★★★ Written & Directed by: #SavvasDMichael Starring: #AlexMills, #SteveGuttenberg, #IanReddington, #DanielCaltagirone, #VasBlackwood Film Review by Taryll Baker The stoic chronicles of Castor, orphaned as a child, forced to survive in the wild and his colourful journey through the criminal underworld of London. Savvas D. Michael’s new bloodthirsty gangster flick, Original Gangster blasts viewers into the story of underdog Castor (Alex Mills); his parents killed when he was a child, he learns the ropes of the criminal underworld under the guidance of Milo (Ian Reddington), a toxic kingpin sick with the immaturity of Castor’s actions. As the tests and trials pile up and Castor adapts to his new way of life, consequences mount and exciting action explodes. Set against the grimy backdrop of London, this gritty crime drama packs a brutal punch with some strong leading performances from Mills and Reddington in a high-energy, violent exploration of gangster life. Castor’s growth throughout the film is the biggest pull, the story places all focus on cause and effect, his adaption to his new “leaders” and his evolution into his own man. Mills brings a lot of great energy to his performance as Castor; capturing the innocence and naivety that remained when his parents died, but also the sense of adulthood creeping in under those splitting cracks. Scenes are most enjoyable when he’s alongside Reddington. Their on-screen dynamic is quite entertaining, especially since their characters are essentially polar opposites. Where Original Gangster succeeds in character writing, it falters in its visual look. A majority of the visual effects work seems a little underworked; muzzle flashes looking rather unfitting in the light of the scenes, and some of the blood work is amateur at best. Thankfully, the story is inviting enough and maintains a steady pace from the beginning (almost) to the end, and the brutal atmosphere established is solid. That said, this is a gangster film and a result of that is the reality that most of the characters are extremely unlikeable. In fact, the only likeable one, even with his questionable and unforgivable actions, is Castor. That’s a testament to Mills and the charm he found in the character. His efforts do not go unnoticed within the chaos, and when a certain beat hits in the story, there’s a turning point that changes Castor forever. However, the film does begin to slog from this point on, which is unfortunate given the fairly speedy first hour. Original Gangster features a great soundtrack which accompanies the performances well, but once the gas runs out, the remaining final act takes the long road and slowly simmers as the story runs out of ammunition. Though a perfect choice for gangster film lovers, there’s not too much on show for the rest of us. Original Gangster will be available on DVD & Digital Download from 5th April and can be pre-ordered here - #TaryllBaker

★★★ Directed by: Bob Freville Written by: Bob Freville Starring: David L. Tamarin, Scott Burnhard, Damarcus Cox, Claire Gutowsky, Danger Slater Film Review by: Jason Knight An eyepopping and rather offensive satire on former president of the United States, Donald Trump. Operating as a mockumentary, this short takes a humorous and quite disgusting fictional look into the mind of Trump. The main focus is a man who appears to be a fictionalized version of Trump, whose appearance and behavior are ludicrous to say the least. His hair is unkept and he wears a T-shirt that reads ''I blame society'' and he also wears a pig nose. He spends most of the film by himself inside a house, with walls that are covered with words that seem to reveal his point of view. There are also pictures of Trump, former president Barack Obama and a poster for the film Bloodsport. The are scenes of people being interviewed, regarding their opinion on Trump, either through webcam or face-to-face. Generally, they do not approve of him and believe that him being president is a mistake. What mostly stands out here is the film's protagonist, his ridiculous appearance and the rather...unconventional things he does. He applies lipstick on the mouth of a prosthetic pig prop and kisses it. He does his business on some paperwork. He throws a hamburger at a picture of Obama. In other words, he is presented as insane, revolting and a narcissist, believing he is better than others. A no-good individual. If what is mentioned above is not enough to upset Trump, there is also a small, doll-like figure of him placed inside a toilet and later burned. There are references to COVID-19, George Floyd and Home Alone 2 (the scene that involves Trump of course). The main actor does not speak, instead his inner thoughts are heard as a voice-over. He brags about how awesome he is and what he can do. His voice is childish and menacing, but in a comical way. The filmmakers make effective use of fast cutting and superimposition techniques. The soundtrack contains metal music and interesting sound effects. Due to its obscene content, this short is not for everyone. If the intention was to insult Trump, then it succeeds. Whoever fancies the combination of toilet humour and satire should give this a go and have a laugh. #JasonKnight

★★ Directed by: #MiguelArtera Written by: #JustinMalen Starring: #JenniferGarner, #ÉdgarRamírez, #JennaOrtega, #JulianLerner, #EverlyCarganilla Netflix Film Review by Taryll Baker A mom and dad who usually say no decide to say yes to their kids' wildest requests with a few ground rules on a whirlwind day of fun and adventure. A ‘yes day’ sounds kinda fun, right? For 24 hours, only the kids make the rules and the parents must say “yes” to anything, with some ground rules of course — Nothing too far, or too expensive, or anything that continues into the future (like owning a dog, for example). For some time, this has been something that parents have been implementing into their technique in real life; essentially giving their kids something to look forward to, but really it’s kind of manipulative and prone to birth some arguments. In Yes Day, Allison (Jennifer Garner) and Carlos (Édgar Ramírez) are enlightened on this concept and though initially against it, end up granting their own kids a ‘yes day’ in an effort to prove they’re not as boring as they think. Though a very fun idea with potential for great comedy and exciting scenarios, it’s executed to a super average degree in Yes Day. The cast is wonderful, however. Garner is playing the strict mother who is set on proving to be a hidden fun-machine, and she plays it super well. On the other hand is Ramírez, the loving father who the kids seem to go to for approval of ideas. Eventually he has to step up and be a little more stern than usual. He and Garner share a really nice chemistry and their individual journeys are an interesting element, probably more-so than the crazy itinerary that the kids have worked up for their special day. Jenna Ortega plays Katie, the eldest sibling, and she brings a nice charm to the film while wrestling with coming-of-age themes as she gets a taste of independence. Her connection with Garner accentuates the story considerably, and their scenes in the final act are especially warming. The problem with Yes Day lies in the ‘fun’ aspect. There is potential for some great humour and colourful goodness, and given that this is a fictional film, the writers could have made it more cinematic and care-free. That said, it is based on a book and it seemingly wanted a more grounded and realistic feel, so in that sense it achieved what it was aiming for. There’s nothing objectively wrong with it, but it does leave you wanting a little more from the concept. 24 hours with little to no rules is something I would have dreamt about as a kid, so it’s a shame they doesn’t fill the runtime with more invigorating activities for the Torres family to endure together. But as a film to throw on for a little cheering up, it’s not bad. Yes Day is a good pick for the family to watch on one of those evenings where you can’t find anything else, and while it does have some laughs and heart-warming moments, it’s fairly bland in comparison to what could have been. Yes Day is now streaming on Netflix. - #TaryllBaker

★★ Directed by: #RomanWhite Written by: #AlanPowell, #KaliBailey & #GabrielVasquez Starring: #KevinQuinn, #BaileeMadison, #JahbrilCook, #KatConnerSterling, #SherriShepherd Netflix Film Review by Taryll Baker Nowhere left to go, Will Hawkins finds himself at camp for the first time. His instinct is to run, but he finds a friend, a father figure and even a girl who awakens his heart. Most of all, he finally finds a home. As we creep into the more warmer months of the year here in the UK, it’s only fitting that a fun, sun-drenched musical land on Netflix to give us some uplift. Set at a summer camp, Will (Kevin Quinn), a struggling student who almost gets himself put in juvie, learns to embrace life and find confidence in himself to move forward. He meets George (Jahbril Cook) and Avery (Bailee Madison) and they both help him find his feelings and make memories he won’t soon forget. A Week Away spends practically all of its runtime inside the summer camp which makes the film the ideal escape for anyone feeling a little down and in need of some light entertainment. Unfortunately, it’s not the most ambitious or investing of escapes. A Week Away pushes hard on its exciting nature; the game days and competitiveness of the youth, but falls short of being something more than just a few days under the sun and stars singing songs. Will is a troubled teenager; he’s an orphan and can’t fit in anywhere, so when he arrives at camp, he quickly finds himself at home. Surrounded by “Jesus lovers” (non-verbatim), Will’s ideals are challenged and evolve over the course of his stay at Camp Aweegaway, but with the speediness of the narrative, it’s practically a rushed piece which, whilst fairly enjoyable on the surface, feels like nothing more than a sloppy Disney copy/paste job. It isn’t dissimilar from teen musicals like High School Musical, in fact, some of the songs are just as catchy, but the meatiness of the themes it’s trying to serve just don’t hit as well as they should. Some of the characters are interesting and likeable, others not so much. The film’s villain is lacklustre at most; his biggest hold over Will is his truth, which adds the needed tension that’s familiar within any teen drama. Once the bomb drops, Will’s new friends are tested and the relationships formed feel on the verge of breaking, but surely they couldn’t end a self-loving musical such as this on a low note, could they? A Week Away throws a lot at the wall, but not all of it sticks. What does stick, expectedly, is the romantic thread that goes through all the predictable beats, but at least it’s consistent. The film experiments but doesn’t fix itself on what it wants to do thematically, and it does speed through without much difficulty for the characters. If you’re a parent looking for some harmless fun, A Week Away isn’t your worst pick, but don’t expect to find anything beyond some nice musical numbers and a colourful stay at a very American camp. A Week Away is now streaming on Netflix. - #TaryllBaker

★★★ Directed by: Col Spector Written by: Col Spector, Radha Chakraborty Starring: Al Weaver, Cristina Catalina, Morgan Watkins, Tessa Peake-Jones Film Review by: Jason Knight I'm Not In Love movie review A story about a man who struggles with the idea of getting married and having children. Rob (Weaver) is in a relationship with Marta (Catalina), although he is not sure if she is the right one for him. He has friends who are in relationships and have children and he does not know if that is what he wants. One day, he overhears Marta saying that if he does not propose to her, she will leave him. This causes him to start dating other women, which does not lead anywhere. Eventually, his relationship with Marta deteriorates and he realises that he might have been looking at things the wrong way. This comedy-drama explores themes regarding family, relationships, marriage and parenthood. It follows Rob, as he attempts to find himself and get what he wants out of life. It argues how one can know who the right person is for them and whether marriage and children are for everyone. The script is humorous and dramatic. Ther are plenty of awkward scenes and jokes and the narrative has its moving moments. The dialogue is well written and the characters are interesting. The plot is intriguing and makes the audience want to know what the outcome is going to be. Weaver leads the film well as the protagonist. He is rather convincing as a socially awkward, insecure individual, whose perception of marriage was influenced by his father at a very young age, and now that he is an adult, he is afraid of commitment. Catalina delivers a great performance as a religious person, who wants a family but is having trouble understanding Rob. Watkins has a good supporting role as Rob's friend Chris, who is confident with women. Generally, this film is well made, with strong acting and Spector does an effective job as the director. One scene in particular deserves special mention. It consists of one long take and takes place inside a church. The long take is very well executed and the acting is superb by both performers, which make this an outstanding part of the movie. I'm Not In Love asks questions that people might find themselves having trouble answering: 'Who is the right person for me?', 'Do I want to become a parent?'. It is a tale about love and self-discovery. It is an enjoyable and thought-provoking movie that is worth experiencing. I’m Not In Love will be available to rent & buy on Digital from 12th April #JasonKnight

★ Star Directed by: #PhilipBrocklehurst Written by: #PhilipBrocklehurst Starring: #PhilipBrocklehurst & #MalcolmBrocklehurst Film Review by: David Richards Within film there are some productions that make an impact on an audience and some that don’t scratch the surface. Unfortunately, for Brocklehurst’s audience the surface has been brushed lightly by a feather of disappointment and time well wasted. Although I am glad see the filmmakers vent their creative efforts, in this case however, their efforts have amounted to very little. Hopefully ‘Lay down or fight’ will serve as an educational steppingstone for the filmmakers to develop their skills further and help fine tune their ambitions of what they hope to achieve within film. The plot of this three-minute short is irrelevant by having no real motivation. As it seems and admittingly blunt, the story follows a protagonist who is warned not to run because of health issues and yet ignores this due to a rebellious need to run, then dies suddenly and dramatically as a result. I am willing to understand that perhaps this short is a snippet of a longer more developed story, however if this is the case, its needs to be adapted accordingly. The performances are weak by the Brocklehurst brothers as is the sound mixing and design where the levels are up and down. The only clear sound comes from the Daft Punk track and perhaps the voice-over dialogue. The cinematography is week in all aspects other than one black & white shot which only sticks out for its lack of colour compared to the rest. The editing isn’t perfect but is heading towards a positive form. The best decision the filmmakers could have made whilst producing this film was to end it at three minutes. There truly is only one positive aspect to take away from ‘Lay down or fight’. This is Brocklehurst inspiration from the subgenre of 80’s ‘Giallo’ Horror films from the likes of Italian filmakers such as #DarioArgento and #Francoferrini. This inspiration is clear when shots of snapping scissors slice through a black backdrop as well as the 80’s themed soundtrack. Although this short film, in my opinion, lacks production value and proves difficult to be an enjoyable watch, I have tremendous respect for the filmmaker’s efforts. It is clear this production was working on a low budget with a small crew relying on nothing but passion for cinema. I wish the Brocklehurst brother luck in producing more short films and hope your passion will lead to bigger, better productions.

★★★ Directed by #AdamWingard Written by #EricPearson #MaxBorenstein Starring #RebeccaHall #MillieBobbyBrown #AlexanderSkarsgard #BrianTyreeHenry Film Review by George Wolf Here’s a sampling of the things I yelled at the screen during Godzilla vs. Kong: “Boom! In the face!” “Kyle Chandler is a terrible father.” “Skull f**k him!” “It’s just a flesh wound, get up!” So you could say I was engaged in this battle, the one that’s been brewing since the end credits stinger from the excellent Kong: Skull Island four years ago. GvK can’t quite match that film’s tonal bullseye, but it easily lands as second best in the “Titan” Monsterverse that was reborn with 2014’s Godzilla. Picking up three years after the tedious Godzilla: King of the Monsters, the film finds Kong contained on Skull Island under the respectful eye of Ilene Andrews (Rebecca Hall). Meanwhile, Godzilla attacks APEX’s Florida headquarters – seemingly unprovoked. Mansplaining Mark Russell (Kyle Chandler) says Godzilla’s changed his hero stripes, but his daughter Madison (Millie Bobby Brown) and “Titan Truth” podcaster Bernie Hayes (Brian Tyree Henry, committing grand theft scenery) think there’s got to be more to the story. There’s plenty more, and Dr. Nathan Lind (Alexander Skarsgård) believes Kong could be the key to proving his Hollow Earth theory about the Titans. Ilene agrees to allow the heavily sedated Kong to be transported by sea, but far from Godzilla’s favorite swimming holes, of course. Riiiight. Director Adam Wingard (You’re Next, Blair Witch) clearly realizes that monster mashes aren’t compelling if you can’t tell who’s fighting, and the technical aspects of GvK bring the Titan battles to vibrant life. Pristine cinematography, detailed CGI effects and a wonderfully layered sound design elevate the thrills early and often. And that’s what we’re here for, right? That’s a familiar refrain when the human arcs in these films are so woeful, but screenwriters Eric Pearson and Max Borenstein toss the overwrought melodrama of King of the Monsters and add a frisky sense of welcome fun. Yes, there’s another cute kid (Kaylee Hottle) with negligent guardians, and more than enough characters, locations and theories to keep up with. But even if you fall behind, you’ll catch up when these two Titans throw hands and tails, because they mean business. They’re timing ain’t bad, either, as this is the kind of cinematic spectacle that could mean very good business for newly reopened theaters that badly need it. It’s a PG-13 return to form for a legendary franchise, with plenty to reward your popcorn munching and ringside commentary (keep it clean at the multiplex, please). Just pick your screen size, and get ready to rumble. #GeorgeWolf

★★★★★ Directed by: #LiekeBezemer Written by: #LiekeBezemer Starring: #LiekeBezemer Film Review by: David Richards Lieke Bezemer’s abstract approach to cinematic emotion is driven and elegant in all manners of the word. With an obvious motivation to express an invisible trauma, this poetic short uses a well written narration whilst actively using the natural visual stimulus of a snowstorm stricken plain to evoke its audience. The perfectly matched dialogue to imagery reflects the melancholy horrors of memory while offering a peaceful resilience within the landscape. The passionately performed voice over seems to offer up the emotional aftermath of a traumatic un-forgiving event force upon a drunken-17-year-old girl. An event which although not directly outlined, emotionally clear as day. Much like the filmmakers of ‘ECHO’, I will not dwell on what I believe happened in the event which triggered such a masterpiece. All I will say is this. The strong message behind this piece is that the consequence of yours or someone else’s action although, short lived, will leave an invisible scar which some might say, will ‘ECHO’ for a lifetime. Although I may be wrong with my assumption, the magic success of this film can be its power to open up interpretations, especially those of a dark and powerful nature. Nick Tuckers cinematography is simplistic and excellent in being so. With the stunning scenery, the job is half done but the photography team accomplish the perfect capture of said scenery. White textures can often be hard to capture effectively, especially those on a large scale, so what the ‘ECHO’ team have accomplished is entirely impressive. They contrast the canvas white snow to the black of crows and the blue of water succeeding in hitting the right colour tones for a bleak cold atmosphere. Tyas van den Bergh's sound design is a perfected craft with the winds gentle howl introducing the calm white plains of north Japan. Sounds of settling snow and the creaking of trees slowly draws the viewer into the real harsh environment to be spat out again by the intense snarls of breath from beasts sending us on a whirlwind of emotions. The pace of the piece if very fitting and well executed by editor Eric Van Der Bijl. The calm before the storm best describes the transition from peace to chaos as the traumatisation of the narrator and director is clearly emphasised through fast and sharp cutting of the natural crashing of babbling brooks and a murder of crows. Standing at 6 minutes serves this piece well, any longer would overcompensate the intentions of the filmmaker’s message, any shorter would leave a certain absence of satisfaction to an audience. Overall, with all elements considered there are little to no faults with this film. If I were to be extremely picky, which I am, I would mention that the only fault in my eyes would be the white subtitles upon a prominently white frame. This only occasionally becomes an issue, however on a second or third watch becomes no issue at all. Many congratulations to the ‘ECHO’ crew on achieving a very well-formed film and I have no doubt that this film will or has accomplished much on its festival run. I look forward to more innovative projects from the filmmakers.

★★★★ Directed by: Jackson Batchelor Written by: Jackson Batchelor, Sam Mason-Bell Starring: Martin W. Payne, Jessamie Waldon-Day, Connor Mellish, Janette Evans Film Review by: Vikas Yadav It’s rare to see characters in a film talk about politics. Most of them either chase love or save the world from annihilation. Hardly do we get to witness a conversation where characters sit down at the table to discuss their political views with friends or families. Does 007 support left-wing or right-wing politics? Does Ethan Hunt - when not busy jumping from the highest altitude for the thousandth time - ever sit back on his chair and ponder on the current political issues? Did the Graham family - before the death of the matriarch - snapped at each other over a political debate like they did during the dinner scene where Peter tells Annie to “release” herself? I am sure no one demanded for the inclusion of these scenes. Even a Get Out, or Us weaves politics inside the horror genre. The people in it do not discuss about it. Director Jackson Batchelor with Sam Mason-Bell makes the characters in Monstrous Disunion have political debates though the end result may prove why we don’t have such disputes often on the screen. Some humans are simply not evolved enough to be civilized in a way that allows them to be respectful of other's opinions. They are content with their thoughts and form a brawny bubble around them, shielding themselves from being pierced by an outlook that contrasts their viewpoint. Maddy (Jessamie Waldon-Day), unfortunately, lives within such a close-minded household. Her father, Mark (Martin W. Payne), is a Brexiter. He has endowed his views on his son Pete (Connor Mellish). They both put trust in distrustful sources (Mark on a dubious news channel and Pete on a nonsensical online video). Maddy and her friends oppose them head-on, making them Bremainers. At least, one of them named Michael does. The other finds a companion in Mark’s mother named Anne (Janette Evans). Anne is the glue that holds these opposites together. If not for her, the group would have reached for each other's throat within ten-twenty minutes of this film. At one point, as things seem to heat up a little, Anne tries to cool it down by saying, “Let’s not talk about Brexit at the table.” Monstrous Disunion takes place on the day of the EU Referendum. Note how the characters, in the beginning, wait for breakfast, which sounds (almost) similar to the word Brexit. They are not only waiting for food. They are also waiting for the results. The title goes beyond a wink to Maddy’s disastrous familial reunion (or disunion, thanks to clashing ideologies). In literal terms, it refers to the break-up of this family because of a monster. Batchelor transforms Mark and others like him into human pigs under the guise of a virus outbreak. Brexiters vs. Bremainers turns into Aliens vs. The Earth (the core remains intact). The black and white further accentuates that there is no middle ground. You are either Brexiter or Bremainer, i.e., black or white. We don’t merely know about the character's political side. Mark, for example, likes two sugars in his tea. Anne enjoys cooking and uses food to handle tough situations (she offers to make tea during a tense moment). Pete is blinded by his father and sincerely follows in his footsteps. If Mark were to tell him that we inhale carbon dioxide and exhale oxygen, chances are that Pete would unthinkingly believe him. There are quieter scenes where Mark just smokes, or Maddy talks with her friends about brainless slasher films. These scenes are exquisitely shot, showing that these characters are not created only to perform the central duties of the screenplay, which here means to talk about government and policies. While Monstrous Disunion does not always land during the horror portions, it is nevertheless a film worthy of your attention.

★★★★★ Directed by: Andrew de Burgh Written by: Daniel Colyer Film Review by: Jason Knight A heartwarming tale about Father Christmas. Inspired by Daniel Colyer's book A Magical Christmas Adventure, this short animated film tells the story of how Santa became the character everyone knows today. Around 330 AD, there is a bishop named Saint Nicholas in what is now Turkey. One day he spots a poor little girl crying. He gives her a doll as a present and sees that he has made her happy. He has an epiphany and decides to make many dolls and give them to all the children that live in the city. He then loads presents on a wagon and uses a horse to pull it north and bring the gifts to children around the world. As his journey progresses, he will make changes and adjustments, eventually ending up in North Pole and becoming Santa Claus, the personification of Christmas. There are no highlights here, because the entire film is a highlight. From start to finish, the audience will be captivated by this beautiful, emotional story. Visually this is an absolute pleasure to watch. The watercolor-themed animation can only be described as spectacular and majestic. Every single shot looks like a painting coming to life. The colors look terrific and very pleasing to the eye. All of the characters, objects and their surroundings are well-drawn and brought to life with the help of delightful colors. The hard work that the animators have dedicated is visible in every moment. There are no spoken words and the music that accompanies the images from the beginning until the end could not be a better addition. Composed by Marc Timon, it is beautiful and mesmerizing. At times it is dynamic, signifying adventure and danger and then it becomes gentle and sentimental. There is also the sound of jingle bells, bringing a Christmas-themed feeling. This magical tale does a great job in giving life to the spirit of Christmas and has many elements that are often seen in films that deal with that joyful season, such as snow, presents, a village inhabited by elves in north pole and of course Father Christmas himself, along with his sledge and reindeer. However, this is more than just about Christmas. This story explores human kindness and suggests that one person can make a big difference. This remarkable achievement offers six unforgettable minutes. Everybody who collaborated in the making of this deserves great praise. Thanks to their hard work, they brought to the world a moving story, filled with marvelous animation and an outstanding score. #JasonKnight

★★ Stars Directed by: #VitorBrandt Written by: #VitorBrandt, #DenisNielsen Starring: #EdmilsonFilho, #MatheusNachtergaele, #LetíciaLima, #LeandroRamos, #VictorAlen Film Review by: Alicia Moore “Two hapless cops find themselves in over their heads as they cross paths with dangerous criminals while searching for Celestina, a beloved goat mascot.” Do you remember the sequence in Hot Fuzz (2007, directed by Edgar Wright) where Nicholas (Simon Pegg) and Danny (Nick Frost) are sent on a search to bring back a devious swan to its owner? Yeah – Get the Goat is that sequence expanded into a full film surrounded by drugs and guns, and a goat has stolen the spotlight instead. Unfortunately, the running gag of the swan chase in Hot Fuzz is a lot more enjoyable than Get the Goat in its entirety. Despite what might sound like a somewhat negative start to my opinions on this film, there are many great aspects that can be enjoyed. These aspects are balanced with the negatives that became apparent to me as a whole. For instance, the acting feels very animated and, although my attention was being held, I wasn’t finding much amusement from the content that was holding my gaze. This kind of structured and exaggerated acting is what would be expected from a comedy like Get the Goat, but because the story itself is wacky and unstructured I think I needed an element, such as the acting, to have a bit more backbone, allowing me to fully absorb the comedic content. To get my ‘I don’t mean to burst your bubble but…’ criticism out of the way, I’ll say that the writing is definitely cringeworthy — then again, what did I expect from a film so obscure? There are many moments of fun comedic kicks throughout, however the plot feels like it should have been used for a children-based audience instead of one with mature content like drug dealing. It’s an incredibly muddled film, some may find mass amounts of laughter through Get the Goat because of this but it just didn’t hit the spot for me as a viewer. I did find myself sneering at least and that’s always something. On the flip side, as a visually enticed audience member it’s easy to keep me watching when there is good cinematography; and Get the Goat thankfully brought that to (almost) save the day. The cinematography (Rafael Martinelli) hugely contrasts with the upside down story as it present clear visuals that are beautifully easy on the eye. Even though I stated that there is a massive contrast, the cinematography is able to still run alongside the story to mimic chaos where appropriate. Key phrase: where appropriate — it is directed well with the partnership of Martinelli and Vitor Brandt. Linking with this, I would be disappointed in myself if I didn’t praise colourist Alexandre Cristófaro for their contribution to the viewing experience. As soon as the film begins, audiences are immediately hit with a vibrant burst of colour spread throughout the setting, which really made me want to keep watching to see what other forms of vibrancy I may be presented with, despite my frowned brow for the most of its duration. Get the Goat is a comedy for a day when you feel at a loose end, with easy access through Netflix as well. Wanting to fill spare time with a film that doesn’t require much processing of thought? Perfect. Get the Goat is simply a fun way to fill boring days, nothing extravagant or particularly unique but won’t necessarily waste your time by the end.

★★★★ Directed by: #SyedAdnan Written by: #SyedAdnan Starring: #SyedRehab, #ArfaFathima, #SAravinda Short Film Review by: Emily Davison A young man (Rehab) resides in a bleak apartment and regularly obsessives over a girl (Fathima) who lives opposite him; when he finds a mysterious key to an old blue trunk, he is taken through a series of distressing memories and thoughts. The Old Blue Trunk (2020), directed and written by Syed Adnan, is an Indian experimental short which has been showcased in the Official Selections for three events, including the 2020 My Shorts Kolkata and First-Time Filmmaker Sessions. This indie film makes for an atmospheric and unsettling first viewing down to an impeccable sound design and original score by Fasiulla and intriguing mystery/drama narrative. The short does not make for a straight forward watch, with an ambiguous plot that relies on subtlety in its camerawork and performances from the small cast. The black and white visual aesthetic adds to the gritty, rough and grounded aspect of the short’s established setting as a desolate apartment complex and the film is worth viewing more than once to gain a deeper understanding of its Avant Garde style and storytelling. It is unique in its minimalistic approach and experimental nature, but rewarding for those not looking for everything to be handed to them in an instant. There are also variations of aspect ratios with a short sequence of a supposed flashback or dream presented as an old film reel with the girl and another man, incorporating jarring extreme close-ups of her eyes which are off-putting and eerily reminiscent of the thrilling climax to The Texas Chainsaw Massacre (1974). The film integrates impressive uses of sound throughout its fifteen minutes and delivers an engrossing cinematic experience, especially if viewed through headphones. Fasiulla uses many naturalistic sounds which carry viewers through a narrative with no dialogue, therefore the familiar sounds of birds cawing, or the creak of a door are wonderful at creating immersion into the setting and building suspense. There are also effective builds of tension through the original score with sharp, high pitched shrieks which remain a solid presence alongside the unnerving visuals. The film is intelligent and thought provoking in its presentation of the enigmatic protagonist, an unnamed young man who uncomfortably obsesses over his neighbour, with very little being shown to viewers and most of the goings on being left to open interpretation. For example, the film reel sequence can perhaps be viewed as the framing of the young man’s obsessive desire over the girl and the inclusion of the mysterious blue box possibly indicates that there have been more men before him who have an interest in this girl. The Old Blue Trunk makes for a unique viewing experience due to its largely ambiguous narrative and lack of clarity given on many character choices, but the mystery aspect and Syed Adnan’s compelling direction make this short film a very intriguing, worthwhile watch. #EmilyDavison The Old Blue Trunk (2020) Short Film Trailer: