★ Written & Directed by: #ElinMargaretaNordin Starring: #VictorNascimento, #VonnyMcNamara, #PauloAragão, #AishaJacobWilliams Series Review by Taryll Baker Episodes watched: 2 Ritual is a mini-series created by Elin-Margareta Nordin; debuting in 2018, though seemingly never continuing past the two episodes released. From the beginning of episode one, you can see this is a very low-budget project, and as it crosses over to episode two, strange happenings begin and intercut clips create a disorienting vibe that floods over everything and not in a good way. The episodes are jarring, no thanks to the very rough editing and poor narrative structure. There is little to no time to connect to any of the characters we’re presented, in fact the pacing is so unbelievably rushed that anything that does happen (including character deaths) feels completely unmoving. Given the incredibly short duration of the two episodes, there really isn’t much time spent on establishing a story or themes, so we’re left with an abomination of haphazardly glued scenes that really lead nowhere. Ritual is set on being a mysterious thriller with horror elements, and you can see that vision well enough, but the execution is severely lacking. Nordin’s direction leaves a lot to be desired; actors are playing characters but judging by their shaky performances, have no understanding of their role in the story. Some of the writing is down-right forced and unrealistic by basic standards, and the killer element that was thrown in seems for nothing more than to shock. This is likely a beginner piece for this cast and crew so I appreciate the stepping stone into filmmaking, but perhaps a more grounded story would be beneficial not only those involved, but for audiences alike. Ritual is emotionally, thematically and physically devoid of any connective intrigue for the viewer; there’s really nothing on show beyond the tacky (perhaps intentional?) edit and sloppy camerawork. It’s unfortunately very noticeable how this never got off the ground and turned into a longer series over the years, and even for something so low-budget, where something minuscule usually impresses me, it’s hard for me to grab at anything that I actually liked. Ritual is missing a story. It’s missing a lot of things, but the one thing that every project requires, be it a film or series, is a story. From episode one through to episode two, I was lost and very, very confused. As the series rolls the credits, some reverse footage and audio plays out, but without explanation. The pieces of the puzzle are there, but with no one to place them where they fit. The best ritual would be to avoid this. Watch the trailer for Ritual below. - #TaryllBaker

★★★★ Directed by: #AsadPanjwani Written by: #AsadPanjwani Starring: #RoseLami, #CallumMcGregor Film review by: Patrick Foley We may be closing in on Easter, but if you missed it over the winter months, Christmas in London is well worth your time. The short film is charming, heartfelt and features an important message about how a little kindness can go a long way. After forgetting her bag on a train, Zippy (Rose Lami) finds herself locked out of her apartment on Christmas Eve. Freezing and without much food, she takes a moment to herself to rest outside her doorstep. After falling asleep with exhaustion, she awakens to find herself covered in a blanket given to her by Cleo (Callum McGregor), a man who has recently found himself homeless. Inviting him to sit with her, the pair bond over their predicaments and find that despite their different circumstances, they may be able to help each other out. Sincere, affecting and heart-warming, Christmas in London is a well-crafted and important short film that extends beyond the trappings of being an exclusively festive feature. As a short romance it is touching, and as a fable about homelessness and empathy it is important and powerful. Director Asad Panjwani brings an authenticity to his work that serves both purposes brilliantly – from Zippy’s experience with a useless train conductor to her awkwardness when asked for change from a man prior to her meeting with Cleo, the little moments colour the film and give it both a humour and bite. Rose Lami and Callum McGregor both deliver strong performances and have genuine and believable chemistry. Zippy’s continuous misfortune is both sympathetic and darkly comic. But when Cleo’s story is told, the film moves into a much more emotional gear. McGregor brings a resilience and strength to Cleo in the face of great tragedy, and Zippy’s initial apprehension giving way to attraction feels natural and earned. The story is a little underdeveloped and viewers may be left asking certain questions of the characters decisions. Whether Zippy has any other friends or family is unclear, and why she does not call them, or in fact the police, for assistance when she gets locked out of her building is not really made clear. The film also ends with a sudden reveal that looks to resolve Cleo’s situation – which comes about a little too conveniently. However, given the film’s short running time these issues are forgivable. The film’s main strength is a strong portrayal of how small acts of kindness can lead to greater outcomes, and its empathetic and educated understanding around the challenges faced by those living on the streets. Cleo’s misfortune has transferred into an unending cycle designed to keep him trapped in a life that is slowly chipping away at him. He is desperate to escape and restart his life, but the world’s perception of him prevents any progress being made. It is a small selfless act on his behalf that gives Zippy the ability to see him as a human being, and her status may be what gives him a pathway back to his old life. It is this message of empathy that is at the heart of the film, and it is this what gives it its drive. Whilst Christmas may have gone by, the message of Christmas in London is one for the year round. Asad Panjwani’s short is highly recommended whatever the season.

★★★★ Written and directed by #LloydEdgar Starring #KatieShortt, #MosaKambule Film Review by Amber Jackson Pulling at the heartstrings, Lloyd Edgar's short film What We Left Behind is the brutal reality of what it can mean to be in a long-distance relationship. Brimming with hurt and heartbreak, in just fifteen minutes, the viewer gets an interior look into characters Sam (Katie Shortt) and Elliott's (Mosa Kambule) relationship as a young couple. Both Shortt and Kambule authentically portray a story of a couple living far away from each other for the first time and the consequences that stem from their separation. Upon first glance, Edgar's film presents itself as though in the wake of a bereavement, but then we are immersed into the reality of Sam and Elliott's relationship. Sam has moved away to university, forcing her and Elliott to commence a long-distance chapter of their relationship. It is a snapshot reality in that we the audience are not given any character background to their individual circumstances or how long they have been in a relationship, but we immediately understand what they are going through. This is even more poignant for audience members who may have been, or currently are, in a long-distance relationship and can understand the emotional range that can be experienced in that time. It has been argued that you can only understand what it is like to be in a long-distance relationship unless you have experienced it first-hand, but writer and director Edgar does a fantastic job in communicating the emotional aspects of being away from your partner. The hardship and heartbreak that both Sam and Elliott face, from the crying as they physically leave each other, to the emotional pain of mis-communicating over video call, all feels particularly poignant in this contemporary age where a relationship apart are becoming more frequent - especially now during a global pandemic. We get these beautiful interior moments as both characters discover what they want in contrast to what they need as individuals. Sam's journey is one of personal empowerment that results from the realisation that she wants something different to Elliott now and her setting reflects this. Her bedroom is lighter and we see the exterior setting of her university, in comparison to Elliott's locations, which are typically darkened and in similar places. Mosa Kambule is incredible in his portrayal of Elliott, highlighting the emotional vulnerability that he is experiencing in his relationship. It is rare to see such deep-set insecurities in a male character and this sensitivity has to be commended. The camera on both Sam and Elliott is positioned so as to immerse us in the gravity of their isolation. We come to understand both characters realising the reality of being together, apart, contributing to their emotional pain. With most shots being Sam and Elliott alone, speaking via phone or laptop, the set-up contributes to both characters being afraid to miss out on each other's lives, contributing to their suffering. This too, allows Edgar to highlight parts of their relationship where it is clear that they have not experienced these feelings before, contributing to a looming sense of dread. What We Left Behind is ultimately a beautifully real story about the pain of moving on. It is rare to see a long-distance relationship narrative handled in such a realistic way, which is refreshing. Also alongside this authentic story is a message of love, loss and letting go. Edgar's introspective into the realities of a relationship that is not built to survive is sensitively handled and deeply moving, which makes it a highly recommended watch. Watch the trailer for What We Left Behind here: #AmberJackson #WhatWeLeftBehind #shortfilm

★★★★ Directed by: #ChrisSmith Written by: #JonKarmen Starring: #MatthewModine, #RogerRignack, #JillianPeterson, #CourtneyRackley, #WallaceLangham Netflix Film Review by Taryll Baker Reenactments drive this documentary investigating the mastermind behind a scam to get kids of rich and famous families into top US universities. A sleazy suit who doesn’t wear suits, a huge scam, and lots of moving pieces. From the outset, Operation Varsity Blues is a speedy, hefty docudrama; real conversations have been scripted, combining those from different times for pacing and dramatic lift. We’re introduced to Rick Singer (Matthew Modine) through reenacted scenes — in fact, for the most part the entire film is dramatised — and then to his assistants, who managed to create an easy way-in for students from wealthy upbringings to get into the best universities in the US. When you’re dealing with real-life exposé’s on this scale, it’s ideal that the archival or reenacted footage be highly interesting and presented not only in an easy-to-digest way, but also be somewhat enjoyable. Given this film’s focus on Singer and the scandal, it’s a pleasant surprise to see some spotlight shining on students and the ever-growing pressure that is continuously piled on top of them. Through real footage we see these kids talk about anxiety and how they’re literally breaking down because they’re so driven by the idea of being in their dream college. There’s a heightened aura of panic and heartbreak in the film and that directly and authentically reflects real life for students in the States. Operation Varsity Blues excels in its approach and tackling of the scandal and all the little pieces that were being moved around by Singer. His lurking shadow over the people he seemingly controlled and influenced. There’s a likeness to The Social Network not only in the speedy pacing but the music supporting the narrative; a score produced by Atticus Ross, no less. Visually and musically this is quite an exciting film, and it really is more of a film than documentary even given that it’s a reenactment. There’s an arc for Singer, and Modine’s performance is underplayed in the best way. The atmosphere he brings to each “scene” is heavy, encapsulating the immoral and shady character of Singer. The film ticks along at a continual pace that makes it tricky for the viewer to lose attention, and the information fed throughout is consumed well. It’s a shocker of a scandal if you’re unaware of what the details were, so to have this available in Netflix’s library is great. If you’re looking for some real-world situations embedded into a dramatised vision, then Operation Varsity Blues is the documentary film to watch. Operation Varsity Blues: The College Admissions Scandal is now streaming on Netflix. - #TaryllBaker

★★ Directed by: #ShirelPeleg Written by: #ShirelPeleg Starring: #MoranRosenblatt, #LuiseWolfram Film Review by: Alex Matraxia Celebrating love, family, and forgiveness, Shirel Peleg’s Kiss Me Before It Blows Up is a charming light-hearted feature about how love can overcome cultural differences (and how it stumbles along the way). Stuffed with feel-good moments, warm and cheesey smiles, the film nonetheless fails to outgrow its own stereotypes, relying on the formulas and skits of prior rom-coms to carry itself through. Perhaps the queer romance is meant to enhance the comedic conventions, even subvert them, but instead the film presents an uneasy mix of awkward dialogue and inconsequential consequences. The film is at its best when exploring how generational differences interfere with modern relationships. The young wise-cracking Shira (Moran Rosenblatt) is horrified when her grandmother - a holocaust survivor - vehemently disproves of her girlfriend Maria (Luise Wolfram) due to her German ancestry, denouncing her as the spawn of Hitler. Kiss Me has moments of pointed and well-timed humour, best executed by the older actors in the cast: Shira’s mismatched parents (John Carroll Lynch and Init Kaplan) and cynical grandmother (Rivka Michaeli). Luise Wolfram captures the discomfort and displacement of Maria wonderfully, a young woman trying so hard to impress her potential in-laws despite the fact that her shortcomings having nothing to do with her, just her DNA. Moran Rosenblatt has moments where she shines as Shira, but there are times where her performance borders on the unreal, a care-free archetype who rarely reveals a true person underneath (though this issue may be rooted more in the script than Rosenblatt’s ability). Rather than have their sexuality govern the script, Peleg relies on cultural difference to drive the plot, which works for the material. Family pasts are uncovered in scenes of revelation. However such revelations seem to contribute little to the plot or character psychology. They linger and characters circle around them, but one can’t help feel that more could have been done with the material at hand. Perhaps if Kiss Me explored some further nuance in the dynamics of Shira’s relationship with Maria, if pacing was taken into account, then it would be a stronger, more memorable film. Kiss Me has the makings of a meaningful rom-com, its light-heartedness grounded in something solid, but its odd-ball sensibility can’t make up for a lack of originality.

★★★ Directed by #IlyaNaishuller Written by #DerekKolstad Starring #BobOdenkirk #AlekseySerebryakov Film Review by Hope Madden On the surface, this film feels really familiar. Nobody was written by Derek Kolstad, which should surprise, well, nobody. Kolstad wrote 2014’s John Wick. I assume you’ve seen it: a humble widower is moved to reignite his highly trained assassin’s nature when his dog is in jeopardy. Kolstad’s next project? Acolyte. What’s that about, I wonder? According to imdb: When his wife is kidnapped, a simple man reveals himself to be anything but as he assembles his old crew to rescue her. Nobody is exactly every other film Kolstad has ever written, and its execution has all the earmarks of director Ilya Naishuller (Hardcore Henry): precise action and a weird song and dance number. The one and only thing that separates Nobody from dozens and dozens of expertly crafted, wildly interchangeable “underestimated badass” films is the utter brilliance of its casting. And by that, I mean exclusively the perfection of Bob Odenkirk in this role. Every beat is the same. The ideal placement of Sixties Soul classics, the meticulously timed car sequences, the underlying daddy issues, and most of all the struggle between the hero’s natural brutality against the unnatural pull of domesticity—all of it second-by-second constructed as you would expect. Constructed well. Air tight. Shoot outs choreography is like ballet—better than anything in Mr. and Mrs. Smith. It’s all interchangeable with every other really well made carbon copy. But god damn, Bob Odenkirk? I’m not saying he makes this a comedy, but his timing is comic perfection. His placement at the center of the film not only sells the “average guy” masquerade better than Liam Neeson ever could, but it makes his inner struggle and his displays of violence actually stand out. Regardless of the fact that you’ve seen this exact movie a dozen times, you just don’t expect it. It’s great! He’s great. Plus Christopher Lloyd?! Yes, please. And Michael Ironside, who is forever welcome in any role. Connie Nielsen, on the other hand, is—characteristic of the genre—grossly wasted as the wife who’d probably love him more if he showed his badass nature more often. Aleksey Serebryakov also sells the mad Russiah villain pretty well. There are certain scenes—one climactic across-the-table, in particular—where neither lead conveys the gravity of the situation. I’m not asking for Walken/Hopper in True Romance, but this moment is pivotal and needed to feel like it. Still, Bob F. Odenkirk. Right on. #HopeMadden

★★★★ Directed by: #TimEarnheart Written by: Tim Earnheart Starring: #EshaMore, #JoyPark, #SJoeDowning Short Film Review by: Chris Olson Watch my Video Film Review first Nemesis Movie Review Visual style is #filmmaker Tim Earnheart’s bag. The guy just knows how to deliver a film full of spectacle and arresting set pieces. His full-throttle approach to action filmmaking is no less toned down in his latest short film Nemesis, starring Esha More and Joy Park as two college friends who have just merged their business so they can “compete with the big boys”. More plays Astrid, a self-confident businesswoman who is celebrating the recent merger with her pal Evelyn (Park) by having a few drinks. It becomes clear, however, that the latter is not as chuffed with the situation and the two endure a tense atmosphere before Evelyn mentions an exclusive hunting event she is planning on going to. Astrid manages to wrangle an invite and soon finds herself in front of Dr Woo (S. Joe Downing) who enlightens our cocky entrepreneur about the nature of their exclusive club, and things get very business (not personal) from there. With his 2019 short film Ricochet, Earnheart used the home invasion genre to full and explosive effect. With Nemesis, he’s playing with sci-fi and survival tropes, films like The Hunger Games and Battle Royale come to mind, and there is even something video-gamey to the piece, although the protagonists are considerably more wealthy and powerful. A less is more approach to the dialogue would have been appreciated - Astrid finds time to deliver some outrageous one-liners which, whilst lol-worthy (“Let me give you a hand?”) did undermine the momentum of the movie considerably, and the initial exchange between the two central characters in the bar felt clunky. However, once the LED lights kick in and we meet the other players in the hunting “game”, we are hooked. It was great to see kick-ass action from a female character where her gender was not integral to the plot. Esha More is an engaging lead when not grappling with flawed lines and a stripped-down script could have seen this as one of the best action performances in a short this year. As it is, it is still a strong and noteworthy turn. Joy Park gives a formidable and layered portrayal, offering a character who perhaps needs a feature-length to fully explore. Whilst the dialogue needs to be less is more, other aspects, it should be noted, need to be more is more. It's a lot of fun. The visceral style and flair that Earnheart displays is the true hero in Nemesis. Everything about the cinematography (Matt Fleming), sound design (Dylan Banuchi and Earnheart), and tone is hyper-tuned to feel fist-pumpingly ferocious. All sins get forgiven when you are exposed to the short film’s intensely enjoyable atmosphere of thrills, kills, and spills, so much so that the intriguing final moments of the piece will leave you gasping for a sequel, a feature, anything else. #ChrisOlson Watch the Movie Trailer

★★★★ Directed by: Fareed Kairon Written by: Fareed Kairon, Mark Peter Simpson, Paige Heeter Starring: Mark Peter Simpson, Paige Heeter, Bryony Purdue Film Review by: Jason Knight A middle-aged man develops a rapport with a young woman. Foster (Simpson) is temporarily in Paris. He is a writer and will be returning to Britain shortly. He receives a call from his daughter Judy (Purdue), who is in New York, studying. The discussion begins well, however they end up arguing over Judy's smoking habit. Later he meets Ella (Heeter) a runaway dancer and they strike up a conversation. They discuss their lives, their perception of the world and share significant experiences with each other. This short drama focuses on the bond of understanding between Foster and Ella, explores the relationship between him and his daughter and themes of family values, friendship, inner struggles and childhood trauma. Simpson delivers a very convincing performance as former policeman, turned writer. Although he now has another, quite different profession, he has maintained the influences he received by working in law enforcement. He is intelligent and knows how to read people. Heeter is also believable as a person who is trying to find herself, while also suffering from a past tragedy. Purdue is never on-screen, nevertheless her voice acting is great and makes a significant contribution. Kairon does a good job as director and the lighting and cinematography look superb. The screenplay contains well-written dialogue, interesting characters and and makes the audience want to know more about them. Zimran Javed's score is a big plus. It is dramatic and beautiful and adds a tone that goes well with the atmosphere. Undertow is an accomplishment that is worthy of a great deal of praise and recognition. Well acted, with plenty of drama, this is an admirable piece of filmmaking. #JasonKnight

★★ Directed by #JeffDesom #SamanKesh #DuganONeal Starring #JoshPeck #KypMalone Film Review by George Wolf How much better would 2001 have been if there were helpful onscreen text explaining the motives of the monolith? Use that bone as a weapon and you won’t starve. None. The answer is none better. A habit of over-explanation is just one of the weights pulling down Doors, a science fiction drama presented in three separate acts by three different writer/directors. Jeff Desom fares best with the opening segment entitled “Lockdown.” As high schoolers in a classroom hear their locked-up cellphones buzzing, planes overhead and vaguely ominous announcements, some nice tension is built via mystery and subtlety. And then both are gone. A late night podcaster quickly sets the stage. Imposing, sentient “doors” have appeared around the world, and in the rush for answers, volunteers called (what else?) knockers are answering the invitation. The “Knockers” segment, from Saman Kesh, features Josh Peck and Lina Esco as a couple who find a greatly distorted reality awaits them on the other side. Dugen O’Neal’s final segment, “Jamal,” carries a fine performance from Kyp Malone as a reclusive man successfully communicating with a door in secret. When an unexpected betrayal brings outsiders, the onscreen text brings mood – spoiling clarity to what the door requests. Extended exposition via a podcaster is at least an organic device, but text? Since none of the characters can see these messages, they are only for our benefit as viewers, and land as the most inexplicable aspect of this entire cosmic trip. This film starts with an intriguing setup to a decent sci-fi premise, but can never find resonant avenues for development. Some confidence in its audience, better performances, a more compelling score and crisper sound mix would be steps forward, but the most gaping hole is the absence of one clear storytelling vision. Without it, Doors is an awkward anthology in search of an anchor, as well as a satisfying reward for opening it. #GeorgeWolf

★★★★ Directed by: #CharlesWahl Written by: #CharlesWahl Starring: #DanielMaslany, #KaelenOhm, #SamRosenthal Short Film Review by: Emily Davison James (Maslany) and his wife Lola (Ohlm), a recent Jewish convert, live in a community without any Mohels, and after celebrating the birth of their first son they have to fly one in to perform the Brit Milah - the circumcision ceremony. The Mohel (2021) is directed and written by Charles Wahl and this Canadian based filmmaker presents a compelling short drama focusing on a unique subject matter which Is not often explored in movies released today. The film has been nominated for the SXSW Grand Jury Award for Narrative Short and its interesting themes raised in just under fifteen minutes driven by an intriguing story and great performances all around make this movie a strong contender for the award. Guy Godfree’s cinematography compliments Wahl’s reflective direction elegantly with some lovely day and night-time shots, as well as a fantastic low angle shot of the rabbi as he arrives at the house carrying a small doctor’s bag, making for a clever call back to the famous shot from The Exorcist (1973). The film’s poster also reflects this iconic image poetically. There is a contemplative, solemn quality to the tone of the short, with many quiet moments narrowing in on James and his relationship with the rabbi as well as his new-born son that add a dignified distinction to the film. All of the cast play their roles well with a believable level of authenticity, from the young couple who are anxiously hoping their baby’s circumcision goes well to the overbearing mother proud of her Jewish heritage and urging her son to follow their religion’s traditions. In particular, Rosenthal as Rabbi Fishel brings an admirable level of gravitas to his part, with a charismatic and grounded performance leaving a strong impression after viewing. The Brit Milah scene is incredibly effective in building suspense (despite the fact that we know that everything is probably going to be fine!) and this is mostly down to the performances of the three leads, with Rosenthal’s commanding line delivery and the young couple’s anxiety portrayed perfectly onscreen. The film is also profound in its themes and presents thought provoking ideas surrounding religious ceremonies like the Brit Milah. Wahl meditates on the divide between new and old traditions, with James’ mother reminding her son that Lola should have covered her tattoos on her arm before extending her hand for the rabbi to shake and James not being able to speak Hebrew like his mother. The most impactful theme is the idea of religious ceremonies simply being transactional, which is reinforced by the cynical, darkly humoured ending, making for interesting food for thought. The Mohel offers an intriguing short narrative with a distinctive subject matter and its fascinating themes are presented through contemplative direction and grounded performances, making for a solid watch. #EmilyDavison

★★★ Directed by: Savvas D. Michael Written by: Savvas D. Michael Starring: Jack Turner, Fernanda Diniz, Jamie Crew Film Review by: Patrick Foley Red Rage Movie Review British gangster movies have always had an embrace for the absurd. Extravagant caricatures, pounding rock music, and shootouts that even the Wachowskis would find OTT are practically staples of the scene these days, and new directors always seem to be on the lookout for ways to up the stakes. Red Rage’s scatter-shot approach covers a lot of cliches, experiments with bizarre elements and misses plenty of beats - but stumbles upon some fine performances and uncovers some surprising depth along the way. The emergence of a new drug – known as ‘Red Devil’ – has led to an explosion of violent crime. As addicts like Riley (Jamie Crew) scavenge the city looking for their next hit, vigilante couple Oscar (Jack Turner) and Ella (Fernanda Diniz) take it upon themselves to rid the drug dealers from the streets following a vision from God. All paths seem to lead to drug-dealer extraordinaire Hugo (Ian Reddington), the lonely, aloof creator of the city’s new craze. But his new cowboy hat-wearing, pistol-toting friend Gabriel (Matt Lapinskas) stands in everyone’s way… From the plot description alone, audiences can probably figure out how farcical Red Rage sets out to be. This is a wild, erratic and unfocused rampage through an underworld trying to handle the x-factor of a new drug – and the strange cast of characters it has pulled out of the shadows. The plot is generally weak and loosely strung together – with little time spent explaining the world the characters operate in. Ensemble cast movies generally rely on clear explanation of each character’s relationships and motivations – even if it is unclear how they fit into a larger story. Sufficient world-building is lacking here, instead resulting in tangents for each character that distract from attempts to tell a larger story. The real entertainment value comes from the lavish and cartoonish performances. The cast embrace are permitted to embrace the film’s silliness by director Savvas D. Michael. Jack Turner and Fernanda Diniz are equally suave and disturbing as the anti-Bonnie and Clyde couple Oscar and Ella. Matt Lapinskas’ Gabriel feels like a crazed outlaw transplanted from a Western B-movie – which works so much better than it really should. But the standout is Jamie Crew as Riley – a desperate Red Devil addict scouring the city for any trace of the sought-after drug. Despite his horrific actions, viewers can’t help but feel some sympathy for the tragedy that his life has become – and it is his example of the dangers of the drug that adds so much more depth to the rest of the cast. The film does manage to touch on themes that viewers may assume would be above the remit of an action-comedy gangster film. The class divide between the warring parties is notable – with characters from privileged background inserting themselves into the murky underworld for their own perverse desires rather than necessity. Conversely, the likes of Hugo or Riley who have little choice but to do what they can to survive in the warzone their environment has become are portrayed very differently. Every character becomes a victim one way or another by the end, but the effective portrayal of the cast through the performances and themes that anchor the film leads the audiences to very different conclusions on who deserves what they get. It’s hard to tell whether Red Rage’s successes were by design, or the result of throwing so much at the wall that something was bound to stick. Regardless, the end-product is a fun and colourful, if ultimately frivolous action movie that does not quite match the heights of the genre – but provides a fun evening’s watch nonetheless. #PatrickFoley Red Rage will be available on DVD & Digital Download from 12th April Watch the Red Rage Film Trailer

★ Directed by #JonathanKaufman Written by #JonathanKaufman Starring #SteeleStebbins Film Review by Christie Robb According to Jewish Law, a bar mitzvah is when, at 13, boy becomes a man and can be held accountable for his actions. The film Donny’s Bar Mitzvah seems to have been written by a 13 year-old who needs to be held accountable for his actions. Seriously. It’s gross. Ostensibly a found footage VHS cassette, this cinematic gem depicts a 1998 Oscar Night-themed party for Donny (Steele Stebbins) – It’s the The First-Annual Donny Awards! – shot and edited by a hired videographer. There are a few nods to 90s culture that might make the olds smile (remember giant cell phones, pop-up video, the Whassup commercial?). But writer/director Jonathan Kaufman’s film’s raison d’etre is a celebration of the random, repellant, and pubescent that transcends decade. And like the lukewarm buffet offerings at a reception, it offers a variety of things, none of them particularly done well. You want butt chugging? It’s got it. You want small dick jokes? There’re plenty of ‘em. Recurrent vomiting? No problem. Tits? There is a pair. The wooden acting, sometimes bizarre plotting, and sound design reminiscent of ASMR performed by a hot dog and a jar full of lubricant, isn’t quite terrible enough to elevate Jonathan Kaufman’s film to the level of a masterpiece of BAD MOVIEDOM like The Room. But I imagine that with the right people watching it and the appropriate amount of brain cells murdered beforehand, this thing could be fun to watch. Oh, and I guess Danny Trejo is in it for a little while? #ChristieRobb