★★ Directed by: Tharun Mohan Written by: Tharun Mohan Starring: Amelia Eve, Adam Bond, Katherine Hartshorne, Cyril Blake Film Review by: Vikas Yadav The Darkness Movie Review I was still waiting for The Darkness to take off when the end credits started rolling. Even after spending almost 1 hour and 35 minutes with it, I didn’t feel anything substantial happened in the movie. It keeps on building and building and building towards…something. Scenes that are meant to be crucial come and go without registering any effect on the viewer. As this is horror, we anticipate a jolt, a bump-in-the-night, a spine-chilling tingle. But you are not even rewarded with a decent jump scare! Forget jump scares; The Darkness is meant to be a homage to classics like Rosemary’s Baby, The Innocents, and El Orfanato. These three films were great because they brought out horror from human behaviour. They derived scares from the psychology of their characters. Most importantly, they were more than just horror. In Rosemary’s Baby, a woman faces betrayal from the very people she trusts. The Innocents has themes of sadness and sexual repressions. A mother longs to be with her son in the very moving and touching El Orfanato. Tharun Mohan, the director of The Darkness, attempts to replicate the themes and ideas from the mentioned films, but he fails because he merely touches on the superficies. There is a haunted house, but its corridors are left unexplored. The premise has shades of perfidy, but it’s not blended well in the story. Mohan chooses to proceed by checking the boxes, and so we get the obligatory threads like a busy husband, no mobile network, a mysterious man who will eventually roam near the haunted property, and your typical ear-splitting horror movie score that rises on cue with the ghost. The audience, nowadays, has become more aware of the films. Thanks to OTT platforms, they have been exposed to all kinds of content, which has made them alert to and weary of done-to-death tropes. I subscribe to the school of thought, where it’s maintained that a derivative material can be freshened if the filmmaker can do justice to it. I have found that the films which totally immerse themselves in clichés come out more competent than those who merely tread on the surface. The Darkness never digs deep into its meaty premise. It derives from Irish mythologies such as changelings, witchcraft, and possession. If the film had explored or expanded on these exciting myths, The Darkness could have been a fascinating experience filled with intrigue. Sadly, they do nothing more than pulling the plot towards its destination. The classical setup of placing a couple in a haunted house away from the rush of the city has a lot of promise to keep you up at night. But The Darkness barely keeps you invested in it. It thinks it’s creating suspense when in reality, it just drags itself to the grave. It opens with a no-nonsense approach by wasting no time in shifting the couple to the haunted house so that the game of walking-in-the-corridor and apparition-moving-behind-your-shoulder can begin as soon as possible. However, after Lisa’s (Amelia Eve) initial encounter, nothing scary happens for a long time. The Darkness moves to investigative mode, with Amelia finding out about the house, unravelling the horrific past lurking on the grounds. This would not have been a problem if the investigative or the revelatory part had an edge-of-your-seat element. The camera is tilted to show disorientation, to create a feeling that something is not right. If the film had been engaging, this trick could have elevated the tension. The Darkness is supposed to be a thought-provoking horror/thriller, but the only thought that occupied my mind was this, “Where have I seen Amelia Eve before?” It’s good we have the Internet to solve such puzzles. I found my answer on IMDb. Eve was present in The Haunting of Bly Manor. She was the gardener named Jamie. While you can appreciate Mohan for taking inspiration from well-regarded sources, it takes more than good intentions to scare the daylights out of you (there is a chilling visual when a corpse moves inside a bag, but we cut away before anything more happens). And what good is a horror film when it’s devoid of, well, horror? Available on Digital May 3rd 2021.

★★★★ Directed by: #AvibrataChanda Written by: #AvibrataChanda and #RaymondBiddle Starring: #LucyKitson, #CaitlinClaireHenning, #AvibrataChanda Film review by: Patrick Foley Usually if someone is meeting with their accountant, it is to discuss whether they can afford a second home in the Cotswolds or a fancy new sports car. For Emma, titular protagonist of Emma’s Visitor, the costs she may be about to pay are far higher. At least this accountant is more stylish than the grey-suited sullen faced bore you were probably expecting… In the middle of a stupor, Emma (Lucy Kitson) finds herself joined by a mysterious visitor (Caitlin Claire Henning) who reveals herself to be ‘an accountant’. When quizzed, the visitor reveals that her purpose is on behalf of a far higher power, and that Emma currently finds herself situated in limbo. In order to escape, she will need to find deeper truths in herself to understand how she ended up between life and death. Emma’s Visitor is another short film focused on an individual at a low point in their life having a conversation with an otherworldly, shadowy presence. Much like The Critic, or Death Offers Life, the audience is witness to a conversation that may or may not be imaginary, or occurring within the protagonist’s head. A difference with this film however is that the Visitor reveals their purpose very early on and explains Emma’s situation clearly, allowing the film to dive into the personal struggles far quicker. This is an effective choice by director Avibrata Chanda which prevents the short becoming bogged down. Chanda’s imagery works in the story’s favour. The drained colour palette gives an eery feel to the world of limbo. Similarly, the contrasting wardrobe of the Visitor, who wears both white and black, is a further example of careful planning that adds a deeper context to the piece. Emma’s all-black attire may also be a foreboding hint at the film’s true ending. Some of the design choices are a little on-the-nose (a picture in Emma’s flat saying ‘are you dreaming?’ in particular) but none to the point of detracting from the rest of the well-crafted visual storytelling. Lucy Kitson and Caitlin Claire Henning are an intriguing contrast as the leads – The Visitor’s suave and mysterious confidence a reversal of Emma’s flustered and stressed concern. Despite probing and picking away at Emma and her failures, audiences will get the sense that The Visitor is in her own way looking to aid Emma – or at least give her a fair hearing in front of the higher power she serves. Expectations of her playing an antagonistic role are subverted by the end – despite the film’s outcome being left to question. The ambiguity is in-line with the film’s nature and feels an appropriate tone for the performances. Emma’s Visitor is hardly ground-breaking, but does add some interesting twists to a genre of short film that has seen many entries in the last few years. Director Avibrata Chanda makes sure to add some nice touches for eagle-eyed viewers that make for a deep and satisfying watch.

★★★ Directed by #ArielleCimino #JeffRyan Written by #ArielleCimino #ChristopherOConnell #JeffRyan Starring #JeffRyan #ToriHines Film Review by Rachel Willis Who needs a farcical mockumentary skewering both youth ministers and the types of kids involved in church camp? Directors Arielle Cimino and Jeff Ryan, and writer Christopher O’Connell bring you YouthMin. Pastor David, aka “Pastor D” (Jeff Ryan), is dedicated to educating the members of his youth church organization, as well as getting them to the annual Bible camp for competition and games. So, he’s floored when the church assigns a new youth minister to his group, Rachel (Tori Hines). As we quickly see, Pastor D needs all the help he can get. Ryan is the perfect combination of 90’s MTV reality star (he’d fit right in on early seasons of The Real World) and overenthusiastic youth minister trying too hard to connect with his flock. His attempts to educate the kids on the Bible’s tenets are both hilarious and misguided—a bottle of water becoming an amusing metaphor for sex before marriage. The collection of kids is what you might expect. There’s a stereotypical jock-type who looks up to Pastor D, a girl who dresses very conservatively and who might have a crush on our inept pastor. Then there’s Stephen, who refuses to talk, and Deb, who dresses in dark colors but knows her Bible (especially the racier parts). There’s isn’t anyone in the group who truly stands out, but it doesn’t really matter since the best parts of the film are the ways these kids relate and react to Pastor Dave. About two-thirds of the way through, there’s an abrupt tonal shift. The film stops making fun of its ‘subjects’ and tries for a heartwarming, root-for-the-underdog romp. It’s jarring and not nearly as entertaining as what precedes it. These aren’t characters we’ve been asked to care about, so expecting us to suddenly pull for them requires an abrupt shift in perception. Ultimately, it’s a disappointing change. For most of the film, the comedy works. O’Connell’s writing is reminiscent of some of Christopher Guest’s funnier films. But then YouthMin forgets it’s a mockumentary. The comedy gets stale and the laughs become infrequent as the film putters to its predictable resolution. It’s too bad this film falters so badly in its final scenes because these lackluster components overshadow the funnier material. If the filmmakers had remembered they were making fun of their characters, they would have had a solid film from start to finish. #RachelWillis

★★★ Directed by: #GregChapman and #FelicityHawthorn Starring: #GregChapman and #FelicityHawthorn Documentary film review by: Brian Penn Bram Stoker created the legend of Dracula in 1897 and set in train a phenomenon of popular culture. The classic tale has spawned over 200 film versions and countless documentaries and TV specials. This offering from Greg Chapman and Felicity Hawthorn is part travelogue and part history lesson as they enjoy some spectacular Eastern European scenery. Whilst Stoker’s masterpiece is the reference point, it’s the dividing line between truth and legend that lies at the heart of their journey. Who was Dracula and what was the inspiration for the castle so memorably portrayed in the story? Their first stop is Bran Castle in Transylvania, the closest we get to Stoker’s description of Dracula’s fortress in the novel. As they explore its raw beauty passages from the book are recited with calm reverence. Stoker’s hero Jonathan Harker is quoted, but they soon conclude this isn’t the castle of Dracula as depicted in historical fact. The trail gradually leads them away from Bram Stoker’s tale to Vlad the Impaler, or as he was sometimes known Vlad Dracula, ruler of Wallachia in the 15th Century. So begins an odyssey across Romania as the couple grapple with truth, fiction and legend. Greg and Felicity are charming tour guides with an engaging approach to the usually clichéd travel documentary. They highlight a region of Europe all too seldom explored although no further from the UK than Greece. There are no beaches or water sports to enjoy here; the intemperate climate will bring sunshine and snow in equal measure. But the viewer can readily appreciate the contrast with more traditional holiday locations. Despite the visually stunning and historically rich landscape the film's purpose is frequently defeated in its quest. They travel long distances to find an attraction either closed or out of bounds. The claim this is not a history documentary is also fanciful; particularly as it traces Eastern European legend which underpins the location’s unique selling point. But the film taught me something new and provides Romania with an attractive showcase, mission accomplished I would say?

★★ Directed by: #TravisAndrade Written by: #TravisAndrade Starring: #JacobSandler, #JonathanIrwin, #NoahGreenly Film Review by: Isabelle Ryan It is impossible to predict how many more stories about America’s gun culture will have to be written, and how many more shootings will have to occur, before things start to change. At times, it feels like a hopeless endeavour, and this despondency hovers over Travis Andrade’s film, from the scenes of its young protagonist cycling down twilit LA streets alone, to his furtive midnight modifications of a toy pistol. This is an important topic, but Andrade’s script lacks much-needed introspection, and instead searches for someone (or something) to blame. 11-year-old Wesley (Jacob Sandler) is bored. His brother James (Noah Greenly) spends no more time with him than necessary; his mother (Chad Morgan) sleeps on the sofa all day; and cycling around aimlessly and driving to the desert with his brother have lost their appeal. He tells James, “I want to go places,” but the only place to go is home. When James’ friend Blake (Jonathan Irwin) shows up with a 3D-printed gun, Wesley is fascinated and determines to get one of his own. The film establishes society’s link between masculinity and violence effectively. On the radio, we hear that an athlete has ‘weapons in his arsenal’; in James’ room, a poster asks “Are you man enough?” while he mows down enemies in a video game. Wesley already questions his place in the world, and specifically his future place as a man. This in-between stage is complicated enough, and the subliminal messaging around him only exacerbates things. He wants to eat ice-cream with his big brother. He is ecstatic when a girl at school notices him. He also wants to shoot things. Guns and violence make up his fantasies. He is on the precipice of growing up, and Blake’s insistence on calling him ‘little boy’ is just another reason to grow up faster. The only older boys he knows like to shoot things, so Wesley does too. This intersection of violence and masculinity is the problem, but Andrade keeps searching. The boys’ single mother is too tired to spend time with them; Blake’s anxiety prevents him pursuing a career in the military; and James plays violent video games. None of these things is bad in isolation. Single mothers do not breed school shooters, children do not shoot other children because they are anxious, and first-person shooters do not turn people into killers. In real life, the US military targets people like Blake and uses first-person shooters as recruitment tools, and the games themselves are insidiously effective propaganda. But Andrade is not interested in this. Instead, he seems to point fingers at everything that might be an issue without being brave enough to make a clear accusation. The great tragedy of Wesley, and films like it, is that it won’t change anything. More young men and boys will feel purposeless and unappreciated; schoolchildren will continue to live with this sadly rational fear; and America will still have a gun problem. The people most affected by these stories – fictional or otherwise – are not in a position to change the real-world narrative, and the people who are in a position to effect change refuse. The film’s biggest problem lies in Andrade’s refusal to blame anything or anyone beyond the nebulous concept of society itself. As the end credits song asks: “Who is there to blame for this mess?” In Wesley’s universe, this may be a fair question, but in the real world, it is grimly laughable. America has spent centuries glorifying guns and so-called gun culture and now wonders how we got here.

★★★ Directed by: Audun Amundsen Written by: Fredrik Horn Akselsen, Audun Amundsen, Audun Kvitland Starring: Audun Kvitland Røstad Film Review by: Vikas Yadav If you ask a person who has/had gone viral for tips on how they managed to burn the Internet, they will generally come up with this simple line of explanation, “I don’t know. I never planned for it.” Indeed, it’s our accidents that generally catch fire, and great things happen when we least expect them to happen. Take Audun Kvitland Røstad, a Norwegian singer who broke the digital world with his song Nasi Padang, a love letter to one of Indonesia’s most popular dishes called Nasi Padang. While on a short vacation with his buddy Petter in Indonesia, Audun stumbled upon his heaven in the form of Nasi Padang (Nasi is the name of the rice, and Padang is the name of the city where the food is from). Audun was mesmerized by its taste. He developed a kind of romantic relationship with this meal. The hangover remained even after he returned to Norway. His longing for Nasi Padang took him to the Internet, but he didn’t find the food anywhere in his region. Like a boyfriend penning an ode in the memory of his beautiful inamorata, Audun picked up his instrument and sang his heart out for Nasi Padang. He uploaded the video and went to his bed. Little did Audun know that his song would overnight elevate him to celebrity status. Art, of any type, has the power to break the boundaries. The artist needs to only be true to himself, and his work would find acceptance in the hearts of the audiences. Audun’s song is a mix of humor and passion. You laugh because the lyrics confess love for food, but you also notice the reflection of intimacy in his words. One person got so attached to his song that she started to miss her hometown, family, food, and culture. She is Amelia, who left her hometown and moved to Malaysia for 15 years. The effect was not just personal but also political as it drove the government of the two countries to strengthen their relationship. Help, I’ve Gone Viral! gives you a taste of the viral life though I wish it had shown a little bit more about Audun’s grappling of the situation. There is a scene where he is shown nervous before performing live on national television. There should have been more such scenes showing the internal feelings of Audun. Nevertheless, for now, you can take a peek at the glorious life and pray for your next piece to go viral.

★★★ Written & Directed by: #ElaheEsmaili Short Documentary Film Review by Taryll Baker After consulting with his relatives a 35-year-old father consents to the marriage of his 14-year-old daughter. As individuals with differing perspectives, his family grapple with the decision. This short documentary from Elahe Esmaili delves into the tragic consultations between family members with altering views, amongst the subject of young marriage. We follow a father as he comes to terms with the proposed marriage of his 14-year-old daughter, Asal, to a boy; his struggling acceptance and eventual agreement. It shows a life that isn’t so well known to Western audiences. Something that is seen as peculiar or bizarre here, is the norm across the ocean. The Doll brings it to the forefront and simply asks you to stick around and listen. We see the daughter mention how she sees herself as mature for her age, and while that may be the case, maturity is something that comes with time and experience. What one individual feels of themselves in terms of maturity, is the opposite to an older figure. There is nothing that can prepare you for the reality of intense relationships apart from experience, and that isn’t something that you gain at such a young age. A marriage at 14 years isn’t exactly going to have the best outcome. There will be many challenges to face and that will be the true test of the individuals’ maturity. How someone can balance school and a full-on relationship with their other half is quite beyond my comprehension. It’s something that feels very scary and ambitious; an insane amount of pressure mounted onto the already heavy shoulders of a minor. Why add more stress and give more responsibility to a child when they should be spending those vital years blossoming into their own personality? Even if they want it (which is the case for Asal), that sense of freedom only lasts so long, so one should treasure that time before it’s taken away with adulthood. The Doll mentions that Asal’s wedding is postponed indefinitely due to COVID-19, and I would hope that this extended time of thought and reflection will allow for some of that freedom before being swept up in a premature marriage. I’m not sure I agree with young marriage, but this film does a good job of showing one person’s path into hopeful love. The family’s perspectives are interesting at that, and the short 30-minute duration makes for a welcome stay before closing with some space for thought. The Doll probably isn’t the first documentary on youthful pairings, but it’s one that fishes around the ideals and views of those whom choose to wed young, and does so fairly well. - #TaryllBaker

★★★★ Directed by: Revell Carpenter Written by: Revell Carpenter Starring: Revell Carpenter, Michael Bonini, McKylin Rowe Film Review by: Jason Knight A night at a party turns out rather dramatic. Daisy (Carpenter) is at home, about to attend an engagement party for her friends Ben (Bonini) and Mark (Rowe). She finishes writing a letter, takes the present and leaves. At the crowded party, she encounters and has a private conversation with Ben. The two of them were involved romantically in the past and Daisy appears to have accepted the fact that things between them have changed. On the other hand, it is indicated that part of Ben still wants to be with her. This is a touching short drama about regrets, relationships and lost love. The plot evolves around the relationship that Daisy and Ben had. The title is a reference to the fact that their romance has ended. The acting is quite convincing. Carpenter is the one who has decided to put her romance with Ben behind her, while Bonini is emotional as the one who is hurt by their separation and seems to be struggling with the feelings that he has for her and Mark. Rowe is a cheerful man and unaware of what is going on between his fiance and Daisy. The narrative often cuts back in time, showing flashbacks of Daisy and Ben's formal relationship. They appear to have had good times together. Carpenter's script is full of emotional scenes and she does a good job as director. There are clever point of view shots that show the camera's perspective. The film also makes interesting use of slow motion. William Macaulay does an outstanding contribution as the cinematographer and editor. The lighting and cinematography look beautiful and are rather creative and during the flashback scenes the picture appears old, indicating that they are events took place a while ago. The editing is well-constructed and match cuts effectively. The soundtrack consists of wonderful piano music, which develops a dramatic feeling and this is thanks to Louis Weeks and Nick Prosper. Goodnight is a moving story. The main message seems to be that people must move on and let the past be the past. With emotional acting, stunning cinematography and an exceptional score, this short is an impressive achievement. #JasonKnight Trailer:

★★★ Directed: #NicolaRose Starring: #SierraBlanco, #DavidKaid Film Review: #AlexandraJames Biff & Me is a short film about two teenagers and their journey to discover who they are. Charlotte is an extremely bright girl, practically a genius with two very pushy parents who want nothing more than for her to excel academically. However, Charlotte’s true desire is to become a beauty queen and enter the local pageant. Biff, on the other hand, is Charlotte’s complete opposite as he is branded as the school’s notorious bully. His aim is to wreak havoc through the hallways and drive all his focus towards terrorising the other students and less into his studies. It was up to Charlotte to tutor Biff and bring his attention back to studying rather than allow him to torment the other pupils. During their time together, they learn they both have a mutual interest in becoming a beauty queen! A story about an unlikely pair of friends with a shared secret, an intriguingly witty story. Biff & Me had a nice theme throughout, it shows young children the significance of being who you are and to ignore those around you that aim to crush your spirit and make fun of you. In this respect, it was a positive film with a humble message. Some of the humour was a little awkward in places but you could forgive this as it just fit with the quirkiness of the film. The cinematography should really be applauded, especially for a small budget film it looked extremely professional. A lot of thought was put into the costumes and locations which really portrayed its own uniqueness and lifted this piece entirely. The main characters were well rounded, particularly actress Sierra Blanco who played Charlotte. Sierra certainly shined through and wasn’t afraid to hold back on her acting skills. David Kaid who played the bully was a good match, you could tell perhaps he was slightly nervous in places and was a little restrained in some aspects of the short, however, his confidence will come with more experience. Regardless, both characters had amazing chemistry and bounced off each other well so it made the story flow a lot better. This kid’s flick taught the audience a lot about breaking down walls especially for the character Biff. An extremely abrupt and shut off character, who’s only form of communication is through terrorizing others. His true self had become trapped in this tough exterior, having to keep up this appearance for his father and in front of his peers as an aggressive figure. Charlotte made it okay for Biff to be himself, to try on make-up, gowns, and dance and to express himself and this is when their friendship truly blossomed. This was an encouraging short film, it really broke down the gender stereotypes which are prominent in today’s society and highlights to young children that it is always important to be whoever you want to be. You never know the kind of people you will meet in life who are likeminded, so it was lovely to watch something which can help teenagers, children even adults learn that it is always good to express yourself.

★★ Directed by #StefanoSollima Written by #TaylorSheridan #WillStaples Starring #MichaelBJordan #JamieBell #JodieTurnerSmith #GuyPearce Michael B. Jordan is a bona fide movie star, a butts-in-seats celebrity ready to front his own spy thriller franchise. He’s ready to Harrison Ford. He definitely is ready, there’s no doubt he has the talent, charisma, looks and mass appeal to bring a Tom Clancy story to the big screen. But should he do it? Jordan’s John Kelly finds himself in an unexpected operation in Aleppo. He loses a friend and nearly loses his commanding officer (Queen & Slim’s Jodie Turner-Smith, wasted), much thanks to a cagey CIA operative (Jamie Bell) who’s hiding something from the team. Something Russian. Well, those Russian secrets keep resurfacing, and they rack up a heavy body count. Next thing you know, Jordan has to take off his shirt and splash water on his bare chest because…I don’t know. It might honestly just be a contractual thing now. I’m not saying I’m sorry it happened. Stefano Sollima directs this espionage thriller, and he has even less luck than he did with his last feature, Sicario: Day of the Soldado. The problem this time around is not that his film suffers terribly by comparison. (Man, that was the problem last time.) The problem is that writers Will Staples and Taylor Sheridan just don’t seem to be trying very hard. And Sheridan can be one of the finest writers working in film (Sicario, Hell or High Water). But you would not know that here. The thrills are mediocre, the shootouts and fights are middling, and the only thing more obvious than the plot points are the performances. Worse still, the writing is sloppy and convenient. There’s an unmanned, unlocked, running vehicle right when John Kelly needs one, and don’t even ask how he gets unconscious villains from point A to point B. I guess that’s confidential. It’s not that Tom Clancy’s Without Remorse is a terrible movie. It isn’t. But there’s no excuse for it to be utterly mediocre, which it is. The director’s proven to be competent and the co-writer has proven to be genius. Plus there’s a bona fide movie star at the height of his wattage leading the effort. I blame Putin. #HopeMadden

★★★ Directed by #MichaelLovan Written by #JohnHart #MichaelLovan Starring #MikelenWalker #ErichLane #HenryAlexanderKelly Film Review by Cat McAlpine Friends Chris, Adam and Barrett are trying and failing to launch their indie board game Murder Bury Win. When a mysterious benefactor expresses interest in developing the game, the friends have to ask themselves how far they’re willing to go to make their dreams come true. Those unfamiliar with modern board games and the cutthroat, rarely lucrative industry that’s behind them may be left out on a handful of jokes. Especially the constant references to “Flaming Puppies,” a stand-in for the real game Exploding Kittens. But the film eventually descends into stakes we can all understand – life or death. Writer/Director Michael Lovan spends a little too much time setting up the story and the other shoe could drop 10 minutes earlier. Murder Bury Win shines best when it’s being silly, and the more fun it has, the better it gets. When Chris (Mikelen Walker) discovers he’s in the presence of his hero, he’s bathed in a holy glow from the window behind him. Fantasy scenes of the board game world make for fun vignettes. The horrifying use of a cheese grater pushes the comedic thriller into horror. These little moments stand out despite a sometimes stilted script. The performances from the small ensemble cast shine across the board. Walker is a dreamer, and a stoic straight man who has finally had enough. Henry Alexander Kelly is able to summon grit for the soft and caring Barrett. And Erich Lane’s Adam becomes unhinged so easily, so seamlessly as the film progresses that he matches increasingly insane circumstances perfectly. Brian Slaten as Officer Dan and Craig Cackowski as V. V. Stubs both create fun, sometimes outlandish characters that counterbalance the main trio. And Lovan’s cameo brings such a weird energy that I wish he’d been in more of the film. Lovan has an eye for color, effectively using red to bathe the remote cabin where most of the film takes place. The custom game mat, the too-long curtains, and even the backing of The Murder Wall (yes, you read that correctly) are all the color of blood. It trains you to recognize blood later as it appears in an otherwise white bathroom, in a fine mist across faces, and seeping through the bottom of a brown paper bag. Each of the best friends is dressed in a bold signature color, yellow, blue, and green, like tokens on a gameboard. Overall, Murder Bury Win is a zany look at our murder fantasies and what it takes for an ordinary person to suddenly become capable of such bloody acts. Whether you’re a board game fan or not, this film makes for a fun playtest. #CatMcAlpine

★★★ Directed by: #KabirMcneely Written by: #KabirMcneely Starring: #BellaMurphy, #AdeleRudnick, #KabirMcneely Film Review by: Patrick Foley We may be one year into the pandemic, but conversing over Zoom, Teams or whatever video conferencing app you prefer is no less awkward than it was last March. And seeing as how bullying went cyber long ago, teachers and students across the world will be well aware that social distancing does not mean social harmony. Blue Girl is an inventive short showing the impact bullying can have in the home-school era. On a Zoom call organisation by her teacher, Katie (Bella Murphy) is ready to come out as Lesbian to her classmates. Nervously, she prepares to reveal her news – but is constantly interrupted by classmates joining the call, her disappointed friend (Kabir McNeely) who cannot handle her revelation, and a homophobic bully (Adele Rudnick) intent on ruining her moment. As her teacher offers little support, Katie feels more alone than ever. A short film created using video-conferencing, Blue Girl is an impressive production which exceeds it’s imposed limitations. Director Kabir McNeely uses the technology at her disposal well to take a situation familiar to millions of people and portray it in an original format. Katie’s decision to open up about her sexuality is made frustratingly more difficult by the technology she has no choice but to use as her classmates naively throw her off her stride by joining the call, causing her confidence to withdraw. We see Katie’s fears cascade as quickly as the edits between the cameras – an impactful choice that also adds humour to the film as more and more girls are introduced. Similarly, McNeely’s choice to place the audience in the room with Katie, as opposed to showing her on a video-link as with the other classmates, brings the viewer into Katie’s world and gives us an intimacy with her that brings her dilemma closer to home. Katie’s anxiety becomes the audiences as screen after screen pops up, each with their own opinions and takes on her news. The contrast between Katie and her bully is drawn brilliantly as the film moves towards its conclusion, as the disturbing, first-person abuse she suffers becomes very personalised. As a low-budget, homemade production, Blue Girl understandably lacks some of the polish of a major release. The scripting could use some sharpening, with audiences left wondering just how a teacher could be so inept as to let a student she supposedly cares about be on the receiving end of a bigoted tirade. The acting also suffers from the format, which is again understandable seeing as how even fully professional actors struggle to immerse themselves in a character with nothing but a laptop for feedback. None of these issues really undermine the film’s message of tolerance and ending bullying however, which is really the goal of the entire piece. Blue Girl delivers a short, entertaining and heart-breaking message in an original and creative format, that outperforms intrinsic challenges it is posed with. Even when school is not in the classroom, bullying and hate do not go away. The effective message of this film shows that there are ways to challenge it.