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“Tris this the real life? Is this just fantasy?” **** The immortal words of Queen there, adapted and skewed as a film review title for the second outing in the Divergent series of blockbuster movies. Insurgent, the second instalment, received mixed reviews at its theatrical release earlier in the year, the most common reaction being an apathy towards teen-fiction adaptations (see Hunger Games, Twilight, The Maze Runner). So why should UK audiences think about engaging in yet another dystopian smorgasbord of teen heartthrobs running, jumping and being all moody? To catch anyone up who has yet to watch the first film (or read the book), the Divergent series is set in a walled city, namely Chicago, where a structured eco-system has developed in which the population are categorised into different factions, depending on their personality. If you are brave and strong, you’re probably in Dauntless, if you are a boffin, you go to Erudite. The other factions are Candour (trustworthy), Amity (peaceful), and Abnegation (selfless). Of course, a rigorous pecking order like this has its issues, there are those who fit in nowhere (the faction-less) and those who are divergent - fit into any… By the time we reach Insurgent, the storyline has become a chaotic thrill-ride in which Tris (Shailene Woodley), our Dauntless/Divergent heroine, is on the run from the government (led by a wickedly brilliant Kate Winslet). Having foiled a political coup by Jeanine (Winslet) in the first film, Tris is then framed as an upstart renegade who must be destroyed, leading her and her beau Four (Theo James) away from the pursuing forces, and into the arms of any faction who will have her. There is a full-throttle pace about Insurgent that delivers on several levels. First off, the action in this movie is spectacular - delivering scene after scene of breathtaking moments that avoid any awkward dialogue spewing out (Twilight) and instead give out more knuckle sandwiches that a martial arts film. Secondly, Shailene Woodly delivers an astonishing performance within this role, giving a huge middle finger to gender inequality and roughing it out in fight sequences which would give The Raid a run for its money, whilst handling the emotional breakdown of her character with gravitas and poise. And lastly, Insurgent capitalises on the strides it made with the first film (great action, spiky attitude) without resorting to mindless romance plotlines or saccharine displays of heroism. Tris is a broken character in a messed up world, she’s not a damn Avenger! That being said, the film does get caught up in its own cables, almost literally, as the plot moves into dream-simulator territory. As we see sequence after sequence of reality mixed with dream mixed with simulation, actual events become a afterthought and the focus is put on shattering glass and disintegrating heads! This removes too much threat and tension from the movie, leaving the audience with a feeling of “Well, they will probably be okay. It’s most likely a dream bit.” So, where does Insurgent, and the Divergent series, rank in the list of franchise fury? Where does it sit in the pecking order of teen titles? Somewhere near the top is the answer. The filmmaking is smarter and more enjoyable than Twilight, more coherent and brutal than The Maze Runner, and probably on par with the likes of The Hunger Games. It seems a shame that Woodley’s performance will be buried beneath a glut of box-sets, but having delivered sterling performances elsewhere (The Fault in Our Stars), and proving she has the knuckles for a good scrap, she should easily hit J-Law status any moment. Review by Chris Olson Insurgent is available on Blu-ray and DVD from 3rd August, courtesy of Entertainment One #Insurgent #DVD #Bluray #Moviereview #UKFilmReview #FilmReviewsUK #ShaileneWoodley #ChrisOlson #filmblog #film

Written & Directed by Kenton Hall Starring Scarlet Hall, Hero Hall & Kenton Hall Review by Chris Olson *** A post-modern adventure that depicts the spirit of youth as chaotic and unrestrained, where rules are meant to be broken - both literally and artistically. Daisy (Hero Hall) and her sister Maisie (Scarlet Hall) live with their father Henry (Kenton Hall), a writer who shows a refreshingly blunt approach to fatherhood, at one point asking his girls “So girls, do you have any questions about menstruation?”. Henry attempts to give his daughters direction with bold sarcasm and protective lecturing, but his openness and humour is met with quick rebukes from his offspring who seem more than capable of tackling life’s hardships. Growing up is hard, but the focus of A Dozen Summers is on the viewpoint which can be found in a 12-year-old, who is able to see the world from a unique perspective. The cusp of puberty, the tipping point to teenage years, offers a wonderful landing point for a story about life’s foibles, and the idea that formative years can take wildly different directions depending on your guide is compelling. These girls have a particularly focused outlook on life, dissecting it directly to the camera for the audience to understand their conflicts. Adults are not the sage mentors dispensing wisdom like a vending machine, and can in fact be seen as infantile bigger people, who just happened to make it to the other side of puberty. There is a comic farcicality to Kenton Hall’s story, especially where the adults are concerned, that reveals the confusing nature of “growing up”, especially when the role models around us are riddled with imperfections. Running parallel to the themes of adult incompetence, Maisie and Daisy face regular confrontations with a group of bullies, who throw around hurtful “stigmas” like being a “lesbian”, without really understanding the term or why it would even be derogative. This blurry confusion that surrounds youthful tormenting is wonderful to see from the girl’s point of view, as it is an important part of the growing process, and they deal with the insults with a grace that would rarely be found in many adults. Not all their peers are monstrous homophobes though, and puppy love is thrown in as another emotional unbalancing blow. The structural approach of having the girls make a movie about their lives offers an artistic freedom that is totally necessary to explore the themes in a new and exciting way. Kenton Hall tackles the story with sensitivity, but never shying away from the moments which could be deemed inappropriate, instead using humour and frankness to open a dialogue which is consistently appealing. Using the editing, the film is able to dispense quick cuts and fantasy sequences to introduce great comedy moments, without being limited by conventional methods. Speaking of dialogue, the script is where A Dozen Summers is on shakier ground. Hero and Scarlet are not able to offer the lines much in terms of emotional diversity, coming across like a school play in some scenes - but this is their first feature and what they do achieve is hugely impressive. The more seasoned actors are able to swoop in and lift the script up at times though, especially Kenton Hall himself, who delivers many chuckles with his modern dad, as well as moments of inner reflection. It was also lovely to see Ewen Macintosh (of The Office fame) turn up in a small role as a newsagent cashier. More could have been done with the wilder aspects of the movie, taking on a more diverse range of scenes and locations in order to fully utilise the unrestrained methodology. By the middle section of the film the story settles into a more everyday aesthetic which looses momentum. It is testament to Hall’s filmmaking, though, that audiences will want more. As a children's comedy film, the laughs and giggles need to be ever-flowing though, with plenty of imagination thrown in. It’s fantastic to see a British comedy with such a fresh and ambitious spirit. A Dozen Summers brilliantly captures a unique perspective on the coming-of-age genre, with heartfelt sensitivity, goofy quirks, and plenty of moxie. #ADozenSummers #Britishfilmmaking #IndieFilmReviews #KentonHall #ChrisOlson #Comedy #Children39scomedy

Review by Chris Olson "Why am I so totes emosh?" **** A visual and imaginative treat, Pixar deliver an original coming-of-age story that pulls the viewer apart from the Inside Out. Disney films inherently yank at the heart strings, but this newest offering from the-studio-that-made-you-tear-up tackles a far broader spectrum of emotional turmoil, personifying our characteristics into charming, loveable and, yes, merchandisable characters. Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith) take centre stage in the mind of 11 year old Riley (Kaitlyn Dias), like captains of the Starship Enterprise, operating her reaction to everyday life and hoping to create some pivotal core memories. The conflict arrives when Riley is to start at a new school when her family uproots to California, and to make matters worse, her emotions are becoming unstable! Sadness threatens to overthrow the delicate balance of the brain, which Joy (the film's leading lady) attempts to avert only to find herself lost within Riley's long term memory. If Joy and Sadness can't find their way back, Riley's childhood happiness could be lost forever! The clearly defined character limitations could have hampered Inside Out, and at times the emotions seen to trip over each other, but Pixar creates terrific arcs for these emotions that are compelling, allowing a more thoughtful and inspiring process to take place. Deeper levels of thought are encouraged as this language of emotions is presented to the viewer, making the abstract not only watchable, but mesmerising. Ambitious filmmaking combined with ambitious storytelling. The narrative is so intelligent and thought provoking, that the simplicity of animation is the only effective medium which could be used, allowing a sophisticated yet accessible journey to unfold. The "ordinariness" of Riley and her predicament, tied in with the coming of age trope, puts Pixar on firm footing. After several years of talking cars, talking planes, and talking monsters, a high concept idea of talking emotions seems not only less surreal but also more adventurous. There is a frenetic vibrancy about the colours, score and overall aesthetic of Inside Out that is entrancing, with fantastic performances across the board. Special mention must be given to Poehler, who is enigmatic. Imaginative devices are brought in that enhance the story (such as a literal Train of Thought or memory workers who dispose of old memories to make space, and yet still retain that annoying ad jingle stuck in your head), and creativity shines through the tremendous space that is Riley's mind. Few films are able to deliver across all of the areas that Inside Out does, and even fewer are able to do it in a way that is so emotionally affecting. Criticism has come that the movie is a downer for a Disney film - and to those people they may need to consider the movie's intention. All our emotions are important, the pursuit of Joy cannot come at the expense of other feelings because it will discourage personal growth. Sadness, whilst like an emo Smurf, is a vital part of Riley, and not something to be pushed into the depths of forgotten memories. The film does slip into a few blurry areas, as some of the emotions seen to suffer from their own personal conflicts rather than being a clearly defined aspect of Riley, but overall they are brilliantly crafted creations from a studio-that-defined-your-childhood who is still defining cinematic brilliance. #InsideOut #TheatricalReleases #Disney #Pixar #ChrisOlson

Written & Directed by Mark Brennan Starring Amanda Barrie, John Challis, Abigail Parmenter, William Postlethwaite & James Hamer-Morton Review by Amaliah S. Marmon-Halm Overflowing with light, pastel themes, delicious cakes and teapots, Tea For Two is a slightly supernatural little romcom that's sure to make you feel warm, fuzzy and in need of a cuppa. We are first introduced to Jim and Alice, a bumbling old married couple, who appear to run their cute and quirky village tea room. They initially seem like a harmless and welcoming couple, anxiously waiting for their customers to arrive. As their first customer arrives, a young man looking for a treat in his lunch break, a series of intriguing and odd events start to occur. He's given a rather cold reception from Jim and upon the mentioning of cake, it seems like the young man is irrationally in his bad books. It starts to become obvious that this couple is more mischievous than they originally let on. Next to visit is young woman, also on her lunch break. With Jim and Alice both becoming starry eyed, it's clear to see that they have an agenda for this pair. Through a series of bumbling mistakes, odd actions and nervous excitement, Jim and Alice set themselves on the young pair like a pair of overexcited cupids looking for a target. The twists that intertwine this film are delightful and hilarious. What this film also does well is take the classic British comedy blueprint and give it a delightful modern twist. An audience of any age can watch this and either relate to the annoyance of the young pair or the playful mischievousness of the old couple. What you end up with is an adorable tale of tea, cake and what it means to rediscover an old love, a short film that leaves you chuckling along with every mishap. The twist, although somewhat expected, is sure to leave you with that warm and fuzzy feeling. #TeaForTwo #ShortFilmReview #amaliahsaramarmonhalm #MarkBrennan #Comedy

Directed by Nick Goulden Starring Séan Browne, Jye Frasca & Michael Ryan Review by Chris Olson Enemies of the state beware, they…are…watching. A common premise, Big Brother has often been the ever-present villain in a suspense thriller or action blockbuster. The idea that we are being watched, monitored, tagged, and splashed across PowerPoint presentations in some Pentagon boardroom is now so commonplace it no longer seems to worry us. Technology is too awesome to give up for something as trivial as privacy! Nick Goulden’s short film, Reality Mine, however, approaches the subject with a fresh perspective, asking the question: what’s the tipping point between integrity and preservation? Opening with a thrilling action sequence in which we see two figures, clad in guerrilla gear, blow up a building and accidentally killing someone in the process, the movie appears to pitch its tent in familiar territory of activism-cum-thriller. However, a shift occurs when the story focuses on unassuming family man Max (Séan Browne), who is lifted off the street and dumped into a bland hotel room opposite Charlie (Jye Frasca), a pencil-pusher from the Home Office. However, Charlie’s infinite access to pretty much anything that Max has ever said, emailed, watched or paid for, makes him a formidable presence in a world where knowledge equals power. The plot then explores the dynamic between Max, who is the brother to one of the aforementioned terrorists, and Charlie, who is offering a deal to keep Max out of the inevitable public shaming, as long as he plays ball… Online data, and our attitudes towards it, makes a compelling theme for a modern short film. On the one hand humans are enduringly suspicious of technological advancements, especially where privacy is concerned. And yet, specific developments have become so commonplace that the tide of change seems to sweep you up whether you want it to or not. Goulden plays on this theme throughout, and the choice to have Jye Frasca, far from an imposing or threatening bodily presence, as the Home Office shark was intentional. The idea that our enemy has already invaded our lives and just waits for the opportune moment to exploit us is quite terrifying. Goulden takes this a step further as well, proposing a question through the character of Max (superbly played by Séan Browne): are we the summation of an endless stream of data and figures? Or would our “character” emerge regardless of the impressive amount of ammunition that could be used to manipulate us? Interestingly, we may not all be as heroic as we think we are, especially when the other side has a list of all the dodgy websites we have ever visited! By the climax of the film, Max’s inner turmoil becomes a full-blown mental whirlwind in which his deepest, darkest secrets have been sucked from him and strewn across a hotel room desk. Brilliantly paced and riddled with fine performances, Reality Mine is a short film that passes the Golden Test - yes, we wanted to see a full-length feature. Not only was the story compelling and the themes meatier than a horse burger scandal, there is a relevance here that audiences will, pardon the pun, connect with. Jye Frasca is a treat to watch but its Séan Browne who steals the scenes with a cleverly balanced depiction of anxiety and attempts of control when he holds none of the bargaining power. There were moments where the film stumbled, such as a phenomenally retro overhead projector displaying all of Max’s email inboxes - it seemed to date the scene immediately, especially when you consider that, at the beginning of the movie, the bombers used a timer on an iPhone! Another aspect was some of Charlie’s threatening lines, which came across a little too dramatic for what was supposed to be an average office type. That being said, at not point is the dynamic between Charlie and Max anything but riveting. Hats of to Lee Thorpe, for the pounding score which creates a lovely tension throughout the running time, as well as the superb editing by Marco Ruffatti - who allowed the scenes enough breathing time envelop the audience without letting them escape the intensity. Overall, this is Goulden’s show, a conscientious filmmaker who expertly captures the essence of his story with every tool at his disposal. Reality Mine is evocative and thought-provoking, with formidable performances. Audiences may well be contemplating the issues the film raises long after viewing, especially when deciding whether or not to leave an online review that could one day be used against them!…crap, now I’M worried! Watch the trailer for Reality Mine below, or head over to their Facebook page for news and updates. #RealityMine #ShortFilm #UKFilmReview #SéanBrowne #NickGoulden #JyeFrasca #SupportIndieFilm #Britishfilmmaking

**** Review by Ross Lines Asif Kapadia's unflinching documentary on the rise and fall of Amy Winehouse, is an eye opening and often harrowing insight into the real girl behind the beehive and scrutiny of the red tops. The film opens with footage of Amy in her early teens with friends, innocent but a twinkle in her eye, already gifted with that sultry, smoky voice destined for Jazz clubs and, later, the world's stage. As with Senna, Kapadia avoids talking heads and sticks to voiceovers from those who were closest to Amy, from childhood friends and family to her first manager, which proves effective and intimate throughout. It's refreshing to see Amy in her true light, full of face, intelligent, enigmatic, with a wicked sense of humour. The uncompromising attitude always shining through. Dedicated to her craft and losing herself in the music, we are reminded just how good her voice was, especially in footage of stripped back songs - a guitar her only accompaniment. As her star begins to rise with the launch of her first album “Frank”, we see the corruptible elements of her environment appear. Winehouse lived her life through her lyrics, she wore her heart on her sleeve and her most loved men on her skin. Both Blake Fielder and her father Mitch have important roles to play here. Mitch Winehouse has distanced himself from the film, taking issue with how he has been portrayed, neither he or Fielder come out well but the film remains subjective, Kapadia's returning theme of letting the footage tell the story can hardly be argued with and there is no victimisation here. If anything, she was a girl yearning for the love of a father who wasn't always there and a man whose mutual feelings created a physically toxic chemistry. Moving to Back to Black it's evident that this album was a gift and a curse, much like Truman Capote's book “In Cold Blood”. It became her undoing, the genius of her lyrics was due to the fact she was living them (see 'Rehab') and the sudden media glare following the success of that single exacerbating her need for dependency, be it drugs, alcohol or Blake. The startling footage of this little girl lost in a sea of endlessly flashing bulbs is disturbing, each flash a gunshot wound to the staggering songstress. Poor decisions from her 'people' such as forcing her to perform shows she could neither physically or mentally handle, reveal her downfall was the fault of many, including TV show hosts of much repute feeding off of her like vultures, and the public lapping up the public execution. There are avenues left somewhat unexplored, her relationship with her mother is skipped over briefly and it would have been nice to hear more on her song writing process. But altogether Amy is a fine portrayal of an immense talent, a modern Billie Holiday suffering from a mental illness that was ignored or not addressed until it was too late. Both Amy and her idol Tony Bennett reveal that Jazz singers prefer a small audience, maybe because of the intimate nature of the songs. Perhaps when it is all said and done, she was performing for too many people - both on and off the stage. To read more reviews by Ross Lines visit - http://thelonggoodfilmblog.wordpress.com/ #Amy #AmyWinehouse #RossLines #TheatricalRelease #AsifKapadia #UKFilmReview

Review by William Baldwin Ian Mckellen is somewhat unique in today’s film business. He isn’t your typically good looking leading man or supporting actor. But the man has had big film parts in movies such as Apt Pupil, the Lord of the Rings, the Hobbit trilogies, the X-Men films and arguably his best performance in Gods and Monsters directed by Bill Condon. At the tender age of 76 he shows no sign of slowing down. And now he plays Sherlock Holmes. Sherlock Holmes at the age of 93 lives in a house in the country with his housekeeper Mrs. Munro (Laura Linney) and her son Roger (Milo Parker). Whilst there he gets flashbacks about an important case he was involved in, but the outcome of which he can no longer remember. With his memory deteriorating he has to use his skills as a detective to find out what he did in his own life. Ian McKellen is of course brilliant, delivering a subtle performance showing Sherlock’s pain, suffering and loss of memory when he is at old age and completely the opposite when he is the younger Holmes in the flashback scenes. Laura Linney is surprisingly good for an American putting on an English country accent. When it comes to the acting, everything is fine. However, the film is very slow, I wouldn’t mind this if interesting occurrences were happening but this film has surprisingly dull moments from beginning to a relieved end. What I was expecting was a murder mystery type of film, but instead what we get are uninteresting scenes like him staying in a house for most of the film, tending to bees and wasps in the garden etc. Scenes like these were disappointing because they failed to deliver to a standard one would expect from such a stellar building. Now this film isn’t terrible, as it had a couple of laughs and some good moments but overall audiences will be expecting much more. #MrHolmes #TheatricalReleases #IanMcKellan #filmblog #Film

Directed by David O. Russell Starring Jessica Biel, Jake Gyllenhaal & James Marsden ** “Girl Scout Poop” Review by Chris Olson Politics and romance rarely mix well. Both are gloopy with clichés and contain caricature characters, but combined as film genres into one movie removes the point to the politics and the revelry to the romance - lob in some offbeat comedy and you have a recipe for disaster. Such is the makeup of David O. Russell’s Pol-Rom-Com, Accidental Love, starring Jessica Biel as Alice - a small-town gal who ends up in Washington D. C. as an advocate for free emergency health care after she receives a nail into her head. Picking up her cause, and her skirt, is Howard (Jake Gyllenhaal), a buffoon of a Senator, whose political edge is as sharp as a Space Hopper and along with them are a ragtag team of underdogs, girl scouts and losers, as well as Alice’s hometown ex, Scott (James Marsden). Chaos from beginning to end, Russell’s film never really finds firm footing, the unevenness to the plot tries to be endearingly kooky, but comes off as irritating. Whilst Alice’s struggle has some poignancy and political gusto, the themes are completely undermined by a childish script, and set pieces that make Rob Schneider films look cool. In one scene, Senator Howard is attempting to lay low from the political shit storm that Alice has created, retreating to a fire-wielding cult, where he attempts to find his core. The inane farce of this scene is hard to watch. Given the big-hitting cast and the idea of championing free health care running through the story, it seems a shame to have misfired so badly. Political satire, when done well, can be one of the most effective and satisfying of genres, but Accidental Love takes a different approach - opting for lazy gags and shallow characters that no one really cares about. That being said, Marsden and Gyllenhaal do elicit a few good chuckles from the audience, even if it is completely irrelevant to the story. The script fails to deliver hearty laughs or compelling drama, especially in the final third of the film which blitzes through a Mr Smith Goes To Washington style climax with little attention to detail. Even the title of this film seems baffling! Accidental Love? It should have been called House of Shards. Accidental Love is available to buy on DVD - Monday 20th July. Check out FilmFish to find movies similar to Accidental Love! #AccidentalLove #DVDReview #JessicaBiel #JakeGyllenhaal #UKFilmReview

“An Ench-ant-ing offering from Marvel” Written By Jack Bottomley Years ago, the superhero film (Batman and Superman aside) was not exactly a booming genre. Colossal failures like Supergirl, Steel and Captain America (1990) were but a few of the genre’s offerings that, pun intended, failed to fly. Now fast-forward to modern day and barely a week goes by without hearing that a new superhero is soaring into the multiplex, so what happened? The source material has changed over the years but hardly undergone drastic differences, so why is it that one of cinema’s once hardly distinguished genres is now one of the most financially successful? The easy answer is passion. The modern day passion for source material, for the faith in superhero films as viable big screen go getters and the passion of a crew who…to put it bluntly…know their shit. That being said, with the Marvel Cinematic Universe in Phase Two and already setting out its jam-packed future and with the DC Universe looking set to emerge in the next few years could we be reaching a super-saturation point? Perhaps, but just as you think that, here is the cure to hero fatigue…freshness. Originally helmed by Edgar Wright (though he is still credited in script and story and Ant-Man very much feels to have his DNA running throughout), Ant-Man is an adaptation of Stan Lee, Larry Lieber and Jack Kirby’s Marvel comic book hero. Armed with an unexciting shrinking ability, ant communication skills and other less showy powers, not to mention Wright’s much publicised (but hardly controversial) departure, this heroic caper did not come with the typical Marvel machine hype that has become the norm with The Avengers team. However, shock can be a wonderful thing because Ant-Man is not only a fun superhero film, it is a vastly different and energised one. The film centres on Scott Lang (Paul Rudd) a convicted burglar, released from prison and looking to provide for his young estranged daughter. To do that, he ends up getting back into thievery, only to find that he has drawn the eye of Dr. Hank Pym (Michael Douglas), who gives Scott a second chance to be the hero his daughter thinks he is. Pym wants Scott to be the Ant-Man and help save the world from Pym’s obsessed former protégé Darren Cross (Corey Stoll), who is close to unleashing Pym’s revolutionary technology (that he has hidden for years) and thus endangering the world. It is in many ways a very simple set up and story that is not pre-occupied with expanding Marvel’s universe so much as it is in establishing its title hero first. Many may have mourned Wright’s absence but where he left and where Director Peyton Reed took over is undistinguishable in a film that might just be the studio’s most enjoyable and accomplished effort yet. Ant-Man boasts an expert balance of humour and action, with terrific casting and ingenious set pieces at every turn. The film features a constant array of dazzling scenes that instead of looking up to the skies zoom down to the ground with an equal sense of wonder. True some of the plots origin elements are by-the-books but the wit and innovation behind the action makes this film a cut above some of Marvel’s other films. As does the fact that this is more of an exciting heist caper, with heroic elements, a genre blended joy that plays like Iron Man meets Mission: Impossible…with ants! Ant-Man often toys with its own ridiculousness for comic effect but never betrays its necessity to have a genuine heart to it. For instance the peril of the ingenious finale is still omnipotent but the script makes space for some laugh out loud sight gags and toying with the idea of big scale action. Paul Rudd is the perfect choice for Scott, he nails the charm, snappy chat and everyman elements of the character and gives Marvel its most grounded hero in some time. Michael Douglas is outstanding as Pym, unshakably morally driven and determined, with an understated emotional depth. His connection with his onscreen daughter Hope, played with the right balance of humanity and badassery by Evangeline Lilly, is one of the movies unsung triumphs leaving future films groundwork to build on. Michael Peña offers outstanding comic support as Scott’s mate Luis and while Corey Stoll’s villainous turn is not as downright engrossing as Loki, he does darn fine work in the role. Ant-Man has the same snap in its celery as Iron Man, with the out and out fun of Avengers Assemble and the edge of Guardians of the Galaxy, all blending to make for the most surprising and in turn most accomplished Marvel outings yet. The risk was huge, the hero is small and the results are wonderful, inventive and refreshing. From sailing through drains to train set set chaos, this film is funny, gripping and an absolute joy from beginning to end. The universe advances (stay seated for both Post-credits scenes), a new hero scurries into the spotlight and a dedicated cast and crew breathe life into a story that could have, in lesser hands, been absolutely stupid. There is no other word for it Ant-Man is awesome and perhaps the most fun you will have all summer and perhaps all year! #AntMan #UKFilmReview #MovieReview #PaulRudd #MichaelDouglas #JackBottomley #TheatricalReleases #Marvel

Review by Chris Olson The Last Sparks of Sundown Written & Directed by James Kibbey Starring Shenoah Allen, Mark Chavez, Emily Bevan, & Miles Jupp **** “Crisps, that what they call them over here, crisps. I love that, it’s like saying “Hey come here” discreetly, to a guy named Chris.” Just one example of the enormously pleasurable lines for James Kibbey’s outrageously funny film, The Last Sparks of Sundown, starring Shenoah Allen and Mark Chavez as two American actors, looking to turn the tide on their terrible lives, by cashing in on their dead Grandfather’s English home-cum-manor house. Travelling across the pond, Matt (Chavez) and Harvey (Allen), arrive in England hoping to shed their troubles, only to pick up their very own British tribulations… After a zany meet and greet with their ludicrously posh acting agent, Geoffrey Chicken (Miles Jupp), the Sparks brothers traverse the windy roads of picturesque countryside, commenting “There’s so many Shires, is this a map of the entire world?” They arrive at their late Grandfather’s country home, to discover an unusual pair of squatters (Emily Bevan and Sara Kestelman). The house becomes a centre point for drama, intrigue and awful attempts to sell the house to perspective buyers in which the brothers riotously embarrass themselves. This American-English comedy is rarer than a Beefeater riding a unicorn, and twice as funny! You would have to go to some lengths to find an independent comedy more hilarious than this in the last 20 years, and you could still come up short. The fact that this movie does not have a mega-budget or Seth Rogen style stoner jokes not only doesn’t hurt the film, it makes it stupendously more enjoyable. This is a refreshing glass of cold beer after years of drinking our own comedy urine (I am not sure where that analogy came from). Fundamentally, the script is simply sublime. The jokes are witty, banterful, and come at the viewer with a speed not seen since the likes of Airplane! (1980) or some of Mel Brooks’ classic comedies. The performances range from very good to fucking awesome! Jupp, Bevan and Christian McKay as a suspicious-looking buyer, deliver worthy comedy performances, adding tasty side dishes to the main course: Allen served in Chavez (that sounds wrong). The two leads deliver such gold in their performances, audiences will have to shield their eyes, whilst protecting their ribs from all the tickling. One of the many brilliant scenes in the movie sees Harvey and Matt conduct a conversation deep underwater in their newly acquired swimming pool, where moments ago Harvey was meditating. As the two carry out a conversation through subtitles, it took this viewer several moments before he realised there could be no way they would understand each other! Pacing is one of the only issues, with a romantic subplot taking a little too much time without much to show for it, but this is the only thorn in what is otherwise a delightful flower. Kibbey’s film manages to walk that tightest of tightropes which lays between story and farce. The slapstick element to the jokes and the moments of pathos, are given with such a delicate touch that at no point is the momentum, and the audience, lost. It has the ACTUALY ability to make one laugh out loud - a true talent. Blends of American comedy with English sensibilities are rare, Hot Fuzz (2007) being one of the only successful films that comes to mind, and this is because comedy is a very difficult thing to export. Cultural commentary, whilst well-received introspectively, does not tend to be something viewers are open to across long distances. Indeed, the jokes get lost in translation. However, with The Last Sparks of Sundown, the clash of cultures going on only heightens the laughs, offering a beautifully bold brashness to the American standpoint on British heritage, whilst poking fun at its own social ineptitude. With two phenomenal central performances and a superb supporting cast, a script which could make the Queen chuckle, and a splendid folky score, Kibbey’s film is up their in the big leagues of comedy and one of the most enjoyable films of the year. #IndieFilmReviews #SupportIndieFilm #comedy #JamesKibbey #ShenoahAllen #MarkChavez #EmilyBevan #MilesJupp #ChrisOlson #moviereviews #filmblog #TheLastSparksofSundown

Review by Amaliah Sara Marmon-Halm Highly abstract, visually stunning and very emotive, Teaser by Adam Jones takes the audience on a rollercoaster of emotions in this intense look into the struggles, highs and lows of the drug culture within the LGBT community in this 8 minute short. The film follows the trials of a young man and his journey of drug-induced self-destruction. What adds a beautiful dose of reality to this film is the fact that it is apparently inspired by the experiences of the director and his place in the gay scene. He himself took a very dark path which led him on a 9 month meth binge. The torment and sense of abuse really grips the viewer and doesn't let go, resulting in a very emotional viewing experience. This films wants to steer the audience from the typical shiny, bright and fabulous notions that are usually portrayed about the LGBT community, and instead, show that, like all communities, there is a darker underbelly full of torment and abuse. Using montages, stock footage and beautiful cinematography, the film makes many transitions from light and dark, symbolising the good and bad "trips" the drugs take the young man on. The beginning of the film highlights the highs, the sense of euphoria and ecstasy that he initially feels. With light tones and airy footage, you might think that this sets the tone for the whole film. Towards the middle, things start to get a bit more edgy and rough, as the young man starts to fight with possible addiction and dependency. The end sets a more macabre tone, maybe suggesting that the pain and toll of the addiction was leading to him contemplating thoughts of death or suicide. The film's final scene centres around the image of a book called Narcotics Anonymous (NA). This gives the notion that there is a sense of rediscovery, recovery and the man's desire to survive. Overall, this film is touching and beautifully made. It's gives a real insight into the depths that drugs and addiction can take a person, and the strength it takes to make it to the other side. #Teaser #shortfilm #LGBT #amaliahsaramarmonhalm #UKFilmReview #movieblog #review

“What, would you remember this?” Written By Jack Bottomley Paul McCartney once sang the line, “if this ever-changing world in which we’re living, Makes you give in and cry” and of all the ways to start a review of a short documentary about the final months of a North West London building, I expect a line from a Bond song comes a tad unforeseen. However this line came to mind as I sat down to watch this near 17-minute short film from Nicolas Motte. The world is changing at such a feverish rate and driving past construction sites or walking to town to discover a long-standing building is now gone, is an increasingly common occurrence. The past by very definition is not a part of the present and areas that once meant something, increasingly have come to be either rejuvenated for their own good or (more often) have come to perish. And this melancholic idea is but one strand in Motte’s quite affirming little film, that’s very existence makes you pleased that modern day filmmakers have a respect for community and local history that are so easily forgotten. Lights Out Electric House, looks at a soon-to-be demolished building called ‘Electric House’, which ahead of its final life has been redeveloped into a Community Arts Centre. This film tells the story of the building and those who have come to use it. From local resident Thelma Doyle to Project Manager at Meanwhile Space (the group responsible for the community arts project) Diana Grisales, Motte’s film tells the story of a building that was no doubt a mystery to most and yet had much to see. True the film’s historical coverage of the site is mostly rather vague and not so much grounded in cast iron facts and figures but the passion on display is unshakable. From the very start there is a real poetic feel to this film, aided by a very simple but in-keeping score by William Alexander. Instead of focusing on a revered site of history, Motte has pleasingly picked the Electric House, thus reminding the audience that some of the world’s beauty is not always found in the most obvious of places. This is a film that fights the corner for local architecture and suggests that everywhere has a story to tell and the Electric House’s story of community and artistic voice is one very much worth listening to. In many ways this film reminds of Lucy Walker, João Jardim and Karen Harley’s film Waste Land, which (though set in the Brazilian slums) shares a similar outlook. Art is often seen as pretentious, just as some places are seen as rubbish but often these two things combine to create something rather special. Chances are most would drive past the Electric House without much more than a glance but indeed every place does contain a story and as we follow the people behind the art displays at the Electric House, this becomes a bittersweet but still sweet tale of togetherness and expression. Marcell Mestyan’s photography in many ways becomes an epitaph to another gone (but thanks to this film not forgotten) aspect of a community. Like Waste Land this is a rare film that shows the human race in a more blissful fashion and the sped up images showing the work that went into the exhibition night shown here, as well as a look at some of the dazzling images that were displayed there, all creates a fitting tribute to a business dwelling turned short term community Centre. At one point a wall has the words “what, would you remember this” and memory plays a big part in this short. The film could have dug deeper into the roots and could have interviewed more of the artists and people involved, as well as shedding light on the council’s process of closure and demolishment. Still, by the end of this Motte’s dedicated film (and with the rather sad closing credits imagery), you are reminded that what is here is effectively lasting. If there is any message to be taken from Lights Out Electric House it is “if this ever changing world in which we’re living, makes you give in and cry”, don’t because where places change, stories can live on. A fascinating and heart-driven short documentary. #LightsOutElectricHouse #Shortfilmreview #JackBottomley #documentary #UKFilmReview