Latest Short Film Reviews

A writer is having trouble coming to terms with the choices he made to ensure his success.

Rex (Hampton) is a very successful writer with four best-selling books under his belt and a giant wodge of cash to go along with them. Sadly though, he has let his success be the main driver in his life and he now finds himself somewhere in his mid-fifties, stuck behind a desk and a laptop most hours of the day, without a partner or family around him to share the wealth.

Now, Rex is finding that the edges of reality are beginning to blur, and from somewhere deep inside his characters have started to talk to him, telling him what to do. Rex can’t seem to pull himself away from his writing or his characters, no matter the time of day or night, and he’s beginning to get a little bit worried that he might be going mad.

It doesn’t help that one night, while he’s out taking a walk to get away from the intense pressure of the blank computer screen, Rex witnesses a beautiful light show in the sky which turns out to be none other than a UFO. Once caught in the beam of light coming from the flying saucer above him, Rex then begins to see a dark ominous creature across the road, behind a tree, with big dangerous red eyes that are looking straight at him, right into his soul.

Obviously, anyone that Rex tries to talk to about this doesn’t believe him, and he’s left alone again with his own thoughts and feelings about himself, but also with a new companion haunting his every step. Rex knows that he’s falling deeper and deeper into a dangerous situation, but what can he do to get himself out of it?

Sadly, none of these things that are going on in Rex’s life seem to be directly linked to one another, and there are a lot of things about Rex’s relationship to himself, his characters, and in particular, Vincent, which are never accurately relayed to the viewer. Instead, what we are party to are a bunch of fast cuts to different time-frames, a lot of Rex talking to himself in front of the computer and in mirrors and such, and some jarring sound-effects to express that something dark is happening. None of this is well-presented and none of it makes sense in relaying what on earth writer, director and star, Per Hampton actually seems to think is going on.

Thankfully, the cinematography from Jon Schweigart is of a high quality, allowing the film to breathe and settle into its narrative without the viewer having to worry about the visuals, and the expression of ‘the Being’ which eventually latches onto Rex is really, genuinely creepy. However, in terms of positives for Peekaboo, that’s about it. The story is garbled and confused, the acting from Hamilton himself (basically the only character on screen) is pretty hammy, and the direction and writing needed to create a split-character narrative just isn’t there.

At only ten-minutes long, there’s not a lot to get into in Peekaboo, and so it’s not so bad that the film is actually missing a lot of things needed for its narrative. As a creepy visual horror, it does its job well enough, but in terms of linking that with the story and the character we see on screen, nothing really seems to fit. Whether Hamilton wanted to make a psychological thriller or an out-and-out creature feature is unclear, but unfortunately the confusion between the two, as well as between the character and his own narrative, means that he doesn’t succeed at either.

Go Fund Me is as grass-roots as they come, an ambitious project from filmmaker B-E-Z which has more misses than hits, but still manages to engage, entertain, and outperform a lower budget. It is a testament to filmmaking passion and creativity even when there are rough edges all over the place.

The story follows Kaspa (Itumeleng Moruakgo), a gang member who has big dreams of breaking away from the streets to start a clothing empire. He confesses to his friend F1 (Kesi Nwogwugwu) that he is getting close to his dream, and with one last job for local kingpin Roman (Kay Abel) he should have enough to start chasing it. But Roman is not willing to let the pair leave so easily, and concocts a plan to indebt them for life…

It should be said up front that Go Fund Me is a seriously flawed film. It’s filled with editing mishaps, errors in the sound design, repetitive and empty dialogue, plot holes and a bizarre, convenient and underwhelming resolution. Some of these such as the issues with sound levels are forgivable given the production levels of the film (if not any less distracting), but others are the result of an underbaked script that is formed from a solid base but loses itself when the conflict between Kaspa and Roman amps up.

Yet despite flaws, there are still admirable qualities that the film demonstrates. Kaspa’s story and dream forms a solid connection with the viewer. B-E-Z spends enough time validating his protagonist’s personality and life story to make audiences want to back him, and scenes in which we see Kaspa facing pushback from investors create a sympathetic bond – especially when he refuses to give up. The film has some genuinely funny moments as well, particularly between Kaspa and F1 when they realise the danger they have gotten themselves into, and from the eccentricity of gang boss Roman.

There is empathy at the heart of Itumeleng Moruakgo’s performance as Kaspa – who convinces as a reluctant gang member who wants to lead a straight life. Kay Abel also taps in to an unhinged nature to bring Roman to life – easily the biggest personality in the film and a character that demands eyeballs when he is on screen. Almost all of the cast have their slips however and there are a few too many times when the emotional drive isn’t really present, even in scenes of great tension or danger such as a conversation before a planned murder or a pivotal sequence in a restaurant where the fate of the cast is decided.

The homemade quality of Go Fund Me is both a strength and a weakness. The film’s flaws are particularly evident and significantly detract from the overall result, damaging audience immersion and undermining the emotional drivers of the story. However it is important to note that the emotion is still there – which is more than can be said of many a film with greater resources. The filmmakers deserve credit for working with what they have to produce a 30-minute story that connects in enough ways to leave an impression. The suggested sequel (given the film’s conclusion) will hopefully receive a little more refinement, as it is clear that the ability to tell a story and build characters is present in those who brought Kaspa’s story to life.

Inappropriate is a simple but sturdy work. From director Jonathan Blagrove, it depicts a conversation between two characters, as shorts of this kind often do. The central conceit is original and fascinating: as the ‘appropriate adult’, Oscar (Tim Plester), tries to converse with a young offender, Jordan (Francesco Piacentini-Smith), we come to understand the kindred sense of dissatisfaction and alienation shared by the two personages. This is a strong base-theme which, through realistic writing, is allowed to explore engaging ideas relating to trust – or a violation of trust – and abandonment. Formally confident and technically sound, this is a truly great piece of drama.

There’s a great deal of discussion to be had when it comes to the film’s visual construction. The cinematography is rather wonderful for the most part, with one of its best aspects being camera positioning. I’m talking beyond standard direction and blocking – both of which are strong already – and referring more to how the camera interacts with the physical space to really immerse the viewer. A shot early on sees the camera being raised upwards from some monitors, racking focus to the background, and capturing Oscar entering the building. There’s a satisfying flow to a shot arrangement such as this which shows off a nice bit of production-value. It does not, however, feel forced; the movement is motivated by the character, and – outside of technical curio – is relatively unnoticeable. There are many instances of shots like this in the movie, demonstrating admirable ambition as well as the achievement of multiple technical parts working in tandem, seemingly effortlessly.

Part of the crisp, professional sensibility achieved through the aesthetic is a result of the fantastic lighting. While there’s an informed approach to balance and diffusion, there’s also a natural use of darkness incorporated in the frame. This provides us with a thoroughly dynamic image. The lighting style, in turn, complements the colour grade; although the colouring itself could be considered a missed opportunity for an even richer look. The technique behind the grade – meaning the professional finish and visual consistency – is flawlessly done and looks better than most high-end TV dramas. However, you wonder whether the filmmakers could have thought of something more unusual than the classic, British cold-and-dim look. While this certainly represents the emotion conveyed in the scenarios depicted, there’s potential for a more filmy, textural look which feels just out of reach. This is a criticism of a creative decision – therefore something which is purely subjective, and not a criticism of technical know-how.

Audiences will enjoy the complexity of these two characters. There’s narrative layering at play, revealing different traits of their personas; their vulnerabilities and pressure points. They’re both flawed, yet there’s a tenderness to Oscar’s pain, and there’s an empathetic mischief to Jordan’s, even if this is really a defence mechanism. Other strengths left unmentioned include the audio which is perfect in that clean sort of way; the overall design which is location and character-appropriate; and the specific execution of the performances – both actors skilfully express so much through their defensive demeanours, their desperation. Inappropriate is a definite recommendation from this critic.

A short drama written and directed by George Nelson and starring Corey Wade, John Lee Taggart, Viv Wiggins.

Poor Kyle (Wade) is not doing well. Having been the victim of bullying during his school years, now, as a young man, he is suffering from the after-effects of his ordeals that include depression and not being able to stand up for himself. The financial company he works for is in the process of hiring for certain positions and Kyle is shocked to discover that his boss, Liz (Wiggins) has assigned him to interview Josh (Taggart), a youngster who used to bully Kyle when they were at school. How will Kyle handle this?

This dramatic and tense short places the viewer in the shoes of an individual who has been severely damaged by long-term bullying. The screenplay effectively explores the unfortunate emotional state he is in, how he feels, how he struggles daily due to the memories of his torments, which are revealed through black-and-white flashbacks. Zach North-Moore contributes to the atmosphere with the dramatic music and things get quite suspenseful and tense when Kyle interviews Josh and their conversation eventually turns into something other than a job interview.

The main subject of this film are the long-lasting effects of bullying and Wade is very convincing in portraying a person who is dealing with those effects: not standing up against two muggers, not reporting them to the police, clenching his fists when he gets angry, attending therapy sessions (as indicated by a calendar) and being in a bad mental state in general. Taggart's character is Kyle's former tormentor, who now appears to be a changed person, polite and respectful.

As mentioned, bullying is the principal theme in this story, which pays particular attention to the traumatic effects it has on victims a long time after their experiences, leaving them traumatised and with low self-esteem. Holding a grudge also plays a big part.

This film is about bullying. About mental suffering and revenge. It is a hard-hitting commentary about psychological wounds. It can also be viewed as a drama and a thriller that centres on an unexpected and ultimately fateful encounter.

Situations don’t come much stickier than the story of The Stork. This short from director Stephen Gallacher and writer Ronan McCabe is not for the queasy or faint of heart, but packs in genuine laughs and raises some intriguing questions about how parents engage with their LGBT children.

Courier Clive (Tom Rosenthal) has a VERY special package to deliver. Working for an online semen delivery company (and no that is not a euphemism), he is tasked with carrying a specimen for a lesbian couple trying for a baby. But when parents Ian (Paul Chahidi) and Gwenda (Siobhan Finneran) answer, a mishap leaves their parcel in a, well, mess. The three have to come up with a new plan before the couple find out, and Clive is tasked with delivering in a very different manner…

The initial impression that The Stork will leave on audiences will no doubt revolve around its unflinchingly frank portrayals of insemination – including some rather graphic scenes of genetic material that many filmmakers would shy away from. But underneath this is a film that has a poignant message about how parents relate to their LGBT children – and how even in clumsiness they can show acts of love. Gwenda and Ian may not really understand the dynamics of their child’s relationship, but they are determined to do what they can so their child can experience the same happiness in parenthood that they did. As unconventional as their methods are, Ronan McCabe makes sure to establish this as his characters’ motivation from the off, and it ensures a sweetness in the film.

The film does however suffer from a lack of the couple’s presence. For a film that revolves around an LGBT issue, it is strange that those individuals do not feature at any point. The ultimate driver of the plot is the aim of hiding the accident from the couple, and without their presence, this never really feels properly established or resolved. Add in some missed opportunities for humour, and it is a strange omission for the story’s themes and narrative.

Siobhan Finneran is the highlight of the short as Gwenda – a well-intentioned wrecking ball of a mother determined to do right by her daughter. Her delivery of a line about a photo of Ian’s mother might be my favourite of the year. Her deference to the younger Clive about what is and isn’t politically correct is another great source of laughs, whilst also establishing her as someone self-aware enough about her lack of understanding when it comes to her daughter’s life. Paul Chahidi and Tom Rosenthal hold their own as well – and each of the three characters stands out as distinct and filled with personality.

It is these performances that make The Stork and entertaining and enjoyable mishap comedy. Despite its thematic and narrative flaws that are mainly the result of omitting the couple at the centre of the farce, there are plenty of laughs for those who don’t mind a bit of grossness.

After receiving zero birthday wishes across his social media platforms, a young man ruminates on what he calls this ‘shitty life’.

Kshitiz (Sharma) is finding growing up in the real world to be far more disappointing than he ever envisaged. Every day seems like every other and there doesn’t seem to be anything special about any of them. Even today, his birthday, is going along like any other day, and he still has to overcome the constant battles which make up his daily life. Nobody seems interested in wishing him a happy birthday, even across the platforms which are supposed to prompt your friends to do exactly that, and Kshitiz is feeling especially dumped upon by the daily grind of the outside world.

As he wakes up on this special day, Kshitiz is rudely disturbed from slumber by his roommate’s ridiculously loud alarm. Having to get out of bed to switch it off himself, as his roommate really doesn’t seem to care, he then waxes lyrical about just how ‘shitty’ this life is for him. In what then appears to be a pretty on-the-nose thematic visual, Kshitiz spends most of the rest of the nine-minute film in the cubicle of a public toilet, complete with all the disgusting accoutrements which you would expect from such a space.

Kshitiz then spends his time, sitting on the pan, checking his social media, and despairing over the emptiness of recognition in his life. This is shown to us somewhat haphazardly in quick cuts and fast edits of random things which don’t necessarily link together. It seems as though these are supposed to be snapshots of what Kshitiz’s regular life might entail, but narratively everything is so messed up and banged together all over the shop that none of it really makes much sense. Images of Kshitiz supposedly with some of his pals are intermingled with wider shots of campus grounds and social environments where people gather, while over the top he continues his monologue from the crapper about how ‘shitty’ his life is.

Overall, The Tuvalet Bash is a narrative mess, with images coming at you thick and fast which don’t really give anything to the main story. There’s a sense of arthouse direction going on, where that narrative is hijacked by the imagery, and the sound design plays a bigger role in establishing the narrative than anything in the dialogue or characterisation manages to do. There’s a certain energy and immediacy to the film which pushes it through its nine-minute runtime, but underneath that there’s really nothing else going on. Whatever it is that Kshitiz is trying to say about life, it gets lost in amongst the frantic visuals and the chopped-up ideas, meaning that the viewer comes out the other side wondering what on earth it was all supposed to be about.

Considering it was made in about a week-and-a-half to meet a competition deadline, Gnome Heist truly makes you wonder what writer, director and also star Alice Dieli, not to mention their clearly very adept crew, could do with even just double that production time. And by achieving everything it does in a runtime that barely squeaks past the four-minute mark, Gnome Heist proves the age-old adage of quality over quantity.

Right away we catch up with Mia (Dieli), who clearly has had a day of it already, long leather coat dripping wet from apparent run-ins with fountains and pigeons as she strides through the blazing sunshine to finish a favour for her unique ex-boyfriend (Nicosia). Hating herself every minute along the way for agreeing to it all in the first place, Mia’s favour sees her carting a bursting suitcase all the way across town to meet him for the drop-off. The contents? Gnomes, of course. But these aren’t just any ordinary gnomes, and upon final delivery, Mia soon realises that the gnomes hold a somewhat valuable secret.

Having already successfully shown off their skills within the horror genre with their previous impressive short What’s Your Poison?, Dieli proves they are just as capable with the lighter stuff here as well. Gnome Heist, bounced along by slick editing and a soundtrack of amped guitar injects a very silly premise with a lot of fun, swagger and style, and Dieli’s performance in front of the camera is just as strong as behind it, Mia striking an interesting character full of quirks and snappy quips but who is also clearly a bit of a mess, a character that could easily entertain us for much longer.

Of course, at only four minutes the film does leave you yearning for a bit more, and especially at this kind of enthusiastic pace it’s all over in quite a flash, and we don’t get to explore certain characters maybe as much as we'd like, or indeed the joy of seeing Mia’s preceding debacles wrestling with pigeons and falling in fountains. But everything we need to know is conveyed quickly and effectively in what is a contained but nonetheless complete story, and actually, it says a lot more about Dieli’s ability for entertaining storytelling that even after the credits start rolling, we want to keep hanging out in this world for just a little while longer.

Gnome Heist is punchy, it’s silly and it’s just plain fun, while also being sharply written and beautifully shot to boot.

Parasocial is the second film by director Joseph Jeavons I’m discussing – the first being Wrists Tied – and I would argue that this is the superior of the two. As enjoyable and bonkers as Wrists Tied was, there’s a cleanness; a comic succinctness present in this one which is just outstanding. Parasocial is – and I kid you not – a laugh-a-minute comedy. This is an unashamedly dense movie, joke-wise, but it’s also not just the humour which makes this a great, low-budget short. Jeavons demonstrates a constant sense of play and chaos which really makes the whole cast feel endearing. This also lies in its structural ability to have each scene be a stimulus, or space for new jokes – as opposed to a scene meant to simply explain the plot.

The film follows the character of Ricky (played by Jeavons): an innocent, easily manipulated young man who just wants to find a best friend in his roommate Dylan (Sam Teague). Dylan is a criminal investing in “illegal meats” (horse meat), stringing Ricky along for the money and the apartment. Eventually, Dylan involves Ricky in his escapades, leading to an amusing cop double-act getting involved, and an eventual shootout.

Both central performances are big and fantastic and really make the movie. These performers understand comic timing; even if the jokes are simple and infantile, it still works because the viewer can clearly see how much fun they’re having. These films feature an extensive cast of performers, which is rather impressive for a no-budget work made by young people at the beginnings of their careers as filmmakers. Already they demonstrate such a willingness to collaborate with others, using film as it should be used in the early stages, a fun space in which to bounce ideas back and forth and come up with something wholly unique.

Continuing with the theme of collaboration, I should also mention that Parasocial was written by three individuals: Joseph Jeavons, Owen Swift and Bala Brown. Some might argue that too many cooks spoil the broth, but quite frankly, I would say that doesn’t apply to comedy – particularly not in this instance. In the same way that Edgar Wright requires a little sprinkle of Simon Pegg to make his sensibility truly engaging, this script operates in a way that just gels together. You can tell that these jokes have been tested, for they land nicely, and with practice. For instance, one bit which is consistently funny involves Ricky turning to the camera – Malcolm in the Middle style – and saying something like “I wish Dylan was my best friend”. Dylan, of course, then hears what he says and reacts accordingly, as if Ricky’s gone mad. It’s a simple bit, and one concedes it’s been done before, but it’s great because of the rhythm, the editing, the sincerity of performance.

Parasocial has a clear premise and a tight structure. Despite once again taking from the Bottle Rocket handbook of criminality = comedy, and to also endear us to the characters, this film in fact demonstrates that Jeavons has a unique vision and an artistic clarity. I’m excited to see more from these filmmakers.

Writer and director Elijah Bigler cites John Carpenter’s films as the central influence behind Higher Knowledge, and it is clear to see how the legendary horror auteur’s legacy has left its mark. This college-set sci-fi short punches above a student budget to deliver a film that is fun, atmospheric and eye-grabbing.

Graduate students Ray (Jaden Besteda), Howard (Devin Hite) and Eric (Jose Antonio Otero) spend much of their time pondering research, but a run-in with their professor Jonathan Dante (Jon Schaffer) opens their eyes to scientific potential that they never even dreamed of. When it turns out a creature has taken possession of the man they look up to and left a strange equation on his chalkboard, it is up to the trio to figure out the power it hides – and to decide if it belongs in this world.

Passion and inspiration are always evident in a film, and Higher Power has both in spades. Bigler and co. were clearly having a blast in this short’s production, injecting loving references to John Carpenter’s work and experimenting with how far they can push their budget into the sci-fi/horror sphere. The eccentric performance of Jon Schaffer is something of a summation of this work – just teetering on the edge of over-the-top but staying grounded enough to balance out the otherworldliness. That is until a gloriously gory sequence of disembowelment that will stun audiences out of any malaise.

There is a retro ambiance to the film that sits nicely with the story, another clear influence of Carpenter’s work. Warm, wide shots in the college halls act as a calm before the storm, before the lecture hall begins to close in on the trio as the gravity of their discovery becomes clear. It is in these sequences that the characters are really fleshed out and the film builds substance as well as style. Bigler’s eye for a shot keeps momentum during these sequences as the sci-fi story beats are baked further into the narrative. There are a couple of moments where viewer immersion gets broken such as a distracting red visual effect that flashes on the screen when a knife is used, but these are few and far between.

Jaden Besteda, Devin Hite and Jose Antonio Otero feel right at home as the three leads, with Otero in particular standing out with a strong performance as the inquisitive but cautious Eric. Each performance feels distinct and deliberate, approaching the equation from different angles in order to keep audiences on their toes.

Higher Knowledge is a really entertaining short – a snippet of a larger story in reality but one that leaves audiences longing for more. Elijah Bigler’s sense for atmosphere is its biggest asset, and having characters that stand out is not far behind.

A short drama written and directed by Toby Kearton and starring Dominic Thompson.

A war veteran (Thompson) is in his home. However, in many ways, he is still in the battlefield and all around him there is chaos. And this is not because there is actual warfare is taking place in his current location. It is because even though he is far away from where combat occurred, the memories are tormenting him and the sounds of everyday products are causing him to remember trumatic events involving his time in the war zone.

Over the course of one minute, this short places the viewer in the tormented mind of a young man who is suffering from Post Traumatic Stress Disorder. The general concept is an ex-serviceman man sitting inside one of the rooms of his home and being dramatically affected by the noises of simple items, as they remind him of his experiences when he was fighting. Through creative sound techniques by Connor Ashmore, methodical editing, Kearton's detailed directing and Thompson's performance, this film develops an atmosphere filled with dread, agony and fear. To give a few examples, a fan is on and the sound of a military helicopter is heard, indicating that the noise reminds the veteran of an event involving an aircraft. Then, popcorn popping reminds him of gunfire. The crying of his baby through the baby monitor reminds him of screams of agony. All these are accompanied by his troubled face, with close-ups of his eyes filling with tears and his hands clutching together. A man is now away from actual combat, however, psychological combat is still with him and a way that it emerges is by sounds that resemble his experiences in combat. And the presence of a young boy (probably the man's son) cheerfully playing a video game suggests that people around him are oblivious to what he is going through.

To state that this short is a film might be misleading. It would probably be more accurate to categorise it as a message that raises awareness of the PTSD that war veterans are living with and encourages the public to support them. And it succeeds in doing all that very significantly.

This short would have such a dramatic impact without Thompson's strong performance. Constant close-ups of his face and body language reveal that he is suffering tremendously although he is now home with his loved ones. He is trapped by the horrors that he went through, living in a world of psychological torment that is not being acknowledged by those around him.

Arguably, the main subject here is mental health involving war veterans, the PTSD and trauma that they experience after they have left the battlefields and how it affects them through the sounds of everyday objects.

This dramatic piece of work encourages support for people who have fought. It definitely catches the viewer's attention due to the tense atmosphere and the awareness and support that it motivates. This is an achievement that should be shown on television and the internet and become known to as many people as possible.