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Directed by Denis Villeneuve Starring Emily Blunt, Benicio Del Toro, Josh Brolin, Victor Garber, & Jon Bernthal Film review by Jack Martin ★★★★½ It was announced that earlier this year that director Denis Villeneuve, the director of the Oscar-nominated filmsIncendies and Prisoners – and the little-seen Jake Gyllenhaal thriller Enemy – would be directing the long-mooted sequel to Ridley Scott’s influential Blade Runner. Any fan of that film will think it’s an impossible task to successfully follow up that film’s moody, atmospheric and sometimes sinister feel with something just as intense. However, if Sicario is anything to go by, then the replicants are in more than safe hands. No Phillip K. Dick robots in this contemporary tale of the War on Drugs, which sees FBI agent Kate (Emily Blunt) being assigned to a secret unit operating on the US-Mexico border, after an opening raid ends rather gruesomely. It isn’t long before Kate feels extremely uncomfortable with the actions undertaken by her DOD mentor Matt (Josh Brolin) and especially his mysterious wingman Alejandro (Benicio Del Toro) to ensure that order is kept, and once the true motives become more obvious the real struggle begins – but not in the way you might think. As with Prisoners, Villeneuve keeps things at a steady pace that leaves the audience guessing all the way through; but unlike that movie, where the build-up was extremely fascinating and the pay-off still very good but not as strong, it’s the exact opposite here. Everything up to the third act is definitely commendable and deserves a good amount of praise, but when that final act comes into effect it becomes downright chilling, perhaps ending on some of the most powerfully bleak imagery we’ve seen all year. Obviously, nothing will be given away here, but trust us when we say it’s the kind of dark and uncomfortable feeling you get when you watch No Country For Old Men or any other of the Coen brothers’ darker movies. Villeneuve achieves the impossible with the bleak nature of this film, by making even the most chilling scenes look absolutely breath-taking. Working off a screenplay by first-time scribe Taylor Sheridan (who Sons of Anarchy fans may know as Deputy Chief Hale), the director takes full advantage of the desert landscapes between El Paso, Texas and Juarez, Mexico and turns them into vast nightmarish wastelands (mostly visible from several helicopter shots) where absolutely no-one is safe from the disturbing retaliations of the drug cartel, such as being hung from several bridges with limbs torn off, or – in perhaps the most unsettling visuals of the film, and that’s saying a lot – a line of corpses being asphyxiated and placed behind the walls of a small Arizona house. Thanks to his slow-burner pacing and tension, as well as Roger Deakins’ absolutely fantastic cinematography (seriously, how has he NOT won an Oscar yet?!), it’s an extremely dark movie that just so happens to be made to the highest standards. That extends, too, to its casting – Blunt is undeniably excellent, and is up there with some of the year’s strongest cases for having more women in leading roles in major films, and Del Toro is the strongest he’s been in years as a mercenary from south of the border, an anti-hero who ends up stealing the film thanks to his strong screen presence and extremely terrifying demeanour (seriously, his final couple of scenes will send shivers down your spine). Brolin isn’t given as much meat to chew on as his co-stars, but he makes the most out of a bit role that’s enough for him to stand out. Look out, also, for Jon Bernthal who shows up for a couple of poignant scenes that will make you sorely miss his Shane from The Walking Dead. For the most part, Sicario is definitely a good film, with strong direction teaming up with some great performances and stunning cinematography to make an otherwise bleak-as-all-hell film look absolutely wonderful; but it becomes an even better one, certainly a more innovative one, in its third act. We’re remorseful that we can’t go into as much detail, because spoilers, but that feeling of uncertainty which keeps you on the edge of your seat up until the final few frames of film is more than worth the price of admission. You can read more of Jack Martin's film reviews here - http://www.filmfeeder.co.uk/sicario-review/ Or watch the Sicario movie trailer below... #TheatricalReleases #JackMartin #EmilyBlunt #JoshBrolin #BenicioDelToro #DenisVilleneuve

Directed by Ridley Scott Starring Matt Damon, Jessica Chastain & Jeff Daniels Film review by Jack Martin ★★★★ The “Mars” curse is a known phenomenon in Hollywood; that is, if a film about the Red Planet is released in cinemas, it’s almost always going to bomb at the box office. The numerous examples include Mission to Mars, Red Planet and – perhaps most notably – Disney’s John Carter, which today is still considered one of the biggest financial disasters ever. The moral seems to be, and it’s no coincidence that it sounds so science-fiction-y, stay far away from Mars as is humanly possible. Luckily, an unlikely hero that could break the curse once and for all has emerged: Ridley Scott. The director, who in recent years hasn’t had a particularly strong track record (Prometheus, The Counsellor and Exodus: Gods and Kings all underperformed with audiences and critics), bounces back in spectacular style with the witty, smart and extremely enjoyable adaptation of Andy Weir’s best-selling novel The Martian. In it, astronaut Mark Watney (Matt Damon) is stranded on Mars when he is presumed dead after a freak sandstorm leads to the abortion of the manned mission. However, unless Watney finds a way to survive with the planet’s limited resources, he really will be dead. Basically, it’s Cast Away with a lot of red sand. Working from a lively and tireless script by Drew Goddard, Scott lets go of the pretences that bogged his more recent films down and allows the playfulness of Goddard’s screenplay to speak for itself. At all times it’s a story about survival, but the sense of humour that is wilfully inserted into the proceedings gives it a more human touch – through various video logs, Watney bluntly states that in order to survive he has to “science the sh*t out of this”, and as his first photograph to be sent back to Earth he spontaneously re-enacts the signature pose of The Fonz from Happy Days. It helps that Watney is an easy character to get behind, and part of it is due to the writing but a great deal more from Damon; the actor adds a great deal of snark and charisma to a character that’s already filled with both, and his physical commitment (just wait until you see his body after seven months of eating barely anything) is just as effective as his emotional engagement. Oh, and yes he DID also play a similar role in last year’s Interstellar; now that that’s out of the way, can we move on? As much as we’d like it to be, The Martian isn’t a one-man show. Every so often, sometimes for long stretches, the action cuts back to Earth where NASA is figuring out how to rescue their missing astronaut when they learn he is indeed still alive, and also to the returning crew of the abandoned Mars mission who debate whether or not to defy their superiors and go back for their friend. These sections give the supporting cast a good amount of room to flex their abilities; they include Jessica Chastain as the crew’s guilt-ridden leader, Chiwetel Ejiofor’s Mars expert, Jeff Daniels’ head administrator for NASA, Kristen Wiig’s PR doctor, and many others. There’s absolutely nothing wrong with these sections of the film, they’re written and directed and acted well, but a lot of it does take away from the atmospheric feel of the isolated conditions its main protagonist is in, and some of the other actors in the crowded ensemble are given the shorter straws such as Kate Mara (the second major film this year where she’s been mostly wasted) and Michael Peña. At nearly two and a half hours, it’s far longer than it probably needs to be; but at the very least, it’s never dull. You do want to see this guy get out of his situation, you do want the people back on Earth or in space to succeed in rescuing him, and it’s thanks to the liveliness that shows in both Goddard’s script and Scott’s direction – for instance, a launch sequence is set to David Bowie’s “Starman” – that you are rooting for smart and likable characters to carry things out without incident. It’s certainly Scott’s best film in years, one of Damon’s biggest acting showcases in a good long while, and maybe, just maybe, the film to finally break the Mars curse with critics and box office intakes. We certainly hope the curse doesn’t creep up onto The Martian, because for once it actually makes the Red Planet look pretty damn awesome. You can read more of Jack Martin's film reviews here - http://www.filmfeeder.co.uk/the-martian-review/ For more Film Reviews - Click Here #RidleyScott #MattDamon #JessicaChastain #JackMartin #TheatricalReleases

Directed by Naeem Mahmood Co-Director Ash Mahmood Written by Paul Danquah, Ash Mahmood and Naeem Mahmood Starring Melissa Latouche, Tom Bott, Paul Chiedozie and Julian Glover Film review by Hannah Sayer This exciting and daring urban crime thriller from siblings Naeem and Ash Mahmood is a bold debut feature film from this rising directorial duo. Founders of the production company Trailblazer, the Mahmood’s are known for taking talented, emerging film makers and actors and allowing them to produce highly individual and unique films. Brash Young Turks is a visually accomplished and thrilling piece which is certainly a notable and commendable first feature. At the opening of the film, we are given a definition of a young turk as being ‘a young person who rebels against authority or societal expectations’. This provides the viewer with an introduction to the main themes of the narrative from the outset; rebellion and the fight against oppression, greed and prejudice. This leads on to a short prologue, where we are introduced to the characters of Terrel, Shaz and Dave as younger teenagers, who subsequently form a strong bond of loyalty when they run away together from Dave’s abusive stepfather. The plot jumps ahead to ten years down the line where the three are now living and working together, who are played by Paul Chiedozie, Kimberley Marren and Charlie MacGechan in undoubtedly fearless, if sometimes exaggerated, performances. The main character Mia, played by Melissa Latouche, is then introduced into the narrative; a lonely sixteen year old who has lived in children’s homes her whole life. When she meets Terrel and they fall in love, him and his friends help Mia to escape from the home where she is being abused by the staff. Twists and turns along the way follow Mia as she tries to manoeuvre her way through the trials and tribulations of life and love. The film seems to lose its sense of narrative direction once Mia’s storyline takes control of the main plot, as there are too many interweaving storylines coexisting. This is an underlying issue with the film, as many storylines are not explored enough to fully make an impact, for example the criminal episodes that take place throughout. However, this complexity enables the Mahmood’s to link this disjointed and unusual narrative to its vibrant and rich cinematography. The visually daring nature of how urban London is displayed allows for the mayhem being depicted in its intertwining stories to be even further realised on screen. With an ending that satisfies, yet doesn’t exactly surprise or shock, Brash Young Turks is a genre defying film that’s structure and visuals represent the youth and excitement of urban London today. #HannahSayer #supportindiefilm #IndieFilm #Britishfilmmaking #Urban #CrimeThriller

Directed by Craig Roberts Starring Craig Roberts, Emile Hirsch & Charlotte Randall Film review by Monica Jowett Craig Roberts, known for starring in Richard Ayoade’s quirky Submarine, stars, writes and directs his first film Just Jim. The dark comedy shows an outcast teenager Jim (Craig Roberts) in a Welsh village whose incredible awkwardness stops him from fitting in with anyone. Then Dean (Emile Hirsch) moves in next door, the American who will make him cool and fit in. Jim is defined as odd from the start, as he has no friends at school; his parents ignore him and even his dog runs away from him. He wallows in self-pity, until he meets Dean, the smoking, leather jacket-wearing American who doesn’t fit in the dreary Welsh town either but seems to exude coolness through his nonchalant personality. Dean manages to turn Jim’s popularity around quickly, making him win school races, date Jackie (Charlotte Randall) the girl he has pined over for months and turning his look to that of James Dean in Rebel Without A Cause. Emile Hirsch as Dean is all Jim wants to be. Played as though he might not be real, until he meets Jim’s parents who immediately fall for the confident, alluring American, so much so that Dean manages to manipulate their image of their own son and starts to ruin Jim’s new cool image before it has even solidified. Though Hirsch’s character leaves as quickly as he arrives into the story and he is always shrouded in mystery, he adds a level of appeal to the film. For a directorial debut, and also writing the script and starring, Roberts has made a good start for his first film. His quirky self-deprecating humour that worked well in Submarine carries on here, but falling a little flat at times. He also proves he can handle being behind the camera, creating the Welsh town of Maesycwmmer, Roberts’ home town and filming Just Jim to be as odd as his character and using some interesting camera shots that zoom in to the close ups, helped by Director of Photography Richard Stoddard. A low key comedy that creates some laughs at Jim’s lack of function in the world around him, the film may have worked better as a drama, as Jim’s character goes full circle and suggests standing out and being cool might not be what it’s cracked up to be. Head over to our Podcast page for Andy Furlong's alternative take on Just Jim and for more film reviews. #MonicaJowett #Britishfilmmaking #TheatricalReleases #TheatricalRelease #MovieReview

Directed by Tod Browning Starring Bela Lugosi, Dwight Frye & Edward Van Sloan Classic Film Review by Joseph Banham It's October. Dead leaves are being whisked across the ground, there's a cold chill in the air and the bright sun is gradually dwindling away, leading us into the dark winter days. What better time than the month of Halloween to brush up on your horror classics? This week I will be taking a look at a staple of the genre whose eponymous villain has become synonymous with horror: Dracula (1931) Universal Studios were known for producing all of the classic monster movies, including Frankenstein (1931), The Mummy (1932) and Phantom of the Opera (1925). Dracula, directed by Tod Browning, is one of the most celebrated of this black-and-white era, largely thanks to an iconic performance by Bela Lugosi. Bram Stoker’s Dracula is a novel that has been adapted many times onto screen, and whilst some interpretations take great liberties with the source material, the basic story has become embedded in viewers’ minds across the globe. All the same, here is a quick recap. A solicitor, Renfield (Dwight Frye), is summoned to visit the castle of Count Dracula in misty Transylvania in order to discuss the Count’s purchase of property in London. It soon becomes apparent that Dracula is not one of the solicitor’s ordinary clients, and after a creepy overnight stay transforms the ill-fated Renfield into the Count’s demented lackey with an appetite favouring arachnids, the two of them set sail for London with Dracula intending to sink his teeth into some new blood. When modern horror fans sit down to watch an old antiquated film such as this, there is the assumption that it simply isn’t going to be very scary; advances in technology and desensitisation of the masses has lead to old films being viewed as comparatively tame to today’s gory fare- something on the same level as a cardboard cutout skeleton popping out at you on a rusty old ghost train. Dracula does admittedly adhere to this prejudice, but still remains enjoyable. The film emanates a slightly portentous tone, on the verge of plunging into pure melodramatic silliness. From the outset, the acting is hammed up to the nth degree, as the panic-stricken local villagers try and warn off Renfield from going to the castle (Renfield, of course, blissfully ignores them, because business is business.) The exaggerated theatrical acting is representative of a film industry that was transitioning from the silent era, in which the actor was required to use emphasised expressions and physicality to clearly communicate the story, into new ‘talkies’. The film also shows its age in some of its practical effects, which consist of rubber bats on strings, sure to evoke laughs from a modern audience. Then again, that really is part of the charm in watching an old-fashioned film such as this, not to be frightened but to simply take delight in all of the endearing cheesiness. The film does manage to create some genuinely chilling moments nevertheless, mainly through some brilliant compositions. As Renfield goes to meet the coach driver who is to take him up the precipitous path to the castle, he is greeted by a formidable face (whom the audience recognises as Dracula in disguise). The close-up of the Count’s half-covered face brings all the focus to his eyes with a streak of bright white light, illuminating them in an otherwise murky frame. This results in a truly foreboding appearance where the vampire’s eyes pierce through the frame and strike the viewer like baleful bolts of lightning. It is the main image that I remember whenever I think of the film, and sets up a recurring visual motif for whenever Dracula is in close-up. The set of Dracula's castle is simply magnificent. The beautifully constructed set design is joyfully exultant of the golden age of Hollywood, where the fantastical environments were completely unaided by any CGI embellishments. Browning shows off its grand scale with many lingering wide shots, but also brings us in closer, revelling in every eerie detail from the swathes of cobwebs to the gothic architecture. It is the film's most engaging setting and I really wish that more time was spent in it, dedicating more of the story to the tension of Dracula slowly ensnaring the still-sane Renfield in his grasp. Part of the reason that this is not the case is because in this telling, Renfield is the solicitor, not the heroic Jonathan Harker as is in the original novel and many other adaptations. The filmmakers, more than likely, didn't want to place the audience in the point of view of a character who eventually amounts to being the antagonist's subordinate. Why the change was made in the first place I'm not quite sure, and I feel it makes a much more satisfying story to have Harker introduced as the protagonist from the start. The Harker in this version, played by David Manners, hardly registers in the mind at all. He is introduced at about 30 minutes in and is simply there to fill the heroic male archetype in the blandest way possible. Thankfully, Professor Van Helsing (Edward Van Sloan) gets a much better treatment as the Count’s shrewd adversary. In the end, however, it is not Harker or Van Helsing that viewers really care about. The performance that matters, and by which each adaptation is ultimately measured by, is that of the titular vampire. Bela Lugosi gives perhaps one of the most famed portrayals of the character to ever exist. Lugosi’s Dracula was the first time that the character was presented as a suave, sophisticated gentlemen, highlighting the sexual undertones between him and his female victims. The Hungarian actor’s smooth accent adds a poetic gracefulness to his lines, successfully striking a balance between seductive charm and menace. This is in stark contrast to the original novel as well as the previous unofficial adaptation Nosferatu (1922), where Dracula (or Count Orlock as he’s referred to in the latter) is conveyed as a spindly, grotesque creature. Lugosi’s interpretation has clearly had a huge cultural impact; many incarnations of the story since have featured the character as a macho predator with strong sex appeal. The film, like many other monster movies of its ilk, is quite short; barely exceeding 75 minutes, the film storms through the outline of the book, glossing over some key events before you can say Abraham Van Helsing. This unfortunately tarnishes the experience, making it less than satisfying on a visceral level. The biggest victim of this breakneck pacing is the climax, which fails to conjure up any of the thrills you would hope from a showdown with the prince of darkness. A possible reason for such a damp squib of an ending could be due to the studio having to cater to much stricter guidelines with regards to portraying violence and gore on screen, with movie-goers back in the thirties being a lot more sensitive to such material than today. Just look at Tod Browning’s infamous Freaks (1932), released just one year later, which centred around a group of physically deformed carnival performers; the film caused outrage and disgust among critics at the time, and ended up being banned in the UK until 1963. The music is worthy of a quick mention, or lack thereof. In its original release, the film had no original score whatsoever. The only music featured in it was an extract from Swan Lake during the opening credits as well as some diegetic music in an opera house scene. Due to this, the film feels quite lifeless. Therefore, I would encourage that you watch the 1998 re-release that featured a newly added score by composer Philip Glass, which is available as an alternate version on modern DVD and Blu-ray releases. Glass’s score adds so much to the narrative by accentuating the feeling of fear and dread; the choice of using predominantly string instruments alludes to a feeling of elegance, deftly matching the persona of the Count. Tod Browning’s Dracula may not completely hold up today. It’s frequently melodramatic, plagued by pacing issues, and after its brilliant first 20 minutes set around Dracula’s castle it becomes disappointingly pedestrian. However, if you’re a fan of the classic era of Hollywood and embrace all things camp and theatrical, the film still provides a burst of fun and insight. #ThrowbackThursday #JosephBanham #TodBrowning #BelaLugosi #ClassicFilm #Horror

Directed by Nima Nourizadeh Starring: Jesse Eisenberg, Kirsten Stewart, Topher Grace ★★ Film review by Kieran Freemantle The year of spy films continues with another attempt to start a franchise, American Ultra. Written by Chronicle’s Max Landis and directed by Product X (2012) Nima Nourizadeh, American Ultra is an action comedy that has been dubbed “The Stoner Identity”. However it is lacking one crucial element – jokes. Mike Howell (Jesse Eisenberg) is a stoner and a loser with no memories of his life and works as a convenience store clerk in the small town of Liman, West Virginia. The only ray of light in his life is his relationship with Phoebe (Kirsten Stewart) and he plans to propose to her. But Mike becomes the target of a CIA black ops team, led by Adrian Yates (Topher Grace), awakening Mike’s spy training and the town suffers as it becomes a battleground. When the trailer was released American Ultra did look like it was going to be a mash-up between The Bourne Identity and Pineapple Express, having humour based on drugs shenanigans with moments of dark comedy violence. But the movie is much more serious then you would expect. The film starts with Mike narrating how much he loves Phoebe and he suffers severe panic attacks if he tries to leave the town, similar to Truman Burbank in The Truman Show. Despite the film being marketed as comedy, Landis is more influenced by Shane Black’s writing, mixing comedy, drama and action and deconstructs the action genre - Landis wanted to delve deeper into Mike's character, fleshing him out to be more then a stereotypical stoner, that he is someone who knows nothing about his past or his family. The comparison with The Bourne Identity is fitting, American Ultra is also a lot like the Shane Black scripted The Long Kiss Goodnight, another film about a person with amnesia living in a small town who finds out that that they were a super-spy and must find out their own past. Most of the cast play their roles straight and they are mostly competent. Eisenberg brings out the depth in Mike and is surprisingly convicing in the action sequences. Though Kirsten Stewart has a reputation for being cold and stiff - because of her role in the Twilight series - she was a likeable presence and had chemistry with her on screen partner. However, Topher Grace as Adrian Yates was the worst performer, acting like he came from a different film. He was given many crass lines and throughout the film there is an over use of the F word just to get an easy comedic or dramatic response. But Grace does occasionally cause a snigger which is more then some characters. Tonally American Ultra is jagging with its characters. Connie Brittain as Mike's former handler is like Pamela Landy from the Bourne series, protecting and aiding Mike as much as possible within the intelligence apparatus. Brittain, along with a big name actor who will not be revealed to avoid spoilers, are characters that could fit into a serious spy thriller or action thriller, yet there are other characters who look like they stepped out of a completely different film, such as John Leguizamo as a audaciously dressed dealer and Walton Goggins' Laughter, a skilled psychopathic henchman for Yates - which is another trademark of Black's writing. American Ultra is a big improvement over Nourizadeh's last film, but considering his last film was the repulsive found-footage movie Project X that was not much of a challenge. Nourizadeh is a terrible comedy director; there were some attempts at witty lines and visual comedy but both the delivery and timing was flat and it did not pack the punch it should have. An idea of Mike killing a couple of men with only a spoon and a hot Pot Noodle should have had a darkly funny quality to it, but even that was directed and performed too seriously. Nourizadeh was better on the action front and American Ultra did have some strong action sequences. The fist fights are hard hitting as men brawl, punch and wrestle and shoot-outs are entertaining to watch. The best action sequence comes near the end where Mike has to fight his way through a Walmart-like store, using whatever items are available as his kills them. It was violent and the camera followed the action in a seemingly continuous take. The scene in an ultra-violet lit basement which made whites very striking and was a fantastic visual. Max Landis lambasted American Ultra's disappointing performance on audiences wanting franchise films or films from big name directors instead of 'original ideas'. That argument would actually hold water if the film was a lot better, did not use ideas from other stories or the fact that Landis was planning a sequel, 'International Ultra' before American Ultra was even released. American Ultra was not funny for its premise, being too dramatic and whatever comedy that did show up was too underwhelming. Most of the cast try their best and the action is well choreographed, yet it is overshadowed by much better action-comedies. #JesseEisenberg #KristenStewart #TheatricalReleases #KieranFreemantle

Directed by Andrew Haigh Starring Charlotte Rampling and Tom Courtenay Film review by Hannah Sayer ★★★★★ Based on the short story ‘In Another Country’ by David Constantine, 45 Years is a reflective and emotionally moving character study adapted and directed by Andrew Haigh, which explores the power of the past and how it can consume and haunt the present. The film stars Charlotte Rampling and Tom Courtenay, in potentially career best performances, as Kate and Geoff Mercer who are planning a party in the week leading up to their forty-fifth wedding anniversary. Everything is going smoothly for the celebrations, until Geoff receives a letter informing him that a body of a young woman has been found perfectly preserved in the Swiss Alps. It is Katya, Geoff’s former girlfriend who died in the 1960s when she fell to her death while hiking with Geoff. It is with the introduction of Katya’s ghostlike presence that the relationship between the Mercer’s quickly begins to unravel. The idyllic yet imposing Norfolk landscape allows for Lol Crawley’s cinematography to truly excel. His understated style of capturing the eerily picturesque setting allows for the narrative to seem very realistic, often painfully so. The uncomfortable and intrusive nature of the sex scene puts the viewer in the position of the voyeur, witnessing this act that is often portrayed in a ‘sugar coated’ way on film. This is an example of one of Haigh’s daring elements in the film; older couples are rarely ever shown in film to be committing such an intimate yet normal act. This brings to the forefront the theme of the exploration of human nature, as Haigh chooses to examine how love and intimacy can be affected by an event even after two people have been together for a long period of time. The subtle long takes and slow zooms allows the audience to believe they are witnessing a realistic portrayal of a marriage; where we are unsure as to whether they will make it to the anniversary party that is looming, or whether recent events will cause their relationship to reach an upsetting climax. The importance of the passing of time within the film allows for a claustrophobic intensity to be created, as each day passes towards the big day. The simple closing shot at the end of most of the days, of Kate turning over in bed in the darkness to look at Geoff, allows for the viewer to believe this is a realistic study of a marriage, with their repeated routine establishing its strength after forty five years. However, these scenes highlight the exceptional performance from Charlotte Rampling, who even in the silence and the darkness captures Kate’s vulnerability and how her trust is slipping away from her marriage, as she begins to understand the repercussions of the letter. 45 Years is impressive and thoughtful in its handling of its themes and Andrew Haigh captures the harrowing reality of the psychological complexities of marriage. There is no denying that its exceptional performances are what enable this complex piece to achieve its five star status. #TheatricalReleases #HannahSayer #Andrewhaigh #TomCourtenay #CharlotteRampling

Written and Directed by Rian Johnson Starring Bruce Willis and Joseph Gordon-Levitt Film review by Chris Olson "Avoid The Loopholes" Time Travel. The age-old question, and sworn enemy of continuity. A science-fiction convention so steeped in unanswerable questions that many who attempt its dissection, find themselves mumbling incoherently in a padded room. Such is the reputation of time travel, but still filmmakers endeavour not only to use the sticky subject, they wholeheartedly base their films around it. Rian Johnson (director of Brick, The Brothers Bloom) is one of these daring storytellers, whose film Looper has already earned him critical and popular acclaim. Joseph Gordon-Levitt plays Joe, a young and talented hired killer in the year 2042. His job (known as Looping) involves murdering targets who have been sent back from the future by powerful criminal organisations, who need to dispose of their victims. Time travel, not yet invented in 2042, is available to the richest and most powerful people 30 years later, but only to criminals as it has been outlawed. Joe, well paid for his services, enjoys a full-throttle lifestyle of eye-drop drugs and loose women, but always aware that his time may come. Because, crime lords of the future are keen on keeping their discretions secrets, which means that Loopers of the past must be killed in the future. This is where it gets a bit mind-bending, as Joe, at some point in his career, will have a future version of himself in front of him, who he must murder, thus keeping the cycle nice and clean. However, future Joe (in the form of Bruce Willis) is well-prepared, and manages to escape from his younger self, therefore creating a man-hunt which involves past and future Joes, as well as a bevy of baddies. Reluctant to expand on much more of the story (mostly due to fear of a migraine), I will say this: Looper is a very, very worthwhile film. It holds together far better than most which attempt the tricky time travel plot, and benefits from a spectacular cast. Gordon-Levitt, already enjoying the spoils of a brilliant career this year, is his usual, understated-but-likable self (although the special effects to make him look like a young Bruce Willis is quite distracting at first). He maintains the character’s balance between action-hero and anti-hero well. Willis is the perfect maturation figure for Joe, offering a tired and wise killer who is very dangerous, but also relatable, as we are given the story of Joe’s past (or future, depending on which one you are referring to) which shows why he has disturbed the time-space continuum in order to wreak havoc in the past. Emily Blunt turns up as a red-neck farmer called Sara, living with her telekinetic son in a dilapidated home amongst the corn fields. Her son, tangled up with future Joe’s reasons for returning, becomes a focal point for the story, as does Sara’s relationship with present Joe. Deserving of its acclaim, Looper is an intelligent, engaging movie that deals with a complicated story in a very entertaining way. The violence is just heavy enough to bolster it into adult territory, as is the swearing - in particular from Blunt, whose dirty American accent and cursing is a welcome change from her usual British stereotype. Time travel movies tend to rear up many questions about alternate realities, butterfly effects and the like, but Looper manages to include those subjects, without making the movie feel nerdy. You don’t need a degree in physics to keep up with the story here, and you can enjoy the story without going into all the sci-fi stuff. If you do start to pull apart the themes and issues at work here though, you may find yourself in that padded room. #ThrowbackThursday #BruceWillis #JosephGordonLevitt #ChrisOlson #EmilyBlunt

Directed by Vasily Chuprina Starring Jennifer Marshall, David Humphreys & Derek Dubois Film Review by Monica Jowett The sun shines down on a suburban house in America, where a small family eat breakfast, completely unaware they are at the beginning of a day that changes their lives. This short family drama A Morning Call, from writer and director Vasily Chuprina, is full of hints and twists, keeping you guessing from start to finish. A family of three eat breakfast, but there is a noticeable tension between Jane (Jennifer Marshall) and her husband Bill (David Humphreys) as they do not talk to each other and avoid eye contact. Bill quickly leaves after receiving a phone call from work. Jane later talks to a friend about how different things are with her husband. However she may be right in her concerns as Bill goes to meet a mysterious younger friend, Mike (Derek Dubois) whom he has clearly got a close relationship with. Jane’s problems get even worse when the police show up at her door and tell her of a major accident. For a short film, A Morning Call packs in many twists and turns. Is Bill cheating on Jane? Is Bill cheating with a younger man? Is Bill dead? By including different plot points, so we have no idea how the story will end up creates a more engrossing film, which makes up for the flat performances of the lead roles. Though the emotion is still there as Jane worries about her possibly unfaithful husband or that he has died and left her and their daughter, there is a stiffness to the performances that draws us away from the tragedy on screen. However a longer film that gave more substance to the characters whilst including the family drama would provide an improved film built from an already solid short. A good short film, with an interesting storyline suggests how important it is to communicate, even within a small family unit, so as to prevent any misinterpretation and tragedy, when in fact there is a really good outcome. #shortfilmreviews #MonicaJowett

Directed by Adam Stephen Kelly Starring Guy Henry Film review by Amaliah S. Marmon-Halm A short that contains so much drama and intrigue in such a small package, Done In shows an ageing man (Guy Henry), in a beautiful manor, recalling memories of his life as he is saying his goodbye to the world, all in the hope of being reunited with his dead wife. What first seems like a rather sad and sweet story swiftly becomes rather sinister and quite dark (Don’t worry, UK Film Review don’t knowingly do spoilers!). Upon first glance, this might seem like a short film that would tie in very well to a Downton Abbey, safe for a cup of tea type of movie, but appearances are often deceiving. This is not a short to be brushed off and added to the pile of period dramas that always seem to be produced in abundance. The elegant nature of the shots and the very nature of the film just makes you want to give a little more attention. Director Adam Stephen Kelly and his team very masterfully create this wonderful drama in such a way, using pictures of his children and the stories of his past, you immediately feel very bad for the man. They also seem to be masters of misleading the audience as the final twist is rather unexpected. If you are a fan of Holby City/Casualty, then Henry’s sinister yet charming face will be a familiar one. As the narrator and man behind the goodbye letter, his delivery just adds to the sombre tone and carries so much longing. As with any good thriller, there are moments that are truly shocking and tragic! The latter half of the film successfully transforms the atmosphere to where your entire perception of the story changes. Apart from a few sound and editing issues, this really is a great film that does leave you asking “just why???” at the end. #amaliahsaramarmonhalm #shortfilmreviews

Directed by Keri Collins Starring Ray Panthaki, Vicky McClure and Adeel Akhtar Film Review by Amaliah S. Armon-Halm ★★★ “One Night. Two men. Three hostages. No clue” I really do love it when a tagline sums up a film so perfectly that it makes me feel like there’s no need to review it…but you’re getting the film review anyway. Ajay (Ray Panthaki) and Shaan (Adeel Akhtar) have found themselves in a real mess. All because Shaan wanted a quiet place to read his book and didn’t take note of a few angry Russian mobsters and some unpaid and confused strippers, meaning their night will take them on a weird and comical series of events. To cover the fees and avoid a painful beating, the boys plan to come up with the money before the night is out by robbing a petrol station. However, a timed safe stands in their way so they decide that the best plan of action is to tie up the staff and a couple customers and work in the store until the safe is open. What follows involves a suicidal businessman (Anthony Head), a dwarf cowboy (Verne Troyer) and just a series of craziness that glues the film together. For a film that only cost around £80,000 and was shot over 128 days, this really isn’t a bad comedy movie. There are times when it really seems to be struggling to get a laugh out of the audience, with the usual batch of British slapstick but there are also times when it does seem reminiscent of a black comedy hit like Four Lions (2010). This is an ideal film if you simply want something to watch whilst eating pizza and having a good little catch up with your buddies, because that seems to be the intention of the filmmakers. If you look at this too seriously, you will most likely be a bit disappointed, as it does seem to parody the heist genre. However, this petrol station heist film is a lot of fun that even has its “n’aww” moments. Watch the Convenience film trailer below... #TheatricalReleases #amaliahsaramarmonhalm #UKFilm

Directed by Jarrad Paul and Andrew Mogel Starring Jack Black and James Marsden Film review by Jack Martin Wanting to stand out from the flux of much more prominent high school reunion films and yet never quite managing to collect the courage to do so, The D Train has some interesting twists but it doesn’t add up to much which makes it a fairly forgettable ride. Jack Black is Dan, the self-imposed chairman of his high school’s reunion committee who isn’t very popular amongst his peers – they go off to a bar without him, moments after saying they were just going home for the night – and leads a quiet and content life at home with his family, including his wife played by Kathryn Hahn, and at work with a rubbish internet connection. One night, when Dan comes across a TV advert featuring the most popular guy in his year, Oliver Lawless (James Marsden), he heads out to LA on a faux business trip – reluctantly accompanied by his unassuming technophobic boss (Jeffrey Tambor) – to convince Lawless to attend the reunion, which in turn would lead to everyone else being interested in coming. That’s where things take something of a turn – we won’t give things away here, but an incident happens that Dan immediately regrets and, as a result, decides that inviting Lawless is a big mistake – unfortunately, that comes just as Lawless does indeed RSVP and wins the affections of everyone around him, much to the ever-growing discomfort of Dan. Said incident clouds over the film’s second half, which gives the film a bit more of an edge that most bromance films would even dare to tread upon – however, that’s really the only thing that makes it more interesting to watch than anything else. Despite good turns by the cast, in particular Black who tackles his juiciest role since Bernie, the script by first-time directors Andrew Mogul and Jarrad Paul flip-flops constantly between tones – it’s a raunchy comedy at one point when Lawless is graphically describing three-ways with Dan’s dorky 14-year-old son, but a business drama the next with a sub-plot involving a white lie made to Tambor that slowly grows out of control – and never finds its footing. What should be dramatic revelations are softened by an execution that lacks strength which is substituted with restraint and an odd sensation of safety, an odd choice considering the boundary-pushing twist that occurs mid-way through. Mogul and Paul also don’t manage to succeed with making it a character study, as the majority of them are neither interesting nor easy to root for at multiple points. Lawless, who should be the larger-than-life breakout character, is instead a rather bland amalgamation of traits we’ve seen before in faded star archetypes; and Dan, in his increasingly insecure obsession with the man he set out to win over, becomes a monstrous and unlikable nuisance of a control freak, which is only barely resolved by the film’s close. The film’s title takes itself from a list of nicknames Dan wants to associate himself with, but none of them are more accurate than the one we’re thinking of in our own heads. The whole thing is just a bit forgettable, so much so that we had to shorten our review length in order to actually talk about it, because there really isn’t that much we can say about it or even remember. It’s not without some qualities – like we said, there are good turns by its cast, and it handles the whole “business trip” comedy scenario FAR better thanUnfinished Business, but that’s not really saying a lot – but The D Train is one that you won’t be kicking yourself for missing. Read more of Jack Martin's reviews here - http://www.filmfeeder.co.uk/the-d-train-review/ #TheDTrain #TheatricalReleases #JackMartin #JackBlack #JamesMarsden