★★★ Directed by: Richard Lowry Written by: Richard Lowry Starring: Eve James, Kannon Smith Film Review by: Jason Knight A struggle for survival in a hostile, post-apocalyptic world. A deadly virus has been unleashed, wiping out billions of people. The young ones appear to be more resistant to the effects of the virus. The story takes place five years after the outbreak. Now cities are abandoned, with survivors here and there, doing what they can to carry on. Apart from the virus, they must also avoid the 'Stalkers', who are adults that wear white suits and masks, carry guns and travel around in vehicles, looking for young survivors. Their intention is to capture them and perform experiments, in order to find a cure. Ellie (James) is a young girl, living by herself in a deserted town. One day, she comes across Quinn (Smith), a hardened youth, who knows how to fight and survive. The two of them realize that they can help each other and decide to stay together. This entertaining Sci-Fi adventure is kind of a combination between A Quiet Place and I Am Legend. The Stalkers have devices that can detect sound, therefore the survivors need to keep noise to a minimum and the virus grotesquely alters the body of the infected, making their skin turn red and full of wounds. After the dramatic intro, the tone is calm for the next twenty minutes as the film focuses on Ellie living alone and there is no dialogue. Then the action and tension keep on rising, as the two protagonists try to avoid being caught. The main focus of the narrative is the relationship between the two leads. Ellie is a sensitive person, who wants to help others. Quinn is a survival expert, who would rather be by herself. Throughout the film, both go through significant character development, as Ellie becomes tougher and Quinn learns that having others around is better. The mise-en-scene contains things often seen in movies about virus outbreaks: mutated victims, people wearing lab protective suits, face masks and individuals doing their best to remain alive in kill-or-be-killed situations. The makeup of the infected is rather good, revealing the severity of its effects. The main threat are the Stalkers, who never speak or reveal their faces, making them appear more threatening and inhuman. Lowry does a great job as director and creates fantastic establishing shots. He also contributed to the rather intriguing music, which sounds like it belongs in an eighties B-Movie. After the Pandemic does have it flaws. The acting is not convincing and neither are some of the special effects. However, it offers an enjoyable viewing, with an appealing plot and nail-biting moments. #JasonKnight Trailer for After the Pandemic:

★★★★★ Directed by: Kelly Reichardt Written by: Jonathan Raymond, Kelly Reichardt Starring: John Magaro, Orion Lee Film Review by: Vikas Yadav Ships and boats are a common sight in Kelly Reichardt’s First Cow. These slow-moving, freely floating vehicles extend their calmness to the pacing of this film. The camera is mostly fixed, allowing us to soak, breathe, and immerse into every nook and corner of the frames. We are tranquilized as we glide smoothly from one scene to the next. The year is 1820, and Reichardt is in no rush to unfold the story. All she asks is you patiently go along with her on this slow burn, albeit rewarding journey. A piece of tender music decorates the opening credits of First Cow (there will be more such soothing tunes in the movie). You are so lost in the film that you don’t realize how swiftly Reichardt transports you back in time, introducing you to Otis Figowitz or Cookie (John Magaro) and King-Lu (Orion Lee). Cookie is a kind and gentle chef who does not hesitate to feed a stranger who may also be a murderer. I am referring to King-Lu, who is chased by the Russians for killing one of their men. After their initial meet-and-greet, they separate from each other only to meet again at a bar. This time, King-Lu extends a helping hand towards Cookie by offering him shelter at his shack. What’s immediately discernible is that both the men are alone and in need of a friend or companion. They are away from their native places with no acquaintance in this foreign land. Notice the happiness in Cookie’s voice when he sees King-Lu again. “I never thought I’d ever see you again,” says Cookie with relief on his face. When the two arrive at King-Lu’s place, Cookie starts sweeping the floor while King-Lu cuts the wood. They immediately work as a team. Their conversations, in the beginning, are filled with awkward pauses and silences. After taking a sip or two from the bottle, they stand quietly, unable to think of what to speak next. To break the uneasiness, King-Lu moves on to get a fire going. Someone else is also lonely and away from her origins. It’s the cow, the very first in the region. She has lost her mate and calf on the journey to Oregon. First Cow finds a bond between Cookie, King-Lu, and this cow. The three help one another to survive in the region. Cookie and King-Lu fulfill their business needs by stealing milk from the cow while she finds comfort in Cookie’s company as he talks, sympathizes, and respects her. A narrative like this with a clandestine activity at its center is usually amped-up with drama and tension. You wait in suspense for the inevitable tragedy or a twist giving way to a happy ending. Reichardt does not operate on the mystery. She reveals the fate of the protagonists early in the movie. Does it undercut the rest of First Cow? No. Why? Because you don’t fixate on the destination but revel in the journey. You observe the sympathy shown by the characters and marvel at Reichardt’s keen observations. The more I think about this film, the more I fall in love with it. Cookie and King-Lu’s connection is one of the most incredible bonds I have seen in the movies. It just leaps out of the screen. There is so much love that goes undeclared and unspoken, but the characters make sure you catch it in their eyes and their words. I would have showered thousands of stars on it, but the website has a limit of up to five. This is one of the best films you will see this year so don’t forget to catch it on Mubi. First Cow is available on MUBI 9 July 2021

Filmmaker Interview by Julian Gaskell Elliott Hasler is a young British film director who finished his first feature film when he was just 16 years old. He is about to complete his second feature film Vindication Swim whilst still at university. You started making films at such a young age, how does it feel to have completed your first feature film, WWII - The Long Road Home, by the age of 16? To be honest the age aspect always kind of goes over my head. It’s not something I really think about. For me it is all about the desire to make films and my age was never something that was going to get in the way of that. Your first feature is a very personal story about your great grandfather in the 2nd World War, why did you want to tell this story? I’d grown up hearing snippets of the story told to me by different family members, and I was always fascinated with it from an early age. I think it was really the scope of his story and the very visual nature of the narrative that inspired me to turn it into a film. Story is always the most important thing for me when it comes to a project; if the story is great then everything tends to come together. In one review you were dubbed the next Spielberg. High praise indeed. How would you describe your style of filmmaking? I do take a lot of inspiration from Spielberg, Jaws is one of my all-time favourites. But I would say my style owes itself most strongly to David Lean. The visual quality of his films is near unparalleled, and the way he paints these very intricate and intimate stories against such epic and stunning vistas is absolutely mesmerising. It’s something I always seek to emulate in my own way with my films. The film has incredible authenticity with the locations, period costumes and vintage cars. How did you manage to achieve this on such a micro budget? By begging, stealing and borrowing really! A lot of people were really fantastic in helping make the film happen, everything from lending the military vehicles to pieces of costume or providing locations. A lot of the film was also shot in quite a guerrilla style, which also helped in that regard. How did your Relsah productions company with your father come about? How does this business and creative collaboration work? That really came about as necessity to facilitate the making of WWII: The Long Road Home. I write and direct, handling the creative side and he produces taking control of the organisational and business aspects. I like to think of it as sort of like the Lean/Spiegel partnership; not always the smoothest sailing but a partnership that works very well, with the proof very clearly in the pudding. Your second feature film Vindication Swim, which is due for completion early next year, is another biographical account about the first British female swimmer to swim the channel. Why did you choose this subject? Do you enjoy telling historical, period stories most? I stumbled across this story and was stunned by the strength and determination of Mercedes Gleitze. To accomplish what she did as a woman back in the 1920s is nothing short of amazing and when you combine this with the fact that to this day more people have climbed Everest than have swum the Channel, you’ve got a truly incredible story. The time period was definitely also a draw, I love doing period stuff as you really get to immerse yourself into another world. For me that’s what cinema should be about, the viewer should be taken on a journey to explore new horizons that they wouldn’t have otherwise ever experienced. How did you cast for this film and who are the main characters played by? The first actor cast in the film was John Locke (Darkest Hour) who plays Mercedes’ coach Harold Best. I worked with John previously on To Hunt a Tiger (a short film) and the part was really written with him in mind. For Mercedes herself we auditioned a lot of different women but Kirsten Callaghan was the only real choice. She trained for three months for the swimming aspects of the film, which she does all herself, no stunt people, and has delivered a stunning portrayal of Mercedes. Not only that but Kirsten is also the spitting image of Mercedes! You also managed to cast Victoria Summer (Saving Mr. Banks) who is based in the US. What was it like working with her and how did you manage to get her over to the UK during a global pandemic? Working with Victoria was great and her character adds a very exciting dimension to film. She was really a breeze to work with, it was just getting her here that was the difficult part. Her scenes were all scheduled for January but had to be postponed last minute due to the lockdown, which marked the third time that production on Vindication Swim has been shut down. Thankfully by April we managed to get her over, but with an assortment of different tests and a period of isolation. Thankfully they all came back negative and we were able to get the cameras rolling! You film in some ambitious and challenging locations, which has not made it easy for yourself, your cast or crew (with your lead actress swimming in the English Channel for long periods of time!). What were some of your most challenging moments? The first day of shooting was very challenging. We were all rookies so no one expected the conditions to be so challenging. Everyone went down with sea sickness and Matthew Wyn Davies who plays Corentin the oarsman couldn’t shoot anything and was ill for two days after with motion sickness. Thankfully we invested in travel tablets which proved to be the miracle cure! WWII - The Long Road charted in the UK DVD charts and Sky Store ahead of many blockbuster titles and Vindication Swim is receiving a great deal of media attention, how do you feel about this? The level of interest around both films is fantastic. I think the messages of endurance and perseverance that both films carry have really inspired people in these difficult times and given a much needed boost of inspiration. What can audiences most look forward to experiencing with Vindication Swim? The endeavour of swimming the English Channel is really not something that has been dramatized on film ever before and certainly not to this extent, as Vindication Swim will be the largest scale, truly independent film, ever put on the screen!

★★★ Directed by #StevenSpielberg Starring: #HarrisonFord #KateCapshaw #KeHuyQuan #AmrishPuri Film review by Nathanial Eker The second instalment in the Indiana Jones franchise is a marked downgrade from its predecessor, and it fails to hold up in 2021. Many of its scenes remain iconic, but it's marred by a shoddy script that's reliant on outdated stereotypes and cultural assumptions. Fortunately, it's not a total write-off thanks to another stellar turn by both John Williams and Harrison Ford, and an action-packed second half. Indiana Jones is back in this prequel to Raiders of the Lost Ark. After a run-in with a crime boss in Shanghai, Indy ends up in India with singer Willie Scott (Capshaw) and his young sidekick Short Round (Huy Quan). Native villagers beg the gang to retrieve a sacred stone from the clutches of the villainous Thuggee cult, led by Mola Ram (Puri). It's up to Indy to rescue both the stone and the village's enslaved children and restore peace. Watching Temple of Doom in 2021 is an often uncomfortable experience for a nostalgic Indy fan. Though the Indian cultists were mere one-dimensional antagonists for Indy to beat up when we were eleven, their presentation by Spielberg and Lucas is difficult to swallow today. Though undeniable iconic; the dinner party scene, in which monkey brains, live snakes, and eyeball soup are consumed by the Indian cultists, comes off as rather crass and insensitive when viewed today. Equally, the uncomfortably basic presentation of the Hindu religion has been cited as being, at best, lazy, and at worst, highly offensive. However, it isn't just racial insensitivities that plague Indiana Jones this time around. The character of Willie Scott may be the most stereotypical, irritating, and poorly crafted "Damsel in Distress" ever put to film. Though Marion occasionally felt like she was written to be more of a prize to be won than a three-dimensional character, Spielberg and Lucas at least blessed her with admirable gusto and a strong will. By comparison, Willie exists purely to complain, make offensive remarks, and kiss Ford. Her character is undoubtedly the low point of the film and virtually every scene invokes an eye-roll and exasperated sigh. However, make no mistake; the fault lies entirely with the script, not the performance of Kate Capshaw; who does an admirable job with what little she has to work with. For all its faults, it's undeniable that Temple of Doom remains a pioneering entry in the adventure genre. Films made decades later such as the equally controversial Pirates of the Caribbean: Dead Man's Chest (2006) owe just about everything to this film. Love them or hate them, moments like the revolting dinner and the ominous cry of "Kali Ma" have endured into the public consciousness. Equally, Temple of Doom is almost all action. Given its weak script and problematic portrayals, that's likely for the best. As with every Indiana Jones film, the score remains a highlight. John Williams fires off all cylinders and delivers another masterful soundtrack which is bursting at the seams with individual leitmotifs as well as call-backs to Raiders. The highlight this time is the "Slave Children's Crusade" which quickly becomes the film's main theme, just as the Ark theme was for Raiders. However, Williams also makes excellent use of the Raiders March whenever Jones is doing something suitably heroic. Equally, the brutish charm of Ford salvages an otherwise disastrous sequel as he provides an earnest legitimacy that offsets the ridiculousness of both his co-stars and the horror-centric plot. Indiana Jones and the Temple of Doom is riddled with faults, and it can be a tiresome watch; particularly thanks to its presentation of Indian culture and women. However, it's still an exciting adventure with an excellent soundtrack and a fantastic leading man. Turn off your brain for two hours, and you'll undoubtedly be entertained, horrified, and amused. However, don't expect the intricate weaving of religious folklore and call backs to classic adventure serials found in its predecessor and sequel. Much like the problematic character of Willie, it's all style and no substance. #NathanialEker

Filmmaker Interview by Chris Olson You just wrapped on a feature film called Loneliness in a Free Society. What’s the film about and who do you play? I play a young businesswoman called Mabel (named after my beautiful sister) as she deals with the fallout from a friend’s medical emergency on the same night as the opening of her new restaurant. The film takes place over the course of a single evening as Mabel attempts to juggle her perfectionism, regard for others and her desire to succeed. Why did you want to play this character? Personally, I could relate to Mabel’s people-pleasing and ambitious personality. The film and Mabel’s character so beautifully highlight the complexities that women from all over face when building successful careers whilst maintaining the care and strength that they are expected to possess from the very first ‘look after your doll’ comment as a child. What were the challenges of making this film? The main challenge was that Mabel is alone on screen for every scene but the last. Not having another actor’s energy physically present took some getting used to, but by our final shoot day sharing the space felt just as alien! How can people see it? At the moment Loneliness in a Free Society is in post-production and is due to begin the international festival circuit towards the end of this year. From there it will be available to watch online. What’s next for you? Summer 2021 sees the start of production for ‘From The Corner of My Eye’ in which I play Sabine, an Ophthalmology student studying in Northern Europe who falls in love with her professor. I am currently in the pre-production stages of ‘Mosaic’, an 80s style slasher horror movie with award-winning TIS Films and an exciting fantasy series coming to Amazon Prime next year. Why do you make movies? I like being other people. And I like making people cry. Both of which sound slightly alarming when put like that! What advice would you give to someone starting a career in acting? Trust your instincts. Whether it is a set that makes you uncomfortable or a character that you know you can play when others have doubts, you know you best. Who would you love to work with and why? Shira Haas! I’ve thought about ‘Unorthodox’ an unhealthy amount since first watching it and her talent is unparalleled. What would you say if you were a dolphin? Probably somefin wet! #ChrisOlson #FilmmakerInterview

★★★★ Directed by #StephenJohnson Written by #ChrisAnastassiades Starring #SimonBaker #JacobJuniorNayinggul Film Review by Brandon Thomas The Aussie western is the kind of sub-genre not known for pulling punches. John Hillcoat’s The Proposition and Jennifer Kent’s The Nightingale not only embrace the revenge tropes of the genre, but they also don’t shy away from the brutality of Australia’s colonialist past. The violence and lack of humanity shown to Australia’s aboriginal population is at the heart of High Ground. In 1919, army sniper Travis (Simon Baker, The Devil Wears Prada and Land of the Dead) leads a raid into the Northern Australian bush that results in a massacre when his men open fire on defenseless men, women and children. Travis finds a lone child survivor, Gutjuk, and delivers the boy to a nearby Christian mission. Years later, another survivor of the massacre, Baywara, is raiding other missions and has killed a white woman. No longer a lawman, Travis is forced into helping authorities track and capture Baywara with the help of a now-grown Gutjuk (Jacob Junior Nayinggul). There’s no getting around Australia’s horrific past with a movie like this one. Thankfully, director Stephen Johnson and writer Chris Anastassiades give plenty of voice to the aboriginal characters. Gutjuk is the heart of the film, and his pull back-and-forth between worlds gives the film some of its best drama. It’s a role that could have easily been nothing more than a wide-eyed observer. However, the sense of injustice that begins to boil over within Gutjuk allows the character to make those “morally gray” decisions that are a staple of the western. High Ground isn’t the kind of fist-pumping movie that emulates the films of John Wayne or Clint Eastwood’s spaghetti westerns. The action sequences aren’t about excitement. They all come with consequences. Johnson goes to great lengths to stress that this violence isn’t cool. That this violence is used to subjugate, to silence. Baker gives one of his best performances to date as Travis. There’s a lot of unspoken history happening within the character that anyone with a knowledge of Australia’s connection to World War I will understand. The horrors of that war weren’t left behind on the battlefields of Europe. They followed these men home and manifested in atrocities of their own. Baker plays this with a quiet intensity that erupts through bursts of violence. It’s a character begging for forgiveness through his actions…a forgiveness he may never be granted. High Ground doesn’t match those larger-than-life widescreen epics of yesteryear, but it’s also not trying to be that. This is a contained, character-driven story that’s much more preoccupied with moral dilemmas than it is expansive vistas. #BrandonThomas

★★★★ Directed by: Alvin Rakoff Written by: John Robins, Jack Hill Starring: George Kennedy, Sally Ann Howes, Nick Mancuso and Richard Crenna Throwback Film Review by: Rachel Pullen Death Ship (1980) Film Review The ocean is annoying, it’s big and full of eels and secrets, of fish who must create their own light and sunken ships full of pirate ghosts. I’m not one for the ocean, not a water baby if you will, yet there seems to be a very rich subgenre of horror films which focuses on the sea which I seem to love. Ghost Ship, The Shallows, Triangle, Jaws and so forth, all of these movies love the sea and the evil that lives in it, or on it, if you are taking the boat option, but what if that boat was haunted by the ghost of like…oh I do not know…Hitler!! What an exciting time that would be! Death Ship (1980) is the tale of a group of people who survive their vessel sinking, and while floating around waiting to die a big ass boat bumps into their inflatable life raft, and they are all like “Cool, lets get help” but no one is on board, damm how will they get to shore? Who will drive the boat? Do not worry silly eggs, the boat is haunted by Nazi ghosts and can drive itself. The people do not clock on just yet and so decide to take shelter from the sun (which is also dreadful in my mind) but it’s not long before the boat starts to kill off the folks on board and the ones who last longer are tortured mentally by the spirits of the Nazis who once lived aboard. There are ghosts, films of Hitler playing on loop, blood in the shower, blood on the dancefloor, it's all going on in this death ship, and even though that seems a bit silly, this film has a certain style to it that I quite enjoyed. Now, apparently, it was intentionally a made for tv movie but ended up sailing its way to the big screen, and maybe because of that it has this low budget charm, all the effects are man-made, but still realistic, the characters are developed well, and each has their own storyline within the boat, the director has fun with angles and camera use, and the acting is hammy and still believable all at the same time, in essence, I love that vibe so much. Death Ship is a classic but overlooked 80’s horror, drowned out by the heavy-hitting slashers of the time such as Jason Vorhees and Michael Myers, which is a shame, for it brings to the table a fun and unique storyline, I mean a ghost ship is one thing, but the Nazi element was the icing on the cake. This week we have learned… Boats suck. Oceans are liars. And Nazi ghosts are everywhere. #RachelPullen

★★★★ Directed by: Dror Moreh Written by: Dror Moreh, Oron Adar Starring: Daniel Kurtzer, Dennis Ross, Gamal Helal, Aaron David Miller, Martin Indyk Film Review by: Jason Knight An insight into the Arab-Israeli conflict and the attempts of the United States to establish peace in the Middle East over the course of decades. This fascinating documentary explores in detail how the American government has tried to end confrontations in Israel, through the perspective of American negotiators. The film looks at the politicians who were involved, their struggles and how they influenced the conflict. The investigation comes across significant events that took place in the U.S. and the Middle East, including several historic moments, such as the Oslo Accord, the 2000 Camp David Summit and the 1995 assassination of Israel's Prime Minister Yitzhak Rabin. As mentioned, the events that make up the documentary are told by U.S. negotiators who participated in the efforts to improve the situations in the Middle East. Each of them is interviewed and they describe the events and share their experiences, their voice often used as voice-over. There are many photographs throughout, some of which are in black-and-white and they show politicians, closeups of documents and brutality in the Middle East. There is plenty of footage of politicians, including former President of the United States Bill Clinton and former Chairman of the Palestine Liberation Organization Yasser Arafat. Politicians are seen attending events, giving speeches and interacting with each other. There are news reports, where journalists are announcing the latest events inside a newsroom. There is also frequent footage of crowds celebrating or protesting and the film also shows the devastating aftermaths of terrorist attacks, which are rather distressing to watch. Oron Adar is responsible for the editing and did an amazing job. Eugene Levitas composed the score, which helps create the right atmosphere, as it is quite dramatic. There are also digitally animated sequences that depict a map of countries in the Middle East. The Human Factor is a very well made and informative documentary. Featuring captivating interviews and a strong selection of footage, it is bound to grab the attention of anyone who has a keen interest in this struggle. #JasonKnight UK & Irish Release Date - Friday 21st May 2021.

★★★ Directed by: #PauricBrennan Written by: #PauricBrennan Starring: #PaddyMcDonald, #DavidWalshKemmis, #RichardSiberry Film Review by: Patrick Foley Full disclosure: I am a self-confessed beer geek. IPAs, Stouts, Sours and Craft Lagers take up a ludicrous amount of my fridge space, and I cannot stop ordering more. Consequently, The Crafty Irish, a documentary charting the stories of four Irish craft breweries and their owners, is right up my street. The detailed insight of these brewing professionals will be fascinating to viewers who share a similar interest, but may be too technical for non-craft beer enthusiasts. The Crafty Irish is an intensely technical and specialised documentary. The film is formed from four separate interviews with Irish brewers who enthusiastically delve deep into their profession, and speak to viewers with an assumption that they share the same knowledge and understanding of brewing. Those who do will find it fascinating and exciting to hear their perspectives and their connected quest to establish a craft scene in a nation that previously lacked one. Those who do not are likely to be perplexed by much of the film, and may find the amount of technical jargon incomprehensible, which is unfortunate as the interviewees are clearly passionate and experts in their field. The film’s editing doesn’t particularly make the watch any easier. The interviews with the brewers are long-shot and single location, with occasional montages of the brewing process the only breaks the audience receive over the near 2-hour running time. Again, to those not fully on-board with the topic, the lack of stimulating imagery will inevitably lead to audience-tune out. The candid presentation of the interviews, with speech imperfections and conversational dialogue left in, places viewers in the room with the interviewees – which is a risky but largely successful choice by director Pauric Brennan. It suggests this is a film designed for those with an already-established understanding of brewing who enter these ‘conversations’ with an appropriate level of familiarity. The subject’s life stories however will entertain and appeal to any viewer. Whether it’s recovering from the financial crash, travelling back to Ireland from the US, starting a family-led brewery, or basing the beer on the story a local Irish legend – the history of the breweries and the men who created them brings a relatability the film desperately requires. Their insight into business is also invigorating – with the battle for shelf-space against the Guinness monolith and both the damage and potential brought about by the pandemic being much more applicable and engaging chapters of the film. Hearing these sides of the story engages viewers regardless of their expertise, and hammers home the importance of the scene’s existence. There are further imperfections with the film that are relatively minor issues. The film’s sound quality is lacking, and presentation is a little too amateurish at times with visible microphones and editing glitches lazily unremoved. These do not distract from the film’s purpose to inform, but could have easily been rectified for a more polished final product. Designed by beer-lovers for beer-lovers, The Crafty Irish is rather like the craft beer scene itself – difficult and inaccessible for many but fascinating and engrossing for those committed. As it is designed primarily to educate and inform on a certain sector of the craft scene, the lack of hand-holding is more acceptable and the specialised language understandable – but less-educated viewers should be aware going in that this documentary is not designed for beginners. Now if you’ll excuse me, I’m off to research UK-Ireland alcohol import laws…

Filmmaker Interview by Chris Olson It was my pleasure recently to catch up with Marcellus Cox via a Zoom filmmaker interview. The writer/director of short film Mickey Hardaway generously gave his time to speak to me about his plans for a feature-length version of MH, as well as some of his other ideas for films. You can watch the interview in its entirety below: To find out more about our Filmmaker Zoom Interviews, click here. To find out more about Marcellus Cox, here are some useful links: Instagram.com/Cellusworld24 Facebook.com/marcelluscox24 Vimeo.com/cellus24 #ChrisOlson #FilmmakerInterview

★★★ Directed by #DavidCharbonier #JustinPowell Written by #DavidCharbonier #JustinPowell Starring #EzraDewey Film Review by Hope Madden There is something to be said for films that do a lot with very little. The ability to awaken the imagination without the help of a big budget, multiple locations, a giant cast or too much in the way of FX is a credit to filmmakers. And hell, David Charbonier and Justin Powell’s The Djinn does most of it without dialog. Dylan Jacobs (Ezra Dewey) and his dad (Rob Brownstein) have just moved into a new apartment. There’s a recent tragedy in their past, but that’s not the only reason Dad’s a little hesitant to go to his shift at the radio station. Dylan is mute and maybe he needs another day or two in the apartment to be truly safe on his own. Ignoring his instincts, Dad leaves for work. For the balance of the film, we’re alone in the apartment with Dylan and the demon he innocently summons trying to regain his voice. The Djinn succeeds on the strength of its young lead, who carries every scene without benefit of dialog. Star of the filmmakers’ 2020 horror tale The Boy Behind the Door, Dewey’s emotional performance is enough to keep you compelled for the film’s brisk run time. Charbonier and Powell have other tricks up their sleeve to elevate their story. Cinematographer Julian Estrada, for one, who gives the impression that the apartment itself is watching the boy. Setting the film in 1988 frees the filmmakers up from recent tech that simplifies communication, which feels a tad like a cheat but does amplify a creepy sense of helplessness. Not everything works, though. The filmmakers rely too heavily on music stabs and jumps, the soft rock soundtrack is curious, and a handful of tropes—the asthma inhaler, in particular—give the film a less-than-inspired feel. But plenty of tense moments and creepy images punctuate the heartbreaking, age-old cautionary tale about getting what you wish for. #HopeMadden

★★★ Directed by #TaylorSheridan Written by #MichaelKoryta #CharlesLeavitt #TaylorSheridan Starring #AngelinaJolie #FinnLittle #JonBernthal Film Review by Hope Madden Michael Koryta’s heart-thumping YA adventure tale Those Who Wish Me Dead comes to the big screen. Well, mainly—it’s also on HBO Max—but the mountainous, fiery, wooded adventure is better suited to the largest screen you can find. Koryta himself adapted his novel, along with co-writers Charles Leavitt (not very good—Warcraft, Seventh Son, In the Heart of the Sea) and Taylor Sheridan (very good—Hell or High Water, Sicario). It should even out. Sheridan also directs, dropping a young boy (Finn Little) in a burning forest, hunted by two murderers (Nicholas Hoult and Aiden Gillen), with only Angelina Jolie to help. She does have a way with children, though. Jolie’s Hanna Faber is a damaged Hotshot (those firefighters who parachute into forest blazes). She failed her psych eval after those fatalities last season and now she’s stuck in a lonely fire lookout tower miles from anywhere with nothing to keep her company but her own haunted thoughts. So what I’m saying is, Those Who Wish Me Dead is now about Hanna rather than being about the kid who is wished dead. I just want fans of the novel to be prepared for this. It’s still a perfectly satisfying if not particularly inspired adventure tale. Little delivers an emotional blow as the newly orphaned youth who’s trying to be brave, trying to be smart, and sincerely in need of a hug. The biggest issue is simply the way he becomes a side character in his own story. He’s not as discarded as the couple who run the survival camp (Jon Bernthal and Medina Senghore – though the latter does look glorious riding horseback with her rifle through the flames). The basic backstory does suit this cinematic vehicle, though, and Jolie proves a charismatic central figure who can sure take a beating. As the bad guys close in from one direction, the fire from the other, Sheridan and team build a perfectly reasonable and structurally sound thriller. Performances are strong and locations are gorgeous, but Those Who Wish Me Dead doesn’t take a lot of risks and that’s unfortunate. #HopeMadden