★★★ Directed by #MaxStrand Written by #MaxStrand #ToddRawiszer Starring #PamelaJayneMorgan #JulietteAliceGobin Film Review by Hope Madden Another new horror flick that does a lot with a little, Goodbye Honey is off the festival circuit and available in your home. Director Max Strand’s isolated roadside buddy picture hitches a ride in the big rig with weary traveler Dawn (Pamela Jayne Morgan). She will deliver this cargo on time—she will!—but first she needs to pull into this isolated, wooded spot for a rest. Morgan’s performance snagged her a number of fest awards, including Best Actress from Nightmares Film Festival. With so very few other faces on screen, it’s lucky she can carry so much scenery. She gives the character layers with a turn sometimes conjuring Melissa Leo or Ann Dowd—a no-nonsense everygal who is sometimes slow to pick up on things, has a bigger heart than you may think, and will surprise you with violence as needed. Her nap is complicated by a plea for help: a young woman (Juliette Alice Gobin) wearing nothing but a tee-shirt, asking for water and a phone to call the police. But Dawn’s defenses are up—a woman alone out here can’t trust just anyone. Still, she wants to do the right thing. Quickly Strand tweaks tensions as the isolated location brings out others, violent looneys mostly. Dawn will take care of this, all of it. All that matters is that her client is none the wiser and that she makes this delivery on time. Gobin delivers a strong, wild-eyed but smart performance. Paul C. Kelly’s small but pivotal role could not be more deftly handled. Among the three primary performers, there is barely a wasted word or glance. Strand’s nimble screenplay, co-written with Todd Rawiszer, twists and turns in ways that are both unexpected and fully reasonable. Though one or two of the predicaments that befall the pair feel contrived simply to lengthen the film to feature-length, on the whole, Goodbye Honey delivers a tight set of smart thrills. #HopeMadden

★★★★ Written & Directed by: #AlirezaMirasadollah Short Film Review by Taryll Baker An Phouc is an 11-year-old girl from Vietnam. Her big bright blue eyes attracted many photographers from all around the world to visit her. She is one of the tourist attraction icons of Vietnam but despite all that, An Phouc and her family are suffering from poverty and struggling with racism. The Girl with Blue Eyes is a short documentary following the lives of An Phouc, a young girl with deep blue eyes, and her family. A film about hardships and struggle, the family lives in poverty in the dry streets of a lively neighbourhood in Vietnam. As the film opens, we’re introduced to An Phouc and her family. There are some deeply affecting stories from their tragic past, and there’s a clear focus by Mirasadollah to concentrate on them as they continue living on with purpose. An Phouc and her brothers and sisters seem very strong and delicately raised by their inspiring parents. They have created a world that can be kind despite the cruelness that has hit them, and with bright blue eyes (extremely rare in such countries) comes attention. Though most photographers mean well and even give the family money for school books, some aren’t so keen to leave a good impression. An Phouc mentions how one in particular asked to take photos of her, brought her to a desert and left her alone after getting the shots he needed. She desperately wonders as she finds her path back home, and though the scenery is lush and beautiful, it’s no place for a child. Life is all about experience. Some are precious and some are so ugly you wish you could forget. The Girl with Blue Eyes shows us the good and bad, and leaves us on a final shot with the power to make anyone smile. Mirasadollah’s capturing of landscapes and the people is stunning, with thanks to cinematographers Roshi Aba and Nhan Le. There’s a great beauty present in every scene, and though it isn’t the cleanest production in terms of editing and structure, this is an emotional little film. The Girl with Blue Eyes sees An Phouc change as a person; now using her experience as a model to become the one holding the camera, she aims to take photos of only landscapes, for the world is much nicer than people. Mirasadollah has gifted us with an inspiring short documentary that packs a fair amount of heft in its story and pay-off, though we are merely scraping the surface of this single family’s life and can only imagine the stories that could flow from the many surrounding them. The world is filled with life, and films like these give us a glimpse of the good within it. - #TaryllBaker

★★★ Directed by #KarlHolt Written by #KarlHolt Starring #KarlHolt Film Review by Hope Madden There is something inescapably silly about toy horror. Whether it’s a marionette or a ventriloquist doll, a china doll (with those creepy eyelashes) or a friend til the end, the toy itself can only generate so much authentic terror. After that, it’s just goofiness. Karl Holt embraces that combination for his vengeful toy story, Benny Loves You. We open on a spoiled child, her new Barbie, and the now-discarded stuffed dog, Todd. But soon we’re entrenched in the subpar life of Jack (Holt, who also writes and directs). It’s his 35th birthday. He still lives with his parents, still sleeps in his childhood bedroom that is still decorated as it was when he was seven. Jack is a toy designer, but co-worker Richard (a colossal tit) makes him look like a peon. They’re both up for the same promotion. Things go from bad to worse, then worse, then worse still. Finally, Jack decides to grow up and put away all his childish things, including his beloved stuffed bear (Bear? With those ears?), Benny. It goes less than well, the unruly toy responding like a bloodthirsty if very cheery jilted lover. Holt turns in a solid performance as the stunted man-child living a nightmare of adulthood, and there are times when his writing suggests something deeper. He almost develops themes about arrested development, the entertainment/gaming/toy industry, maybe even masculine entitlement. Almost. Instead of digging in, he settles for a superficial but generally charming and very violent comedy. (Dog lovers may want to skip this one.) Low-rent FX heighten the film’s silliness and general wrong-headed glee. All the support work is on target, from George Collie as the noxious Richard to the love interest (Claire Cartwright), dog-loving boss (James Parsons), and incompetent cops (Anthony Styles and Darren Benedict). Each understands the tone here and nails it. It’s just that it doesn’t amount to much. A mean spirit punctuates the romplike atmosphere a couple of times and feels wildly out of step with the balance of the film, but other than that, Benny Loves You offers forgettable, bloody fun. #HopeMadden

★★ Directed by #PeterDaskaloff Written by #PeterDaskaloff #MatthewToronto Starring #AshlynnYennie Film Review by Rachel Willis Imagine going to the hospital for a routine appendectomy and waking up in a hospital that’s a little too Hostel. That’s what happens to Sharyn (Ashlynn Yennie) in director Peter Daskaloff’s film, Antidote. From the mysterious and gruesome opening, we’re quickly plunged into this warehouse-style hospital where patients are chained to their beds and answers to the question ‘why am I here?’ are in short supply. We’re not given much information as Sharyn awakens to this nightmarish situation. A mysteriously polite doctor (Louis Mandylor) appears to offer her medicine for her anxiety, leading us down one alley of possible explanations. Glimpses into Sharyn’s past as she struggles to cope with her new world offer another possibility. However, Daskaloff wants to keep us guessing with each new bit of information. As Sharyn meets her fellow patients, we learn new facets of the horrific experimentation that happens at the facility. A mysterious serum promises healing from every possible injury: amputation, burning, hanging, tongue removal. The antidote is really quite magnificent stuff. While I was initially reminded of films like Hostel and Saw, Antidote doesn’t relish the gore quite as much. Most of the brutality happens off-screen, and the film is more interested in the tension created by the unknown. The suggestion of violence often does more to put the audience on edge than the ultra-realistic rendition. But to work, the film must keep the audience hooked. We need to feel Sharyn’s anxiety and desperation, and this is where the film struggles. Watching Sharyn wander around the hospital (why is she allowed to do this?) is repetitive and boring. It’s easy to grow disinterested as we wait for the big reveal. Yennie does bring an everywoman quality to her character. Sharyn’s dubious past unfolds throughout the film and is the most interesting aspect. It’s a problem when the film’s backstory is more engaging than the present action. Maybe if we’d seen a little more of that suggested violence, I’d have sat up straighter in my seat. Playing against our everywoman, Mandylor makes Dr. Aaron Hellenbach a cool, sophisticated, sadistic madman – a bit like Hannibal Lecter only not so terrifying. He never feels like a villain, even though he appears to be the main engineer of the ‘experiments’ done on the patients. Antidote has the elements to be intriguing, but doesn’t effectively deliver them. #RachelWillis

★★★ Directed by #SeanKenealy #EricSilvera Written by #SeanKenealy #EricSivlera Starring #SeanKenealy #EricSilvera Film Review by Christie Robb In a world where two middle-aged men have access to a room, a series of Apple products, $22,730 from Kickstarter, and five years, expect a variety of action movie tropes to be stitched together with a thread of f-bombs and self-referential humor to create this strange quilt of a feature-length buddy-action-comedy/YouTube video. In Action follows two former writing partners, Eric and Sean, who reunite at a frenemy’s wedding. Bored with their day-to-day lives, they decide to team up again to bang out an action movie screenplay asynchronously over email. But, unbeknownst to them, their script is intercepted by hackers and the writers get more action than they expected. Directors/writers/stars Sean Kenealy and Eric Silvera manage to get a fair amount of bang for the low-budget buck. Not strong actors, the rapid banter between the two is engaging. And it has to be, because essentially the entire movie is just those two. An assortment of minimal props, occasional animation, and (briefly) the use of action figures do serve to interject some variety. With the exception of some camera work and quick cuts that seem inspired by Shaun of the Dead, the camera is static. Other characters are mostly filmed over the shoulder, giving the impression that the only two involved in the film are Sean and Eric (sometimes in wigs or silly hats) until more than two bodies are shown on screen at the same time. Then, it becomes honestly a little confusing as to why these characters aren’t shot more conventionally. But, whatever. The overall product, though, is fun with sound design and editing that are way more professional than you would expect. For an action movie with essentially no budget, it gets the job done pretty darn well. #ChristieRobb

★★★★ Directed by: Dan Elswick Starring: Aaron Bedard, Zach Jordan, Aaron Dalbec, Bobby Mahoney, Peter Chilton Film Review by: Jason Knight Time for some hard music. A documentary about the American hardcore punk band Bane, which was formed in Worcester, Massachusetts and was active from 1995 until 2016, when it disbanded. The film explores their final tour and reveals how the band was formed, who the performers are, how successful the band became, why it came to an end and the challenges that the band members faced. Generally, it tells the story of Bane from start to finish and it makes for a rather interesting viewing. The film consists of many photos showing Bane and other bands performing in front of a crowd, pictures of the band members from various stages of their career, some of which are in black-and-white. There is plenty of footage that shows Bane and various other bands performing aggressively to an out-of-control audience, including concerts that took place decades ago. The band members are also shown while on tour, traveling from one location to the next and engaging in a variety of activities. There is a great deal of footage throughout that shows members of the band being interviewed. The interviewees also include people who had been part of the band at various stages, musicians and fans. All of the individuals who give interviews come across as intelligent and likable and together, they explain how they contributed to Bane, how significant its creation has been to the music industry, why they are passionate about music, what life is like being part of a band and how it all came to an end due to the performers' commitments. Unsurprisingly, since this is a documentary about a hardcore punk band, there is plenty of that kind of music to be heard, particularly as the film often shows footage of live performances. The creative editing is the work of Ricardo Cozzolino and the result is fantastic. Sometimes, when a song is heard, letters show the lyrics and there are animated sequences that depict the route the band takes during its tour on a map. Holding These Moments is a very well made and informative achievement. It pays tribute to Bane, the persons who collaborated in order to bring it to the world and to hardcore punk in general. It also provides an insight into life as a band member, revealing the rewards and challenges such a lifestyle brings. This documentary is a must-see for fans who appreciate this music genre. #JasonKnight Trailer for Holding These Moments:

Interview by Taryll Baker You just released your debut feature film Framed on Prime Video, how does that feel and what was that process like? It feels amazing! There’s a sense of freedom to it, it’s finally out there having its own run. For this part of the process we partnered with Indie Rights, a US distribution company. I’m really happy we did, they have made it available on Prime Video and many other VOD platforms. What can you tell us about this film? Framed follows the clumsy actions of an aspiring photographer challenged by his “feminist” best friend for secretly taking pictures of his barely dressed neighbour. It has the feel of a light thriller, having a setup similar to Rear Window, but it’s not a thriller. Or at least not a full-on thriller, I don’t think there is a true antagonist in the movie, some have referred to it as a morality play. I think it was partly my intention not to define it in a clear genre, nor to take any sides. And what I’m really liking is that everyone sees something different in it. You have directed a couple shorts prior to Framed, were there any challenges you had to face when taking on a feature length? How was the experience different? The number of shooting days and the budget made it a completely different experience. Especially because I self produced Framed as well as directing it. That was the real challenge to me. Making sure everything was going in the right way, from both an organisational and a creative point of view, was frightening and exciting at the same time. I consider myself lucky, because anything could have gone wrong at any moment. Your new film tackles privacy and exploitation with an element of feminism, what made you want to explore these themes? The lack of communication between people that have different opinions was probably the main driving force that made me write this film. First, I need to specify that the word “feminist” describing the character of Virginia in Framed is referring to an extreme caricature of a feminist. The fact that I just felt the need to specify that should give you a hint to why I consider it important to speak about communication. We live in a world where everything we believe in is backed and enhanced by an algorithm that only wants to please us. And we end up rushing to conclusions too quickly without trying to understand the human being that sees things differently from us. My idea was to have a good hearted guy, being caught doing something dodgy and immoral, trying to defend himself when questioned by his highly judgemental best friend. This is because I hoped to spark a conversation between viewers after watching the film. I feel we need to go back to have healthy discussions. We often talk about numbers, statistics, information and we forget to ask: How do you really feel? Is there a field in the process of filmmaking that you’d like to try out that you haven’t already? I don’t think so. I always tried to get involved in as many aspects of filmmaking as I could, especially while doing short movies. In Framed one task I really enjoyed was being the van driver. It relaxed me. What comes first for you when writing a script? Any tips for newcomers? I’d say make it personal, and don’t play too much with the story structure. There is a reason why stories have been told like this for centuries. I need to remind myself of this over and over. Cinemas are finally reopening after a year of uncertainty, what are your thoughts on the return of cinemas and the affect that an increase of streaming may have had on audiences? I’m not too optimistic to be honest, but I’d like to reply with a quote I read on top of a cinema in central London the other day: May the 17th be with you. How have you been able to keep busy during the COVID-19 pandemic and all the lockdowns? Are there any books, films or series that have kept you entertained? Lockdowns were luckily filled up with working on post production for Framed. To be honest I didn’t feel like watching too many series or films while working on mine, I couldn’t risk feeling intimidated by their huge budgets and finished product. But I read a lot. A book that I found very interesting is “The Science of Storytelling” by Will Storr. It approaches the topic in a very different way from the classics. What’s next for you? Any projects in the pipeline or are you going to see where this first feature takes you? I’m writing my next film. It’s a spy movie set in today’s cyber weapons arms race. I started reading about espionage and modern warfare and got fascinated by it. It's a scary world and potentially very dangerous. Lastly, what’s your dream actor/director to work with? Tarantino in both cases. It would be an honour just to meet him. Framed is available to stream on Prime Video now. https://www.amazon.co.uk/gp/video/detail/B08YH3S7GG/ - #TaryllBaker

★ Directed by: #RubenMariaSoriquez Written by: #RubenMariaSoriquez Starring: #RubenMariaSoriquez, #LanieMartinGumarang, #AlbertSoriquez Film Review by: Patrick Foley Great documentaries can take controversial topics or opinions, and, when supported by a focused message backed up with facts and evidence, can change opinions of even those adamantly opposed to the initial point. Pandemiocracy’s anti-lockdown argument is certainly controversial, but this production’s attempt at presenting it is aimless, messy, and totally unconvincing. An Italian-Filipino family separated across the world by Covid-19 lockdowns try to navigate a labyrinth of pandemic restrictions. As they make their journey, the father (director Ruben Maria Soriquez) conducts his own research on preventative measures against the disease, intercut with the political impact of lockdown on communities across the globe. Pandemiocracy is a directionless, erratic mess which professes wild and unproven theories on the effectiveness of lockdown, the damage to free speech and pseudoscientific dietary advice on preventing COVID. Using a combination of interview and newsreel footage, the documentary presents a broad overview of the pandemic and the efforts from across the world to contain it. But director Ruben Maria Soriquez fails to tell a consistent story on the topics he covers. Within the first 15 minutes, subjects ranging from lockdowns, fake news, racism and (somehow) the Iraq War have all been featured. The net the film casts is far too wide – often just bombarding viewers with seemingly random facts without context of why they matter. Use of stock footage of domestic abuse, and the murder of George Floyd come across as absolutely tasteless and far-removed from the film’s key themes. The film is controversially anti-lockdown – though stops short of explicitly stating as such. Early hints that lockdowns are ineffective or that safety regulations breach human rights are sprinkled through the film, with cherry-picked statistics thrown over imagery of unpopular political figures. An extended study of Sweden – and their government’s refusal to lockdown – is where the film really starts to make its case, and does here at least offer some evidence supporting their strategy (the film was released prior to Sweden recently reporting the highest infection and hospitalisation rate on the continent). Defending David Icke’s right to spread tin-foil hat drivel is where the mask really slips – and frankly where the film loses all credibility. Soriquez’ anguish at being separated from his family for months is understandably reason for his frustration towards lockdowns. But the film skates far too close to crankery to make a reasoned argument against them to all but the most receptive viewers. Similarly, the film’s focus on diet and healthy eating is lacking in evidence or detail beyond testimony from doctors than a good diet can prevent other disease. The director’s silent implication that healthy people have nothing to worry about is both dangerously wrong and poorly argued. A singular focus on death statistics fails to consider ‘long-COVID’ impacts on healthier people. And the phrase ‘some experts’ – to anonymously justify whatever hairbrained theory the director wishes – might as well be the documentary’s catchphrase. Furthermore, the film feels amateurish at times, reusing cheap-looking animations and bizarre stock footage. Voiceovers are provided by automated speech bots – understandable as English may not be the native tongue of the creator but robotic and lifeless nonetheless. There is a wide variety of news footage utilised which is genuinely interesting at times, but generally used as background filler rather than anything seriously examined. Simple factual errors – such as a description of an Ecuadorian nurse as an NHS worker – are further evidence of sloppiness. Emotive topics produce controversial opinions, and the quality of a documentary should not be judged solely on the argument it makes if it can be well-presented and convincing. Pandemiocracy is neither – failing to stay on message and reaching confusingly erroneous conclusions.

★★★★ Directed by: #AdamHodge Written by: #AdamHodge Starring: #DanikaGolombek, #LarrsJackson, #JohnnyAlexander Film Review by Lucy Clarke At some point in our lives, the script flips. Instead of our parents parenting us, we have to step in and care for them. Julia (Danika Golombek) is on the edge of putting her father (Larrs Jackson) into a home. He rambles on about window twitchers and bugs in his apartment, and his living situation is full of dirt and stench. It's clear that Julia's dear dad can't care for himself anymore – but what if his demented mutterings are true? Adam Hodge's short film I Was Nobody is initially reminiscent of one of this year's Oscar winners, The Father. In the film's opening moments, it appears that Julia will wrestle with her father's mental health problems. Yet, the plot is never so simple, and the resulting screenplay never follows a linear track. While the relationship between Julia and her father, Paulson, is a touching one - thanks to the strength of the two leads - it's clear that whatever Julia believes to be true is considerably far from the truth. Julia pours over an inpatient form and fills in her father's details, and Hodge's film suggests immediately that this is going to be a hard-hitting drama that might necessitate a packet of Kleenex. But then the film switches gears and morphs into a thriller, a spy drama and an action movie with a shot of animation piercing through the middle like a bolt of lightning. The viewer is jolted as nothing is as we narratively expect. Paulson's apartment with its dirty plates on the kitchen counter and the black bin bags covering the windows suggests what Julia has confirmed – that her father is in desperate need of medical assistance. But precisely because we are more inclined to believe Julia, the audience is thrown off-kilter when it is revealed Paulson might not be as mad as we are led to believe. While this film flickers at a wild pace from socio-realist drama to action movie – stopping off to sandwich in an animated sequence - all these genres within such a short film are rather jarring. Paulson flicks through his memories in a superhero comic-style animation, and it might be the best part of the film. However, it slices the film crudely and awkwardly open, and it's glaringly obvious that this section is one of the strongest within the short. The accompanying soundtrack is also similarly jarring. The music directs you how to think, how to feel and what to anticipate in every second of the runtime. A score of silence sends more shivers down my spine than three hours of loud and repurposed beats. I was Nobody twists and turns like a deadly car chase, and with the speed of a bullet unleashed from a gun's chamber. This is a fierce action ride with the central relationship between a father and daughter successfully anchoring it to a realistic family drama. Despite the predictable score, I Was Nobody flinches away from being pigeonholed and defies genre expectations.

★★ Directed by: Maciek Kaliski Written by: Maciek Kaliski Film Review by: Julian Gaskell This is an experimental short from Maciek Kaliski which is the second in what is to be a series of shorts that he is putting together for a feature film. "Wehikuł Czasu” Polish for “Time Machine” takes a look at the directors personal memories using some recent imagery interwoven with a small selection of home video clips collected overtime, assumed from his own childhood, up to the present day. The film begins with more recent imagery made up of mostly static shots filmed in black and white. There are shots looking out of a suburban house window, a clock ticking, a plant pot on the window sill, which all give a general feeling of the passing of time. The sound is like a wildtrack of background noises with children playing, a dog barking, the weather in different seasons … and the ticking clock. Photographic negatives are then overlayed on some of these black and white shots of a lake before we are introduced to the home video footage of Christmas time with presumably his family. There is a child (presumably himself), Christmas presents around a Christmas tree and a Christmas dinner from different years but this time all in colour. There is little to no dialogue and the only speaking is in Polish, which is captured on the home video. It then switches back and forth with the more recently taken footage, that includes building work on a house and the strange inclusion of a view to a brick wall shot on its side. These video memories included alongside more recent activities must all have a personal relevance to the title of the piece “Time Machine”. The director’s personal time machine no doubt. As an arty film, if Maciek Kaliski becomes a famous auteur, we might look at this as a significant moment in his filmography, as it stands it’s a convoluted collage of home video clips pasted together showing a few different events all blended together with recent cutaways of things presumably relevant in his life or symbolic about life in general. The idea itself is an interesting one to explore memories past and present and it would be well suited as an art installation somewhere, perhaps exploring the power of memory vis-a-vis the power of video, but as a short film on its own it was a rather overly personal watch that needed further explanation as to any poignancy.

★★★★ Directed by: Finlay Bald Written by: Finlay Bald Film Review by: Jason Knight A documentary about the late popular American signer and actress Whitney Houston. Houston tragically passed away on the 11th of February 2012, while staying at The Beverly Hilton Hotel in Beverly Hills. She was forty-eight years old. She was found submerged inside the bathtub of the room she was staying in. It was also revealed that illegal drugs and other substances were found in her system. Houston had been a successful entertainer, having won multiple awards and sold millions of albums and singles and the news of her death sent shock waves around the world. Although she used to be full of energy, with a spectacular voice, it appeared that during the final years of her life, she seemed to had lost her magic touch, with her performances failing to impress. This poignant documentary examines the factors that could had led to her end, including drug addiction. Among her personal issues, the film indicates that her troubled marriage to rapper Bobby Brown, who was known to party hard, use drugs and had trouble with the law, might had significantly pushed Houston towards a destructive path. The film contains many pictures and footage of Houston, showing her performing, being interviewed and attending events. Various individuals, including reporters, TV presenters, music journalists, singers and psychologists are interviewed, speaking about Houston's life and what they believe could had been the cause of her decline and subsequent death. There are also closeups of the toxicology report, examining the physical condition of her body and the substances that were found in her system. Additionally, there are sequences made out of digital animation that show a transparent model of Houston's body, with the interior organs visible, in order to give a clearer picture of how the substances affected her organism. The voice-over is provided by Lee Jagow, whose narration is clear and accompanies the images effectively. The music is dramatic and melancholic, creating an appropriate atmosphere considering that the main focus here is Houston's passing. Bald does a terrific job as director, developing remarkable establishing shots of Los Angeles. Bald and Jordan Hill worked on the editing and the result looks great. This documentary looks into the factors that might had ended the singer's life and at the same time it reveals her outstanding contribution to the music industry and mourns the fact that this wonderful person was taken from the world way too soon. #JasonKnight

★★★★★ Directed by: Dan Hartley Written by: Liam Thomas Starring: Francis Magee, Liam Thomas, Richard Galloway, Olwen Fouere Film Review by: Jason Knight An emotional story about the crew of a fishing vessel. Skipper (Magee) is the one in charge of a fishing boat named 'The Annie'. Jimmy (Thomas) and Dan (Galloway) are his two loyal crew members. Skipper has been in the fishing business for decades and has been with his boat and crew for a long time. As he is now aging and his beloved boat is showing signs of reaching the end of its use, Skipper makes a devastating decision and drowns himself in the ocean. Jimmy and Dan are deeply affected by his passing and on the day of his funeral, decide to honour his memory by making one of his wishes come true. This short drama is beautifully shot, remarkably acted and contains themes of friendship, inner struggles, growing old, nostalgia, death, compassion and self-discovery. Thomas's screenplay is filled with moving scenes and the ending is bound to touch the viewer's heart. Magee, Thomas and Galloway deliver emotional performances as individuals who are each dealing with their own personal issues. They are good people and care for one another. As the director, Hartley does a fantastic job and creates wonderful establishing shots that capture the beauty of the surrounding locations and the cinematography by Adam Lyons looks amazing. The score is one of the film's strongest aspects and adds significant value. Howard Carter's outstanding music creates quite a dramatic atmosphere. Carter also developed the sound design and did a fantastic job, which includes making the sound of waves mesmerizing. As the narrative evolves around the lives of fishermen, it provides an insight into the life of those who work in that industry by showing piscators doing their job such as working on their boat, cleaning fish and spending a great deal of time at sea. The Tide is a powerful and emotional film. It suggests that sometimes life can be very tough, but it also demonstrates the significance of support and respect. #JasonKnight