Search Results

Directed by Emma Holbrook & Susannah Mo Review by Amaliah S. Marmon-Halm As we continue to live in an age of austerity, where elements vital to our society's wellbeing and sanity are being cut or reduced, it's not uncommon to find opinions and films like this one by Emma Holbrook and Susannah Mo trying to highlight the true cost of these cuts. They began to discuss the prospect of producing a short project with the aim to explore the knock on effects resulting from the loss of artistic infrastructure, especially in the more regional parts of the country, specifically the South West. Like many other parts of the United Kingdom, this region has experienced a great loss of venues and establishments that were originally in place to support a vast range of projects, groups and individuals in both professional and non - professional capacities. This documentary wants to explore some of the issues now facing the regional arts communities, especially within the South West. Holbrook and Mo use the closure of The Brewhouse art centre and the affect it had on the community of Taunton. The establishing shot is a beautiful one of the idyllic Somerset countryside, that almost suddenly transitions into images of protests, theatre and centre closures. This quick change more or less set the tone for the rest of the documentary. It was interesting that many people might not realise how many establishments have had to close outside their own neighbourhoods, and this film sets about trying to correct that. Through the use of interviews, footage of performances and protests and info-graphs, the beginning sets out to be a very informative and potentially important piece about the issue of austerity on the arts. Holbrook narrates how the closure of theatres, commercial art establishments and educational spaces are all interlinked and set off a sort of looped domino effect. However interesting the topic may be, especially to those of us in the creative field, it is really hard to build that necessary emotional connection to this documentary, as Holbrook's narration is so monotonous at times it hurts (a point she acknowledges herself at the end of the film). It's not until the documentary starts to come to a close, does the feeling start to return but unfortunately, it's not soon enough for the audience. The dreariness continues with the interviewees in the film. From amateurs to industry professionals, for a set of people who are meant to be conveying their passion for the arts and their dismay at the closures, most of them seem apathetic and bored by the entire situation. All these elements bring the atmosphere to a level of a somewhat tedious educational Personal Service Announcement video. There truly were elements of this documentary that made you want to sit up and pay attention to what is going on in our communities. It is unfortunate that the monotonous narration takes a great deal away from the atmosphere and ends up disconnecting the viewer. This results in something that needs extra attention and doesn't make for relatively easy viewing. #MakingtheCut #Documentary #amaliahsaramarmonhalm #ukfilmreview

Directed and produced by Joe Goodall and Elliot Burns Starring Elliot Burns, Sheldon Sinnamon, Charlotte Culley Review by K. McPherson So you’ve averted a catastrophe, but what next? “Tunnel”, a short film directed and produced by Joe Goodall and Elliot Burns is a well shot but uncertain look at three lives interrupted by chance encounters. Driving along one day, a moment of inattention almost causes a businessman (Joe Goodall) to hit Alice (Charlotte Culley) as she crosses the road with her bicycle. And so, the sliding doors moment – the collision that happens even as it does not. The cinematography of this opening scene is some of the strongest in the film. It possesses much of what the rest of the feature lacks: a precise sense of what is at stake for the characters and a control over the mechanisms of plot. It turns out that Alice spends most of her time under a tunnel with Angus (Sheldon Sinnamon), a snooty nomad who lives among paperbacks that he reads to Alice, stories that provide a reprieve from her troubled home. Besieged by problems of his own, the businessman is attracted by the simplicity of life under the tunnel and the offer of an easy companionship with Angus and Alice. Elliot Burns is competent in conveying the businessman’s underlying dissatisfaction, although often opts for anger when a more nuanced approach would be more enlightening for the viewer. This is part of a broader tendency towards forcefulness throughout the film. It works hard to show its emotional backbone, but this is an impossible task without more detail. In many cases it could use either some restraint or originality – to have neither amounts to a bland mix, energetically stirred. The script is melodramatic in a way that overpowers the reserve of the camera work, and the actors sometime seem uncomfortable delivering such weighty lines. The music is similarly loud and didactic, amplifying the film’s surface elements without expanding on them. Occasionally, “Tunnel” does deliver on its title, hinting at the existence of subterranean depths in our everyday lives or in the consequences of a moment’s decision. As the businessman confesses to his prior unhappiness one night, the film does not pander to the idea of his spiritual renewal. The quiet music, cold palette and framing of the scene offer a frank assessment of the tunnel’s squalor, as though questioning the extent to which his life has really changed. Hovering somewhere behind the dialogue here is the potential for a pleasing harmony between scene and subtext (which probably goes something like “renounce ye materialism and be free”). To stretch this out across the film at large may require a sturdier framework than an unhappy businessman and a squatter guarding a young girl like she’s a campfire in a cold climate. The film’s epigram mentions stories—that people don’t shape them, but are shaped by them—an unattributed Terry Pratchett quote that it would do well to follow more closely. Between the triangle of its main characters, their complicated pasts and the books strewn around the tunnel campsite, the film is already thinking about the effect of multiple stories on multitudinous people. Yet it seems to eschew this in favour of a focus on “story” in the abstract, a choose-your-own-adventure cobbled together by the viewer from the big, lumpy archetypes that abound. The stories in “Tunnel” do not offer a tapestry so much as a pile of stitching – a promising start, but far from the finished object. #Tunnel #shortfilm #KMcPherson #supportindiefilm

Director - Rob Lainchbury Writer - Alexandra Taylor Starring Zenna Turner & Katy Jane Review by Monica Jowett It’s a rainy day for shopping in The Reason I Shop Online, directed by Rob Lainchbury. The lengths we go to, to find everything on the grocery list will make you smile and sympathise with the frustration of hunting around shops. Honey (Zenna Turner) is going through her shopping list, but can’t find any ginger in the shop, with no help from the cashier Jeanie (Katy Jane). Once outside she asks her iPhone where she can get some and so ends up on a quest to find it, trekking through the countryside, jumping across streams to do so. The film title may be misleading, but makes sense when Honey has to go to great lengths to acquire some ginger. Shopping is made easier when done online at home. Though minimal, the script is funny. Awkward conversation stumbles out, as it would do when shopping. The script and simple plot lets other aspects of the film breathe. The characters of Honey and Jeanie are perfect opposite one another. Honey’s frustration at the quest for some ginger is relatable; however she does find amusement in the oddity of it. Jeanie shows a no-nonsense attitude to Honey, practically sneering at her as she goes to such great lengths for the ginger. The performances are natural, Turner particularly. Her facial expressions and tone of voice as she shops could be seen in every day shopping excursions. Furthermore Lainchbury’s direction for the confrontation in the woods between Honey and Jeanie shows good filmmaking. The close-up framing on the two characters adds intensity for what is an anticlimactic end. When in the shop, light hearted upbeat music is played as Honey happily browses the shelves, but once she starts on her journey for ginger, the music has a dramatic change. It feels as though Honey is now on an epic quest, full of danger and intrigue, which adds to the hilarity of the situation. It changes again for the confrontation in the wood. The tinkling sound mixed with background noise of birds gives the impression it is a magical place. Additionally the cinematography demonstrates the transition from an average shopping trip to dangerous quest. Though it is all grey skies and rain, as Honey travels through the country, the miserable weather seems to make the journey exciting instead. Quietly comical, The Reason I Shop Online is a great short film from Lainchbury providing an entertaining journey for some ginger, at the expense of Honey. The light hearted and quirky tone of the short film makes you wonder what you would do for a hard-to-find item of shopping, or rather stay indoors and do it online. #shortfilm #MonicaJowett #TheReasonIShopOnline #SupportIndieFilm

Written and Directed by Charlo Johnson Starring Róisín O’Donovan, Liam Burke, Niall Dempsey & Maghnús Foy Review by Chris Olson With a film title as politically evocative as “Positive Discrimination”, few viewers would enter into Charlo Johnson’s short movie without a little suspicion that there might be a not-so-hidden message about equality. However, this story, much like the title, proves that all is not what it originally appears, and that our perception of what is put in front of us can drastically change in a heartbeat. Liam Burke plays Joe, an elderly Irishman who hobbles along the busy streets, being helped by a community that seems to deem him worthy of charity. Passers-by help him cross the road, or pick up his shopping when he drops it, without questioning the quality of his character. Does age absolve of us of our pasts? Does a diminished bodily healthy diminish our sins? Furthermore, should we even care about one’s past when deciding to engage in an act of kindness? These are the quandaries that Johnson’s short film throws into the ring. Alongside Burke, is Róisín O’Donovan who plays Tanya - a part-time prostitute and student, soon to be evicted from her flat. Her situation engenders little sympathy from a society bent on criticising the “youth” with their “Twitter”. Tanya represents a complex mix of youthful vulnerability and formidable survival chops, acknowledging her situation with the rapidity that comes with the modern generation. As we are shown glimpses of Joe’s history of violence (performed commendably by Maghnús Foy), the viewer is dangled by their feet as Charlo Johnson’s film renders them helpless. Our own prejudices are the feast which the players chow down on, Burke and O’Donovan seemingly gleeful in their onscreen personas, knowing that audiences are making systematic judgements which will be their own downfalls. Graceful performances coalescing amongst the dramatic flair of this unique and brilliant story. The use of smooth editing mixed with sharp closes ups, and a score that flexes when needed, is perfectly complementary to the tone of the film. At times the story seems mundane, Joe and Tanya chatting in his living room eating Value Digestives. But the pace quickly elevates, using fast cuts and speedy editing, giving the audience a nauseous feeling that all is not what it seems in this dark tale of misconception, deceit and survival. #PositiveDiscrimination #ShortFilmReview #ChrisOlson #SupportIndieFilm #UKFilmReview #CharloJohnson

Directed by Christopher McQuarrie Starring Tom Cruise, Simon Pegg and Jeremy Renner Review by William Baldwin The long standing success of the James Bond films since 1962 have undoubtedly influenced every action film that has come after them. You have the action sequences, the sexy ladies, and the exotic locations and so on. Mission Impossible possesses all of these owing a lot to the Bond films and was perhaps inspired by an action scene from one of the past bond films. In the James Bond film Octopussy bond rides a horse and jumps onto a moving plane that goes airborne, hanging on to the plane, whilst in Mission: Impossible - Ghost Protocol Ethan Hunt climbs onto a plane that also goes airborne, in both films the heroes hang on to it for dear life. Ethan Hunt (Tom Cruise) and the IMF (Impossible Mission Force) are to be shut down. Hunt, after hearing this, goes AWOL from the IMF, and is aware that a group called the Syndicate (a sort of anti-IMF) has been constructed by former intelligence agents from across the world. The Syndicate leader Solomon Lane wants a change in the world as he is opposed to governments and the state. But what change is not clear. Ethan Hunt, a British intelligence agent (Rebecca Ferguson) and his rogue IMF members must use all their skills to try and stop Lane from accomplishing his goal. Tom Cruise once again shows he is not just a pretty face; he nails his part and performs most of his own stunts despite being in his fifties. Newcomer Rebecca Ferguson is not only very convincing as a British agent, especially in the fight scenes, but is the film’s main sex appeal. The film is surprisingly funny in parts, most of the actors show off their comic timing well. The funniest actor is Simon Pegg displaying the main comic relief, arguably stealing the show. Solomon Lane, the villain of the film, doesn’t really stand out, unlike previous incarnations of the Mission: Impossible franchise. A surprising factor is that music from an opera (Puccini’s “Turandot”) is central to the film. The opera is used as dramatic music for the scene of an attempted assassination. Melodies from the opera can be heard in the score throughout the film. Director Christopher McQuarrie certainly knows how to photograph an action scene and shows knowledge on how to build up suspense and intrigue which is needed for a spy film. It therefore is a surprise he has only directed two other films. The action scenes are ridiculously enjoyable. Like the thrilling opening scene when Hunt is holding onto an airborne plane. But the best has to be the motorcycle chase. So if you’re looking for expertly constructed action scenes then you won’t be disappointed. Although this is generally a favourable review, it has to be said that the finale is an anticlimax (and the villain’s death is a touch implausible) given what has happened before. You could blame the screenwriter (the director of the film), but don’t let this deter you from an exciting time at the movies! #MissionImpossibleRogueNation #TheatricalReleases #TomCruise #WilliamBaldwin #SimonPegg #JeremyRenner

UK Release Date: August 12 Directed by Chris Columbus Starring Adam Sandler, Kevin James, Peter Dinklage & Michelle Monaghan ** "Donkey Wrong" Review by Chris Olson Given the movie back catalogue of a director like Chris Columbus (Harry Potter 1 and 2, Home Alone 1 and 2, Mrs Doubtfire), and the seductive premise of an intergalactic war ignited from vintage arcade games like PacMan and Space Invaders, one could be forgiven for getting their hopes up for this latest cannon fodder film Pixels, that takes the “joy” out of “joystick”. The sad reality is that Sandler strikes again with another comedy misfire. Video games rarely get a worthy depiction on the silver screen, perhaps due to the incompatible translation of narrative devices, but more often it seems that studios rarely capture the essence of what makes them so appealing - ultimate escapism. This latest outing starring Adam Sandler as a legendary arcade machine gamer and Kevin James as a buffoonish president of the USA, not only fails to capture the essence of vintage gaming, it is hilariously unfunny. The plot revolves around a time capsule which was sent into space during the 1980s which contained footage from a video game competition. Aliens intercepted the message and decided this was a declaration of war. The aliens then come to earth and use the video games, and other 80’s references, in order to challenge the human race to a series of battles which will decide the fate of humanity. After quickly deciding all of his security forces, marines, and government agencies are useless, James’ character calls upon a glorified cable guy (Sandler) to reignite his passion and immense video game skills to save the day...and the planet. Joining him are Ludlow (Josh Gad) and Eddie (Peter Dinklage) - fellow gamers who, along with Sandler, were all at the original video game competition which started this whole mess, as well as Violet (Michelle Monaghan) a Whitehouse advisor, who will take on the aliens in the battles that are all based around video games. From the outset audiences can leave their brains at home, this is no place to start thinking about what’s going on. Little time, or effort, is dedicated to making a coherent plot, and the characters are about as deep as a nickel. Some throwaway scenes are blended in with some Sandler mumbling and cheap lines before we get to the action sequences, which, to be fair, are pretty spectacular. Endlessly colourful and vibrant, the battle sequences that bring chaos and destruction to major capital cities are easily the best thing about Pixels, unleashing a ton of CGI fun that will have younger viewers entranced. The difficulty comes in the “cut scenes” in which we are tortured with infantile gags, shallow characters and subplots which make no sense - such as Violet’s divorce which has no effect on her, or Ludlow’s cyber-crush which gets given some screen time later, much to the detriment of the film. Peter Dinklage seems to be having fun throughout, and his arrogant Arcader is certainly watchable, and Brian Cox delivers a bomb-them-first council member that adds some chuckles, but for the most part all actors on screen are playing second fiddle to their animated counterparts. Q*bert turns up at one point and pretty much steals every scene without even trying! This feels like a film which had a lot of potential, but was squandered through lack of attention with the script and letting bigger name actors into a movie that could easily have been done with lesser known talent. Columbus, known for delivering childhood charm and epic fantasy escapism, can barely be found through all the irksome clatter made, not by the games, but by the failing cast that struggle to make one decent “cut scene”. Aside from the huge spectacle of the action sequences and some moments of humour from the supporting cast, Pixels is not the electrifying addition to the gaming genre we all hoped for, instead tripping over itself all the way to a calamitous ending. Someone should have pulled the plug earlier... #Pixels #AdamSandler #ChrisColumbus #KevinJames #PacMan #QBert #TheatricalReleases

Written and Directed by Andrew Mudge Featuring: Zenzo Ngqobe (Atang) • Nozipho Nkelemba (Dineo) • Jerry Mofokeng (Katleho) • Lebohang Ntsane (Orphan Boy) •Moshoeshoe Chabeli (Priest) • Lillian Dube (Doctor) • Jerry Phele (Atang's father) Cinematography by Carlos Carvalho Music by Robert Miller Review by Amaliah S. Marmon-Halm This wonderful feature length film directed and written by Andrew Mudge tells the story of Atang (Zenzo Ngqobe) known to his friends as Joseph, a young city-dweller who returns to his homeland to fulfil his father’s last wishes to be buried in the beautiful and mountainous Kingdom of Lesotho. He comes across as a very angry and troubled young man, who spends most of his time roaming and partying in Johannesburg. Even though he is reluctant and feels like a stranger in the land of his hometown, Atang ends up falling in love with his childhood friend, Dineo (Nozipho Nkelemba), a beautiful young schoolteacher who cares for her younger sister, who is sick with HIV/AIDS. Through Dineo, he learns to feel part of the community, what it is like to feel wanted and builds a reconnection to his home. However, things do not remain peaceful for long, as Atang is left robbed, poor and homeless and also, Dineo’s tyrannical father thwarts their budding romance on both sides and relocates the family to a remote village in the northern regions where he can better hide his shame over his daughter’s illness. Determined to find Dineo and her whereabouts, Atang must reach out to the somewhat aloof chief and his straightforward wife, a sketchy witch doctor and a precocious eleven year-old orphan boy for help. He and the boy must make the arduous journey across the breathtaking rugged mountains to find her. What he learns and experiences along the way forces Atang to surrender to the rhythm and traditions of the land and to make peace with his father and the life he once led. It also makes him put aside his own selfish tendencies to help others along the way. The cinematography in this is absolutely stunning. The nomadic charms of the people, beautiful scenery and the rolling mountains all transport you to a place that only few would be lucky to see. This is a true tale of love, loss and re-establishing what if means to find your home and think outside of your own bubble. It's a beautiful and heartfelt production that is sure to do well with many. #TheForgottenKingdom #Indiefilmreviews #supportindiefilm #amaliahsaramarmonhalm

Directed by Dammie Akinmola Written by Kazi Zaman Starring Joshua Expósito & Victoria Ashford “A Dame To Kill For” Review written By Jack Bottomley Not long into this 16-minute short film, loosely based on Death By Scrabble by Charlie Fish, you realise just how stylish a game of death, deceit and wrath this is going to be. The film tells the story of a husband (Joshua Expósito) and wife (Victoria Ashford) playing a board game but as the game continues so does the deception, jealousy and vengeance between them, as the wronged husband seeks out those who have disrespected the sanctity of his marriage. From the narration, almost poetic dialogue and visuals embellishing lust, violence and paranoia, the blood of Sin City runs throughout this beautifully shot short. Dammie Akinmola’s film is an interesting piece of work that plays out like a revenge film of sorts and with its striking black and white visuals; the short is a pleasing trip into dubious relationships and desire. The plot is pretty simplistic but at the same time- mostly through the well-assembled dialogue- digs deep into the possessive nature of some relationships. From the chiaroscuro lighting and lingering cigarette smoke, Board To Death has a persistent intrigue and the visuals work with the plot, making this concise film a pleasing throwback to the gangsters n’ dames days of film noir. The shadows work to surround the central couple, both of which are almost imprisoned by their own darkness. The lighting even gives this effect of prison bars, as an innocent word game becomes a series of mind games between the beautiful, but at the same time deadly, coupling. The aesthetic is pushed into your face for sure but this is part by design, as the film is all about beauty and the unbridled fury behind it. The film may at times feel over-indebted to a strand of Frank Miller’s graphic novella but there is much here to enjoy on its own merits. The performance of Joshua Expósito for instance, which is unhinged and startlingly effective. He keeps you engaged to the film and is one of the reasons that this visually accomplished effort emerges as way more than just eye candy. His onscreen partner Victoria Ashford is less fortunate in terms of dialogue but her steamy gazes and dangerous personality make her enigmatic also. The film also has a string of commendable supporting performances to boot. Board to Death potentially sounds like it could be a parody or something silly but as soon as Rika Muranka’s atmospheric music kicks in, arousing a sense of violent retribution, the film just sails forward with flair, passion and promiscuity. True its influences become very obvious as the film pans out and at times the short feels like it should be part of that world. However the acting, Kazi Zaman’s slick editing, effective story and brilliant cinematography, not to mention the very intense direction of Akinmola, all make this a short film very much worth visiting. Plus the ending actually offers a neat little twist on the gender conventions of films like this. An accomplished game of sex, violence and, er, scrabble. Watch the trailer for Board to Death below... #BoardtoDeath #Shortfilm #Shortfilmreview #JackBottomley #supportindiefilm #BrokenLensProductions

Written & Directed by Mike Archer Starring Philip Goldacre, Tayo Elesin Review by Amaliah S. Marmon-Halm Telling a tale of loss, everyday mundanity and struggles, The Journey of Alfred Small by Mike Archer of Old Lamp Films ltd takes a snapshot in the everyday life of an embittered old man and shows what happens when we look at life outside of our own comfortable bubbles. The film starts as a recollection, as police officers tend to the old man, Alfred Small. Alfred lives alone. Not out of fault of his own, but due to his wife suffering from a terrible illness. Every now and again he goes and visits her in her in the hospital, begging for her to get better and come home. On one occasion, things go a little differently. At his regular bus stop, he is joined by a young mother, named Kendal, and her son, Benji. Over a slight misunderstanding, they part on bad terms. Things don't get any better for Alfred, as his life starts to fall into turmoil. When an opportunity to break out of his own woes and help another arises, will he choose to look the other way and pay no mind or will he give a vital helping hand? This short film tries to convey the trials and misunderstandings of life, the woes of old and young and how we are not all that different. We all face hardships, despite what the surface might show. Apart from a few lighting, sound and editing issues which, if you have an eye for them, might distract a bit from the feeling and atmosphere the film is trying to build, this is a rather enjoyable film. Story wise, this is a well constructed piece that will leave the audience feeling for each of the characters and possibly leave them asking what they would do in the various situations. #TheJourneyofAlfredSmall #shortfilm #supportindiefilm #movieblog #UKFilmReview #amaliahsaramarmonhalm

Written & Directed by Tofiq Rzayev Starring Deniz Aslim, Cevahir Casgir & Gizem Aybike Sahin Review by Chris Olson A suspenseful mystery from filmmaker Tofiq Rzayev, about a young man who goes missing, sending only one harrowing text message to his friend Mert (Deniz Aslim) that says “find me”. Whilst brushing his teeth, Mert receives the aforementioned spooky text message from his buddy Ali, who has not been seen for a while. His fiancée Ceren (Gizem Aybike Sahin) is distraught with worry, thinking that Ali’s absence has something to do with their upcoming nuptials. After a little digging, Mert learns of Ali’s last known whereabouts - in the woods. Thinking that this is the best place to start his search, Mert travels to the woods where Ali was last seen, but instead of finding his friend he meets a peculiar girl (Cevahir Casgir), whose peaks Mert’s interest. Deciding to return to the woods for subsequent meetings, still in search for Ali, the girl becomes increasingly strange and worryingly perturbing. There is a bittersweet mix of macabre drama and intrigue in Rzayev’s short film that takes the viewer’s hand and does not let go. The build up is tentative and subtle, capturing the attempts at calmness by Ali’s loved ones who are hoping for the best, and once the catalyst of Casgir is thrown in the movie becomes incrementally more gripping. The final few scenes are beautifully shot, with a breathtaking aesthetic that does justice to the performers - who all turn in worthy portrayal. Special mention must be given to Deniz Aslim, whose central performance is excellent, leading the audience into both adventure and peril without ever losing touch with the emotion of the scenes. Whilst the plot is pretty simple and the use of locations limited, the film benefits from simplicity, allowing the heavy drama to unfold without being obscured by distraction. There is a purity to the movie that is in the atmosphere rather than the story, slowly raising the viewer’s pulse to a crescendo of violence and brutality, rather than delivering a rollercoaster effect, which is complimented perfectly by the original score of Gergo Elekes. The Girl in the Woods is an immersive short film, affecting in its tone and bordering on captivating in its climax. Rzayev seems to be able to slowly pull his viewers into a state of unawareness, which makes his filmmaking all the more powerful and devastating. #TheGirlintheWoods #ShortFilm #FilmreviewsUK #DenizAslim #ChrisOlson #SupportIndiefilm #TofiqRzayev

“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