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Written & Directed by Richard Oakes Starring A. J. Reeves, Adam Leader & Rachel Oakes "Mass-ive Effect" Review by Chris Olson With a complex blend of CGI and live action, Richard Oakes’ short film, Exit Plan, plays out like a modern space opera, with explosive action, an immersive score and some dystopian visions that seem like Halo meets Children of Men (2006). In recent years, some of the most engaging footage that has spread across the web has been video game trailers. Indeed, the level of attention that a trailer for something like Mass Effect or Halo gets is huge, and the quality of them has skyrocketed. That is not to mention the detail of the in-game cut scenes. In Exit Plan, we get a fantastic blend of game-quality CGI and green screen with live action, which has a huge popular appeal. And whilst the effects are not perfect, on this small scale they are ambitious and brave, thrilling audiences within the 20-minute running time, which Oakes should be commended for. The plot sees social exile Adam (A. J. Reeves) living in isolation, as an outcast from society now run by The Order - advanced technology. When it comes to light that disaster is on the way to earth, Adam must use all his know-how in order to get off the planet before total destruction finds him. Engaging with some of the other human outcasts, Adam is found and tortured by the slightly psychotic Saul (Adam Leader) in what has to be said is one of the most unique and terrifying torture scenes in a science-fiction short film - the story’s original use of a truth-serum (a nasty little live bug) is startling. This kind of movie has been done before, and the singular elements have been done better (Blade Runner, 1982) but rarely do you see a volatile cocktail of all of them together, especially in short films! The scale and ambition of Richard Oakes’ movie is awe-inspiring. Aside from a slightly weak exposition monologue in which Saul reveals all the details of the new world for the viewer, the dialogue is strong - coping with the typically complex blend of sci-fi and action. And the score is colossal! Benjamin Symons delivers a phenomenal atmosphere with his immersive music, unrelenting in its tension and diverse in its range, the viewer has literally no other option than to let it pound them into their seat - a true talent. The performances are strong, with plenty of chops by Reeves and Leader. Rachel Oakes, who appears nearer the beginning of the film as a friend to Adam, is also worthy of mentioning. Like we always say, the true test of a short film is whether it left you wanting a feature length film, and with Richard Oakes’ Exit Plan, the answer is undoubtedly yes. There was so much depth and richness to the story, with a beautiful mise en scéne that you could almost swim in, that this viewer did not want to leave! And we didn’t even mention Adam’s robot buddy iO (voiced by Oakes himself)…this short film was simply awesome. Watch the Exit Plan trailer below... #ExitPlan #shortfilm #review #RichardOakes #BenjaminSymons #AJReeves #AdamLeader #ChrisOlson #UKFilmReview #Soundtrack #Score #supportindiefilm

Timespan - Short Film Directed by Alex Brock Starring Christie-Luke Jones “Need for Speed” Review by Chris Olson A silent short film from director Alex Brock, starring Christ-Luke Jones as a guinea pig on a medical trial, where the drug’s side-effects cause the world to slow right down because the patient’s heartbeat is going so ridiculously fast. This is something we have all dreamed about. The chance to slow down time to the point that people are barely moving, so that we could catch up on our reading, get some extra sleep or play silly pranks like pulling down people’s pants. Anyone who has seen the film Limitless (2011) starring Bradley Cooper, has at least revelled in the fantasy of a new, unlimited world opened up by mind-bending drugs. The idea that the human mind could achieve so much sin if only it could be fully explored is pretty commonplace. Timespan’s protagonist (Jones), though, takes a far more sensible approach and tries to find a cure for his terrifying ailment, which is much more credible than this reviewer’s strange dreamings. Mr Jones makes, literally, quick work of discovering an antidote to his problem, but it is a solution which carries its own, reverse issues… Full of thoughtful framing and stylish set-pieces, Alex Brock serves up a quick but tasty treat for fans of short films. Like a flash in the pan, the story bursts through strong themes about the nature of time and existence, delivering superbly on our own inherent fear about expiring, and the rate at which we do so. There is a great moment when we see several frivolous activities, such as throwing something in the bin or chucking a cigarette out of a car window, which, added with the tense and dramatic sound editing, is delivered like a knock-out action sequence - it is almost as if our lives could be a Bad Boys movie, if only we’d let it! There is an element of what-could-have-been with this short film. The premise is really strong and the counterpart to the latter end of the movie is brilliant, but it felt like more could have been done to explore a world that has slowed down. Rather than jump so quickly to the antidote sequence, it would have been nice to flesh out Mr Jones and the variety of ways he could explore the experience. That being said, there is an urgency to Timespan that is well appreciated. Sequences have a sharpness to them that is effective, and the score has a delectable moodiness and tension to it that compensates for the lack of dialogue. Timespan is the sort of short movie that will have you daydreaming long after viewing. Whether that be how you would cope with such a terrifying experience, or how you would exploit it for massive personal gain. #Timespan #shortfilm #moviereview #UKFilmReview #ChrisOlson #SupportIndieFilm #AlexBrock #ChristieLukeJones #filmblog #filmcritic

Terminator: Genisys (12A) “Or How I Learned To Stop Worrying and Love The T-800” UK Release Date: Out Now Written By Jack Bottomley It is 2015, or so they say, to be honest with Bush and Clinton throwing their names in for presidency, a Jurassic Park film dominating the world and Arnold Schwarzenegger heading up a Terminator film, we’re beginning to wonder. However, whatever the year, one series that seems to ironically not have been limited by its era is the Terminator series. Indeed as the years have passed since, the Terminator series is one that has become more relevant. Starting with James Cameron’s 1984 breakout masterpiece (The Terminator) and his groundbreaking 1991 sequel (Terminator 2: Judgment Day), the series has continued to thunder on. However after audiences and critics met Jonathan Mostow’s Terminator 3: Rise of the Machines (2003) and McG’s Arnie-less (well, kind of) reboot/prequel (or rather future-quel) Terminator Salvation (2009) with a degree of bemusement, the franchise started to get a little rusty at the pistons. And so we arrive at Genisys, a film that sees the original series star return, features a great cast and closeness to Cameron’s films not to mention praise from the man himself. So how did this film end up being the worst reviewed of the series? How indeed… Critics have shot the hell out of this sequel/reboot and while there is a great deal of validation for this (lets not kid ourselves Genisys puts many a foot wrong) after witnessing what has been called “a car crash”, “abysmal” and “a franchise betrayal”, you have to wonder just how many people were going in with more hate than a Skynet server. The spoileriffic trailer ahead of release, as well as some questionable effects work and a naff looking title were indeed a cause for concern but after walking out of Genisys (after the credits- there is an extra scene folks), say what you like but it can be called anything but lazy. The film sees John Connor (Jason Clarke) lead mankind to the verge of victory in the war against the machines in 2029, however he knows Skynet’s plan to send a machine back to 1984 and sends Kyle Reese (Jai Courtney) back to stop ‘The Terminator’ from altering the course of history. So far, so familiar, right? Well things do not quite pan out the way they did before, as Reese is soon met by a very prepared Sarah Conner (Emilia Clarke) and her older looking T-800 Guardian (Schwarzenegger). The game has changed and the fight to stop Skynet is filled with more twists, turns and unexpected perils than ever expected. Admittedly Genisys is a film set to divide opinion, the more nostalgic may well hate the revisionist narrative whereas more open-minded fans should find something here to enjoy. Genisys is hard to talk about without spoiling in some way, so I will simply say that it is barmy. From start to finish, the time jumping, history altering, age-leaping plot spanks your brain to the point where it is left as red as the Terminator’s eyes. Laeta Kalogridis and Patrick Lussier’s script is a very noble attempt to tell a worthwhile story, one that connects to and then alters the established mythos, as well as highlighting our modern day reliance on technology. Sadly Lussier and Kalogridis have also over plotted, making the film overly complex, as well as desperately trying to justify it existing. So yes, Alan Taylor’s (Thor: The Dark World) film is hard to follow but if you just roll with the magnetised punches, there are some very accomplished ideas within. The characters, like the film as a whole, suffer by comparison to the originals but on its own merits Genisys is a solid blockbuster. Jai Courtney is not as charismatic as Michael Biehn, nor does his Reese strike the same chemistry with Emila Clarke’s capable Sarah Conner. That said both actors fit their parts well enough, although they do feel more drawn from TV. However the fine support offered by an action ready Jason Clarke and underused but screen-enlivening J.K. Simmons helps a great deal. However Genisys’ real glue is its main attraction and not for the reason you might think. Arnold Schwarzenegger’s return as the T-800 is not just fun for throwback reasons; it is fun because Arnie tackles the role in a fresher manner than expected. Without him, the film would succumb to it’s many flaws, but his performance is fun, engaging and his Guardian T-800 and Clarke’s Sarah Conner relationship is the film’s most compelling angle. Truly, their history (left open for expansion) is what draws you in and simply put Genisys belongs to Arnie, who (via some great make up) delivers a multi-era set, layered and undeniably powerful performance. As the film races towards its inevitable CGI-heavy action closure, you may well be lost in the details but Taylor keeps on systematically providing the set pieces, the twists and the action. Some things may not work but a great bus chase, badass moment involving acid and a very tender moment in a weapons bunker all add to a string of notable moments that do. Genisys is crazy, occasionally nonsensical and yet undeniably interesting. Intended as the first film in a new trilogy, it may well be end up being the last but something tells me that, like Skynet, this franchise will find a way to keep on going. And do you know something? For all the hate this has received, I would not mind the machines rising again. Hell, you may even find things I missed and love it! Fans have certainly being taking to it better than critics. I am not saying Genisys is spectacular (far from it) but it is weird, different and a film that genuinely tries to prove (and makes decent case for itself) that, like Arnie’s central figure, this franchise is “old but not obsolete”. It’s imperfect but far away from the fifth film doldrums of Rocky V and A Good Day To Die Hard. Give it a go people; it really is not as bad as they say, in fact it boasts some rather enjoyable ideas! #TerminatorGenysis #Moviereview #film #JackBottomley #ArnoldSchwarzenegger #AmeliaClarke #TheatricalRelease #InUKCinemasNow

“Don’t Fear The Reaper” Review written by Jack Bottomley Short films are in many ways an even tougher undertaking than a full-length feature film, for it is paramount to create a narrative both enticing and concise. So with this said we venture into Writer/Director/Producer Luke Mordue’s 12 minute-long short film, The Reaper. The title evokes images of a haunting and ghoulish characters that have been drip fed to us over the many years of mythology and storytelling, yet at no point do we veer into the well trodden territory of such tales here. Indeed scythes are at a minimum; instead Mordue has used those preconceptions of “The Reaper” to fuel a very pulled back and often powerful story of human life and the egotism of our race and its philosophies. From the opening moments (which recall the home invasion genre) the story is appealing and quite intense. The film sees couple Josh (Jamie Hawes) and Kelly (Julia Leyland) awoken by strange noises downstairs, as the police are called Josh goes downstairs to investigate and interrupts a burglary. As he fails to catch the perpetrators, Josh goes back to the house to find that all is not quite as it seems. The story is a simplistic set up for a quite meaningful little tale of the human psyche. Some may be able to predict the central idea early on but most will likely be taken aback by how neatly this film delivers its ideology or by how the central figure of this film is presented. Jamie Hawes is realistic as Josh and while early on the character is a bit gruff, he comes to reveal a peak of emotion as the story unfolds. Julia Leyland has less time onscreen, so her character is more of a supporting element but Dana Smit makes up for that with an excellent co-starring turn. Her character is a neat spin on the film’s chosen concept and Smit gets the film’s best dialogue that hints at mankind’s primal arrogance in thinking they are superior to other life and above fate itself. Smit is both initially haunting and yet quite understanding and she is a powerful core to Mordue’s rather brilliant little story. Mordue’s film is well shot and paced, with the direction being focused (look out for Mordue, as he also appears in a cameo as a policeman) and the visuals are restrained and not over-stylised for dramatic effect. Plus Billy Jupp’s music is very atmospheric and effectively compliments the succinctly delivered story. At the heart there is a powerful tale being told here, that is cautionary and yet one that in its own way is reassuring. We all reach the same end in life and this film suggests that rather than fill our time with what we want to do, we should perhaps focus on what we can do. The Reaper is a good little watch that once again shows that the simplest of concepts can deliver something that is both enjoyable and thoughtful. A short film that is very much worth your time. Watch The Reaper below... #TheReaper #ShortFilmReview #JackBottomley #supportindiefilm #moviereviews #UKFilmReview

“In Light Of Us Dying” Review by Chris Olson *** Nicholas Cage stars in this born-out-of-Bourne Action/Thriller about a CIA agent, whose 22-year-old revenge fantasy to find the terrorist who once tortured him, is kicked up a gear when he finds out that both him, and his former torturer, are both dying. It is hard to get excited about a film like this, after a plethora of predecessors pushed the bar so high. The Euro-Thriller has a strong reputation for garnering popularity amongst film fans who, weary of Americanised action, found firm footing with their favourite American heroes taking out the Euro-Trash (Taken, Bourne, etc). However, the action-thriller has been superseded since the days of Damon. Now we need superheroes! Dying of the Light, whilst perfectly watchable and enjoyable, brings nothing new to the particular set of skills laid out before it. Cage, a mixed blessing at the best of times, delivers a good sermon on the dying reputation of intelligence agencies and the call-to-arms that was 9/11, but this is essentially the only remarkable scene. Everything else is mild espionage and Mission Impossible padding. Much like the CIA, Dying of the Light feels dangerously under-equipped to combat the murky situation out there. Attempting to wade into a gun fight without any ammunition. The big players in cinema at the moment won't even bother to look back at the rubble it creates with a movie like this, and rightfully so. If you’re not going to set the world on fire, move out of the way. It doesn’t have balls like Bourne or Bond, and it doesn’t have testosterone like Taken, but what it does have is a Cagey feeling we have been here before, but we’re okay with that. Watch the Trailer below... #DyingoftheLight #Review #UKFilmReview #NicolasCage #ActionFilm

Review by Chris Olson “A Man’s World” A ménage-a-violence in this sleek British short film about the bubbling rage that consumes some men, and the psychotic lengths they may go to in order to protect their ego. Set mostly within a nondescript snooker club, Mark, whilst waiting for his pal to turn up, spots an “acquaintance” called Danny at the bar. Having some tenuous connection, Mark strikes up a troubled conversation with this known woman-hitter, which ends up being a one-sided slanging match in which Mark denounces Danny’s violence and drunken tendencies. Queue some American funk music and a montage of brutal lashings, and the film becomes a tense and thrilling chase movie, where Mark lays beaten on the floor and his buddy must be on the run from Danny after stumbling into the toilet at the wrong time. A London-based thriller about violence is going to have to set off some flares in order to get some attention, and A Chance to Not Remember does manage to cause a few turns-of-the-head. With an oddly addictive blend of British crime and American style (in particular the music choices), Croston’s short film gives the audience an appealing twist on a classic cocktail, like drinking a pint of Stella with a Bourbon chaser. Yes the script is a little derivative, but the performances are strong enough to douse those concerns early, offering three believable characters within a short space of time that grip you. There is a strangeness to Mark’s behaviour towards the violent Danny, blatantly stirring him up, that only becomes clear near the end, with a welcome plot twist. The familiarity of Danny’s character, quietly building into a tormented rage, starts a little too familiar at first, but actually becomes a spectacular development by the end. Alongside this, Mark’s friend who turns up to find a bloody bathroom scene, offers the perfect entryway for viewers into this dark story. It is refreshing to see a London crime-thriller that offers more than grit and grime. Not only does this short film serve up a platter of violence and seedy characters, it does so in a way that makes them seductive rather than off-putting. Brutally engaging and stylishly crafted, this is an arresting watch for fans of thrillers. #AChancetoNotRemember #UKFilmReview #shortfilmreview #filmblog #movieblog #filmmaking #filmreviews #uk #chrisolson

Review by Amaliah Sara Marmon-Halm Set in an almost fantastical version of London, Jade, a well-off girl from a classic London upbringing tries to escape the world she knew in order to explore her darkest dreams, fantasies and instincts, all in search for a new level of ultra-violent behaviour. Set over eight segments of poetry created to question the imposed roles set by society, Jade (Alice Wahtel) and her band of loyal eccentrics transport the viewer to a highly dangerous and mystical reality, full of magic potions (drugs and narcotics), sadistic sexual and psychological behaviour and very dark undertones, all wrapped up in a fifteen minute package. With each segment, Jade slowly slips deeper into the dark and sordid corners of society, where the lines of enjoyment, morality and death blur increasingly. She not only challenges her boundaries but the boundaries set by those around her. With a background in visual arts and fashion, Christian Neuman wanted to make this film, and others he has made like it, as visually complex as possible. As a result, he has created something that challenges the classic narrative structures. What Neuman has created with film is a piece that makes you sit on the edge of your seat in shock, whilst at the same time it draws you in with how aesthetically pleasing it is to watch. At times seems more like an elaborate fashion shoot than a film, overall this is poetic and gripping venture into the dark corners of the mind and society will leave you wanting to explore this world for yourself. Watch the Teaser Trailer below... #Theendofeverythingasyouknewit #aguide #review #UKFilmreview #shortfilmreview #filmreviews #UK #supportindiefilm #filmmaking #trailer

"Buffer Face" Review by Chris Olson Existing in the digital age, the population is offered an explosion of choice everywhere they turn. Consuming popular culture is not only instantaneously gratifying these days, it is also heartbreakingly shallow. With the advent of streaming services like Netflix and Amazon Prime, cultural products such as movies and TV box sets are simply fuel for our ever-increasing stimulus-stomach. Deep Learning, a short film written and directed by (and also starring) Matthew Ferrara, takes a wickedly funny poke at society’s shameful attitude towards visual mediums, whilst throwing in a tried and tested tale of AI-gone-Oh-No. With an alarm on his iPhone to tell him when to stop working, and a solitary meal of pasta for one, Matthew (Ferrara) sets himself up for the evening under his duvet about to watch something on from his Webflix subscription - shamelessly dressed up in Netflix’s colours. When a robot voice greets Matthew, and reveals an updated version of the system he uses, our protagonist barely notices, blissfully unquestioning of the “auto-update” lifestyle of the modern age. As the artificial intelligence berates Matthew in search of the perfect viewing suggestion, a strong theme of cultural ignorance/hypocrisy reveals itself, as Matt, when offered a string of high-brow options, would simply prefer to re-watch Thor 2 so he can fall asleep to it! There is a slickness to Ferrara’s direction, and a potency to his delivery, that makes Deep Learning a formidable short film. The opening sequences that show Matthew’s comfortable and relatable lifestyle are done with some impressing framing, in particular a birds-eye-view shot of a popcorn maker, that reveal the artistry behind the camera. The script is painfully funny, a beautiful contrast existing between Matt’s goofball antics and the AI’s dwindling patience. Given the relevance of the story and the small moments of acute observation, Deep Learning gives a master class to other filmmakers looking to deliver short film gold. The lead performance is far from mesmerizing. Matt’s character is an every-man in his pyjamas, but there was little meat and bone to his portrayal. It may be that a comedy line was being more strongly pursued, but there was definitely room to squeeze in some drama there too. The AI (voiced by Tony Pacitti) was very well done though - reminiscent of a new age Hal. Formidable filmmaking with incisive cultural commentary, Deep Learning is a short film that dishes out the lessons on how to poke fun at ourselves, whilst being ultra stylish in the process…Now I’m off to watch all the episodes of The Sopranos whilst I eat brownies in my pants and simultaneously troll Hilary Clinton. Watch the movie below: #DeepLearning #UKFilmReview #shortfilmreview #ukfilm #filmblog #movieblog #filmcritic #supportindiefilm

Review by Chris Olson Clad in simple, gray tees and little black pants, a group of women huddle together as prisoners. The brick-walled room is in a warehouse, where these ladies are segregated from a society whose attitudes they oppose. Newcomer Ree (Catherine Butler) is the archetypal “new fish”, bewildered by the treatment of these political prisoners and out-of-sync with the pecking order she has been thrust into. Full of intrigue and tense drama, Joski-Jethi’s story is heavily weighted with themes of sexism and repression. These characters, led by Hattie (Lorna Newman), form both a collective support group for each other, as well as a fractured sisterhood of conflicting ideology. The differing opinions on how to deal with their situation, when faced with “The Test”, as well as the pregnancy of one of their group, reveal bitter fault lines in the purpose of their resistance. The issue of childbearing adds a compelling development to the film’s discourse - allowing the powerful duty felt by mothers, who would become a martyr in their maternal instincts, to become the overriding force in the group’s political direction. Not only have these women been subjected to sexual brutality and second-class citizenship, they must relinquish their morality due to their unique ability to carry a child. As one of the prisoners says, “Our curse as women is for our pride to be forgotten”. There is a boldness in Under My Thumb which must be celebrated. It delves straight into a huge and divisive topic, without stopping to consider any unnecessary exposition or narrative devices. It is stark and bleak throughout, capturing the essence of being a prisoner through its mise-en-scéne as well as its dialogue. There is only a sparse amount of sound effects used and even the framing is overly intimate, with severe close-ups and low-angle shots, that reflect the loss of freedom these characters have experienced. The ensemble deliver a solid, collective performance, in particular during the final sequence which is a fantastic finish. Special mention must go to Butler, who navigates a complex, and emotionally tumultuous, portrayal with splendid poise. Some of the scenes have a degree of awkwardness to them, with characters seeming to be waiting for their turn to talk, or talking over each other and squirming, but for the most part the performers do well to carry the heavy load laid upon them. Under My Thumb is political thriller and prison drama in equal measure, with Joski-Jethi delivering a scathing sermon on the realities of a “civilised” society. The result is a brutally engaging, thoughtful drama that will stay with you long after viewing. #UnderMyThumb #UKFilmReview #ShortFilm #filmreview #filmblog #chrisolson #supportindiefilm

Heaven, Hell & Heroin Review by Chris Olson An addict called Doyle (Joseph A. Halsey) experiences an existential crisis when he overdoses and is greeted by a being called Alexander (Sal Rendino) who offers him a chance at redeeming himself. Doyle, a disgraced ex-soldier-cum-heroin-addict, must locate a knife held by drug kingpin Tommy (Chris Cardona), in order to appease Alexander and enter safely into the afterlife. However, Alexander’s offer may not be as straight-forward as it seems, and the surrealist nature of Doyle’s imaginings call into question the “reality” of what he is seeing… Heavy-hitting performances and a solid atmosphere prove Sage knows how to handle a gritty drama like this. There is a ferocious intensity during the short film that remains consistent to the end, reeling the viewer in like a spoonful of drugs. Doyle’s situation is equal measure action and intrigue, delving into the underbelly which he calls home whilst occupying his own inner turmoil. This makes for a compelling watch. Cardona offers a wonderful, yet short lived, performance, and Halsey squaring off against Rendino during their biting dialogue is spectacular. Nicole Vogt-Lowell also delivers a memorable turn as co-addict Faz. There is a certain lack of lightness to this overly dark tale of drugs and damnation, an insert of humour would have been well received and could have distinguished the characters more effectively. Personality is not developed fully enough. That being said, the strength of the performers keeps the movie on firm footing during the 18 minute run time, and the action sequences are done with enough grit to impress. Fans of intense dramas and action movies will enjoy the fruits of Sage’s efforts, and Halsey’s gripping opening scene is a joy to watch for anyone. Viewers who often contemplate heaven, hell, and heroin will be on a high. #filmblog #moviereviews #moviereview #shortfilm #shortmovies #chrisolson #JunkieHeaven #UKFilmReview

"Mad Men" Review by Chris Olson A disaffected yuppie looks for an exotic escape from the so-called “luck” of his life after being given the business card for a place called the “Punish Me Palace”. Stepping into the bizarre and disturbing establishment, our hero is shocked by the violent methods used to give patrons pleasure, however, a heart-to-heart with a whip-bearing dominatrix could prove the life-changing experience he was hoping for. There is a light-hearted yet macabre tone to Esper’s short film that delightfully complements the inner turmoil, and personal journey, of the main character Scottie (David Sackal). Whilst the dark intrigue of the Punish Me Palace is the setting for a literally rude awakening, moments of scripted comedy are used to adorn the walls, allowing an entry point for the viewer, who may otherwise be put off by the strong element of adult naughtiness. It is fantastic to see a pulsating theme running through this movie, at one point Scottie says “I feel like I’m succeeding down a path I don’t even want.”, which perfectly highlights the crisis point that is the foundation of this story. It's an idea that many audiences will relate to; growing up and being a “success” in society’s eyes may very well be the antithesis of your own measure of success. Scottie wanted to be a cartoonist, but now attends smoke-filled business meetings full of guffawing fat cats, silently aching to break free of the corporate chains that keep him in bondage. Seeking a different kind of bondage, the Punish Me Palace offers visitors a chance to absolve themselves of ill-feeling through sadistic methods. Scottie makes up some lies about himself in order to “deserve” a whipping, but ends up having a deep-and-meaningful with the whipper Michelle (Joanna Donofrio), where they find the answers to each other’s dilemmas through words not whips. Aside from a slightly too gothic musical score, Please Punish Me is an impressive short film. The performances are believable, offering up a decent array of balanced characters. Sackal does well to toe the line between comedy fool and dramatic lead, whilst Donofrio steals the ending with a strong and evocative portrayal of this troubled woman. The screenplay, written by Rich Camp, has a fluid professionalism that moves the plot along superbly. Chris Esper shows fluent directional prowess during the 15 minute run time, with each scene contributing brilliantly to this vivid tale of introspection. #filmblog #moviereviews #moviereview #PleasePunishMe #Review #ChrisOlson #film #critic #UK #Film #shortmovie #movies

"No use wine-ing about it" Review by Chris Olson A short film about the fluid nature of human relationships, C’est La Via is Christopher Rapalo’s swirling urban drama about a man and woman who meet in a wine bar, and their ensuing connection which becomes as fragile as an empty bottle of Sauvignon Blanc. Quentin Miras plays the male character, who we are introduced to sitting alone at a wine bar, enjoying a glass of red, when he is joined by the very pretty Marise Jimenez. The two feel a spark and the movie jumps six months to them enjoying a relationship and the comfort stage that comes with it. A few montages and cityscape transition sequences later and the whole thing has become corked, their once full-bodied vintage now a smashed bottle of Lambrini. *Getting light-headed from all these alcohol puns* Far from the most uplifting tale of a blossoming romance, C’est La Vie is a short film that offers viewers style and skill over plot and script. Rapalo brings out plenty of weapons in his arsenal of artistic filmmaking, delivering impressive technical effects and a visual platter of goodies. Language plays an important part in C’est La Vie, with Miras being English-speaking whilst Jimenez is Spanish, throw in a little French at some point and the whole movie takes on a very Cosmopolitan feel (okay, that reference was unintentional). In a film about the transient nature of our disposition, the performances fail to ground the viewer in the moment. Whilst the interaction between Miras and Jimenez shows some chemistry, and there are moments of thoughtful tension, the two become afterthoughts for a film making a larger point. Like a perfume commercial but without the celebrity endorsement. Wrapping up the movie with a T.S Eliot quote, it is clear that this is Rapalo’s vehicle, who shows himself to be a director with poise and style. Throughout the movie, clear and decisive intentions can be seen, offering bold commentary without delving into overblown, and unnecessary, dialogue. This is primarily a visual piece where every element has been carefully chosen to assemble into a striking picture for the viewer, one that intends to enrapture and move. Something which Rapalo does successfully. #c39estlavie #review #ukfilmreview #filmreviewsuk #filmblog #movieblog #shotfilm #filmcritic