no thrills, twists or turns. It’s a rollercoaster that follows a straight track at a safe, slow pace. Which is neither fun nor memorable; it’s more of a commute than a ride. The best short filmmakers can say a lot in a short space of time. By taking up so much of the running time with sulking and smoking, sulking and smoking, Chowdhury struggles to say anything at all. A lot of what we see are luxuries that only feature films can afford to enjoy, where the character’s story can develop with the commodity of time, and we, the audience, can decide if we care enough to invest in them. The less said about the abrupt arrival of a funky bassline the better. And really, truly, who thought those bashing sounds resembled anything even remotely like a shovel? Again, budgets and so on, but if something takes you out of a film quite like that did, and at such an important point, you have to ask if it’s worth including at all. At 8 minutes long, this isn’t a waste of time. There’s enough happening on screen to make it watchable from beginning to end, but inefficient storytelling and some wooden acting mean Smoke won't linger for long.