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By midlandsmovies, Jun 27 2017 02:56PM



The Telephone (2017)

Directed by Stuart Connock Wheeldon

Nine Ladies Film


A simple piano refrain and shots of quirky antiquities opens new horror short The Telephone from Nine Ladies Film.


With a more experimental introduction than previous films, Wheeldon has used images to create a sense of intrigue as we cross-jump shot-to-shot between seemingly random items and a list of missing persons before settling down for the tale.


Nigel Barber (as Max) is shown as a tormented artist scrawling Pollock-esque paint ejaculations across a canvas, before a parallel narrative shows a man (Bern Deegan as Richard) in a red telephone box. What follows is a series of eerie dream sequences experienced by Richard and as we receive these uncertain errors with him, the audience begins to ask if these are real or imagined. Or are they even glimpses of the past?


Well, Richard turns out to be a journalist investigating the disappearances highlighted at the film’s start but the relationship between him and the mysterious Max is intentionally vague. The constant telephone ringing provides an interesting background noise to the (hinted-upon) mental torment that Barber and Bern are encountering as well.


The main narrative is only hinted at, with the audience having to do much of the work as the jarring edits and almost non-existent dialogue create a mysterious puzzle that I hope most viewers would throw themselves into.


The music is great if a little overpowering at times and is edited higher in the mix than the sound effects – mainly the title’s ‘buzzing’ telephone – but the cleverly constructed angles and shots maintain a good sense of intrigue. Black and white flashbacks keeps the visuals appealing and the film had the suburban weirdness of Ben Wheatley’s Kill List and even a bit of Nic Roeg thrown in there too.


A big change of style for the local filmmaker, the short film definitely prioritises atmosphere and feeling over narrative. Personally I found the lack of story a bit frustrating at the start, but the film clarifies further in the second half and answers some of the uncertainties but also cleverly leaves you hanging on a number of points.


Some may be put off by the dream/nightmare-like randomness of the plot threads but I recommend putting any doubts ‘on hold’ for a high-concept hazy nightmare. In the end, The Telephone ends up being a great calling card for Wheeldon and a huge leap forward for the director in style and visual story-telling.


Midlands Movies Mike


Watch the full short on the Vimeo video below:




By midlandsmovies, Jun 20 2017 08:19AM

Just Desserts (2017)

Dir. Liam Banks


The latest offering from Superfreak Media is Just Desserts, a slapstick comedy short reminiscent of the silent films of the past.


Directed by Midlands filmmaker Liam Banks, Just Desserts plays out a night in a restaurant which is occupied by a man and his girlfriend, the waiter, a lone woman and a man who just wants his soup.


Watching this short reminded me of Charlie Chaplin’s early work or The Marx Brothers as the characters are exposed to physical comedy as a way to express their situation. The waiter struggles to keep his restaurant calm and serene as his customer’s private lives take centre stage.


The attention to detail and the clear effort gone into making this short is what really sells itself to the viewer. I was glued for the entire five-minute running time, appreciating every aspect of the production as well as enjoying watching a genre that doesn’t get enough exposure in the modern climate.


The cinematography and editing are evocative of those classic silent films, the grainy “old film reel” look of the film is consistent throughout the film and is one of my favourite elements of the film, whilst the editing employs the slightly sped up effect to emulate how early silent films were shown.


Complimenting what is shown visually is the original music by Pav Gekko which is a fantastic piece of music in its own right.


However, I don’t think the film would have been successful if the actors were not game. The cast, Adam Read, Melvyn Rawlinson, Steve Wood, Sarah Wynne Kordas (who also wrote the short) and Karen Best were professional and managed to keep a straight face throughout something I would have struggled to do!


Liam Banks, known mostly for his work in the Horror genre, shows that his talents are vast and can go beyond terrifying his audience, he can also make them laugh.


Guy Russell

By midlandsmovies, Jun 18 2017 12:36PM

The Baylock Residence (2017)

Dir. Anthony Michael Winson

Mr. Stitch Films


A rainy intro with vintage bombers opens this new horror feature directed by Anthony M. Winson who, and we haven’t seen this too often in the Midlands, has actually taken a second ‘stab’ at a story he’s made once before. With a number of other fright films already under his belt also, Winson again turns his hand to a haunted house, this time in England during 1944.


A great minimal piano score from David Beard whisks us away to war-time Britain and the low-budget feature includes some solid plane special effects as well as a street destroyed in the Blitz.


After tragedy strikes Mrs. Baylock, her sister Patricia Woodhouse inherits her home and the film throws us in to some good character development and acting between Kelly Goudie as the sibling and the ambiguous Annabelle (Sarah Wynne Kordas) who is the housekeeper.


The suitably spooky music compliments the narrative and as the mystery deepens we get some ghostly going-ons including the appearance of a paranormal entity manifested as a darkly suited man in a hat.


The film intersperses a few (too many) dream sequences which threw me off the narrative, which otherwise is very well told. I knew what was going on at all times and the characters are clear and well-defined with some even defying their dark introductions. With clever manipulation, the filmmakers lead the audience into a false sense of security as we are unsure as to everyone’s true motivations and background.


That said, however good the narrative is, it is disappointingly delivered almost entirely by the two characters in dialogue. This could have been done with more variety (flashbacks or voiceovers perhaps) to give information about the past to the audience. In addition, a few more supporting characters would be useful even, as the film is almost entirely a two-character story which although well-focused, did get a bit tiresome.


As the film moves onward, a padlocked attic hints at more sinister themes and the scares come in the form of closing doors, hinted apparitions and tight editing. One particular good sequence has lightning revealing-then-hiding a figure in a room with the protagonist unaware of their presence.


The movie is well-lit but could easily have been a bit darker as the light rooms and corridors of the house, whilst very well recreated by the set designer, are quite bright and work against the morbid themes. Baylock Residence understands its genre well though and uses a number of familiar horror tropes – eerie gramophone, creaky stairwells, flickering lights and graveyards – and the terror increases to its conclusion as mysterious spirits become more malevolent in their actions.


From poltergeist scenes of moving objects to a ghostly ‘slapping’ sequence, the director throws everything he can into the story helping maintain a variety of dramatic sequences. The variety didn’t extend as far as some of the shot choices though. Some more moving camera would have helped as the film is almost entirely locked off static shots. A few different styles would have kept it more visually interesting but I never felt it dragged in a swift but solid 1 hour 20 minute runtime. I’ve found local features all too keen to hit the Hollywood 2-hour mark yet so often have a lack of story and footage to justify that time. No such qualms here.


The film has a feeling of unease as actors are pushed to the edge of the camera frame, although at times I wanted to straighten the shots to focus on the drama, but it did help portray the confusing and haunting visions nicely.


The costume and make-up should also be highlighted as a great asset as they are era-perfect recreations and the wardrobe helped sell the historical setting brilliantly, which must have been hard to do on a low budget.


As Investigations uncover more family truths, we are jolted along to the story’s conclusion and are finally treated to a flashback which involves flapper girls from the past. As they deliver a musical number (!) which mixed up the style, I only wished there were more risks like that taken throughout.


Baylock Residence then is a fine treat for fans of terror and dread and the film’s techniques and delivery have more in common with The Exorcist – a slow build, suburban setting and atmospheric tension – than they do with more modern jump-scare horrors like Insidious and their ilk. And this is massively to the movie’s advantage as it shows a unique 70s style influence. So those willing to stick with Baylock Residence’s old fashioned-inspired delivery will therefore be rewarded by the charms of its classic chills.


Midlands Movies Mike


By midlandsmovies, Jun 16 2017 09:20AM



Rogue (2017)


Dir. Hannah Smith


A man in his underwear angles his telescope upwards as he stands partly-dressed in awe at an unidentified phenomenon in the sky and so opens Rogue, a new 12-minute fantasy film from the Midlands.


The director of this sci-fi short is Hannah Smith and she invites us to look to the heavens as well in order to tell a story of the cosmos and its impact back on earth.


The film cuts to reveal a huge planet in Earth’s atmosphere and we begin to wonder what risks this new body in orbit will pose to the population.


Smith uses impressive and realistic news television reports on screens to show the worldwide impact on a small budget yet officials are swift to issue a statement that it poses no risk and is due to pass without incident.


However, the aforementioned man (an excellent Alexander King as Jonathan Quinn) enters his wooden barn retreat where his newspaper clippings and blueprints suggest he may know more than the authorities themselves.


As he takes his concerns to a government office, they dismiss his “insane” theories, yet to him it is clear that there will be severe repercussions if no action is taken.


The film is well shot and composed and the candle-lit lighting is fantastic in night time barn shots but this contrasts sharply with the somewhat flat and lacklustre office shots. One sound issue during a conversation should have been picked up in editing – although it could be as a result of the YouTube upload I was viewing.


That said, the story continues as Alexander King channels his version of Woody Harrelson’s ‘crack-pot’ conspiracy theorist from Hollywood disaster flick 2012. This is the smaller sibling of that film with its media coverage of an impending large scale disaster.


Smith uses her small budget to create big sequences and I was very impressed by the level of effects to show the planet in the opening few shots.


Without giving the ending away, a freak heat-wave has those in power questioning the after effects of the planet’s passing. Tension increases via an 80s-music inspired montage sequence as Quinn creates an unknown device which may or may not fend off disaster.


And here Lincoln-based Hannah Smith leaves us hanging like the planet’s inhabitants - asking whether the protagonist can stop any impending tragedy.


Far from a catastrophe, Rogue is in fact a stirring and mesmerising locally-centred disaster film that shows huge promise from a first-time director and is impressive in its story telling, special effects and construction.


Midlands Movies Mike

By midlandsmovies, Jun 3 2017 11:04PM

Shaun Barker: One More Time (2017)

Dir. Ashley Carter

Big River Pictures


“Worst team in Premiership history” says actor Jack O’Connell as he introduces us to this football documentary which follows Derby County Football Club player Shaun Barker.


O’Connell himself is a Derby-born success story seen in This Is England, ’71 and Money Monster and he shows his own local passions for Derby FC which matches the other interviewees featured in this sporting documentary.


The film follows the up and down career of Shaun Barker, a professional footballer who was involved in a serious collision with Nottingham Forest striker Marcus Tudgay and Derby goalkeeper Frank Fielding.


One of the strongest aspects of the documentary is the focus on the local. The story is intrinsically entwined with the area as Barker was born in the Midlands, played for Derby and his injury occurred during a match with a local rival. Yet it is also the local community that rallies around to support Shaun.


Ruled out for the remainder of the season with a dislocated kneecap, the problem had “career threatening” written all over it and Barker faced an agonising 16-month recovery from injury.


Barker used this support to help him with his lengthy period of serious rehabilitation even just to get walking again – which involved metal pins in his leg and many setbacks along the journey.


The documentary interviews a number of past football coaches, managers and players as well as more personal family members and technical staff as they throw their support behind Shaun who was still struggling to run even after 18 months.


Through periods of depression, Barker talks candidly about his own struggles to the camera and with injuries and time becoming an issue, Barker speaks openly about his doubts and the effect on his health, his mind and the fallout on his family.


Technical wise, the documentary uses an almost constant stream of interviews and voiceover without narration. This gives it a more personal feel as we only hear the stories from Shaun and those around him.


However, I found the constant slide-guitar and country-rock music a bit off-putting. Sometimes overpowering the audio from the interviews, it didn’t feel that it was a particularly good fit for the topic either. A few more different styles of music – like the switch to the Stone Roses’ “I am the Resurrection” towards the film’s conclusion – would have helped with the pacing and giving each part of Barker’s life a different tone.


That said, the story provides enough positive moments to capture the positivity of Shaun and his endless determination. Derby’s passionate fan base are also well represented and despite their absence from the top league, the full stadiums and community support for the club and its players shines through.


Barker finally rejoins training for Derby before a testimonial game leads to a move to the nearby Burton Albion team where he is allowed an opportunity to play again – this time against his former club – as a last minute substitution.


Midlands football fans will lap up the details of the documentary but passing fans may find the 2-hour run time as lengthy as Barker’s rehabilitation. Jokes aside though, I am sure most will appreciate the inspiring tale of an individual’s personal journey to overcome seemingly insurmountable barriers. Even now his legacy remains with his own charity being set up to help those in a similar position, and so the film ultimately rewards those who stick with it and provides a comprehensive overview of a local hero. Taking the documentary full circle, the worst team 'ever' beginning, concludes with the most satisfying happy ending anyone could ask for.


Midlands Movies Mike

By midlandsmovies, May 25 2017 12:34PM



Family Portrait (2017)

Directed by Kelly Holmes


From Derbyshire filmmaker Kelly Holmes comes this short 14 minute film about time, inheritance and the changing dynamics in a family who have entered a precarious position.


Opening on a zoetrope of a horse as well as seeing a woman (Line of Duty’s Allison McKenzie as Margaret) reticent to sign a legal document, Family Portrait throws us straight into a world of upper-crust Britishness after the loss of her husband.


Filmed in a beautiful blue hue, the film has a gorgeous look of an older era with great costumes and the old stately home location carrying the ghosts of the past in its rooms and furniture.


After the death of said father, Margaret wants her daughter (In Plain Sight’s Kate McLaughlin as Louise) to maintain control of the family affairs whilst at the same time, the whole family have to tolerate the rigmarole of a family portrait.


The family surprisingly include the corpse of the father into the photograph, with the irony of the necessary “stillness” of the archaic process not lost on the film’s creators – “It would look more real”, says the photographer as he asks the family to pose in certain ways around the cadaver.


The dark tone of the screenplay by Nils Gustenhofen is sparse but gets straight to the major points and themes of the piece and allows enough ambiguity about death, possibly murder, and the future without explicitly stating in the dialogue. In addition, the score is at times gentle AND intense which gives a sense of dread as the story unfolds. This emotional music is expanded upon with ticking clocks and echoing footsteps which again show the passing of time and movement.


Time, image and movement are therefore the big themes Holmes has brought to the forefront throughout, with the rattling zoetrope alone emphasising the illusion of motion alongside the fixed nature of the images.


In summary, Family Portrait is a fantastic powerful short that captures the images of life from a bygone period. The film works on many levels and even displays its own themes via a sequence of images which show the progressive phases of motion during a family’s attempt to “move on”.


Midlands Movies Mike


For more information about Kelly Holmes and her films please go to www.kellyholmesdirector.com

By midlandsmovies, May 21 2017 08:34AM



The House of Screaming Death (2017) Pat the Bull Films & Lightbeam Productions

Directed by: Troy Dennison, Rebecca Harris-Smith, David Hastings, Alex Bourne


A collaborative group of fright-filmmakers have pulled together and created a new Midlands made horror anthology – The House of Screaming Death – and, in a Midlands Movies first, we review this local horror feature with two (!) of our writers in conversation.


Taking a slightly longer format than before, Editor Mike Sales speaks to site feature writer Marek Zacharkiw about these multiple tales of terror in a collaborative format akin to the film itself.


To set the scene, The House of Screaming Death utilises the horror staple of an anthology film set around the same location, in this case it’s another recognisable feature of the genre – that of a spooky location – which is a great concept (not to mention realistic in terms of scope and budget for an indie production - Marek). Here it allows this group of filmmakers to display their individual talents while linking the tales together using themes of time, personal journeys and tackling the ‘ghosts’ of the past. Each of the 5 directors (4 tales plus the director of the wraparound sequence) brings their horror-tinged stories to screen using new occupants as well as both the familiar and the unknown.


The film opens with a suitably gothic red ghoulish font reminiscent of classic Hammer Horror and we are then introduced to Ian McNeice (Ace Ventura: When Nature Calls) as the Architect. He’s the perfect foil to deliver an eerie performance as he introduces each segment. There’s also a great score from Matthew Calvert which mixes a dash of the recent Stranger Things with urgent strings to create a pumping tension at the beginning. And with that, Marek and I got stuck into the film…


MAREK: I have to say the idea of the film really appeals to me and I think this is in part because the film makers have presented it in a way reminiscent of the older Amicus and Hammer horror anthologies which I am a fan of. The opening and casting of Ian McNiece as The Architect, also lends the film a certain air of gravitas in regards to the professionalism of the picture, by which I mean you do not often get such recognisable faces in these smaller productions. Although the actual story introductions were somewhat lacking I felt.

MIKE: Absolutely. Without putting a downer on so early in the proceedings, the first story was “The Lady in Grey” from Troy Dennison but it was hard to work out any of the story names as McNeice doesn’t give the audience the titles. There’s only a date – in this case 1943 – so I thought a name card could help.

MAREK: I fully agree here simply because it primes us as a viewer and to be honest I feel it helps audiences get into the mindset or world of the unfolding story. “The Lady in Grey” to me came across almost as an attempt to visualise an Edgar Allen Poe story but unfortunately fell short for me as the script and pacing just did not have enough to hold my attention throughout. However I did feel that the concept fit perfectly into the location and credit must be applied for how the crew brought that time period to life.

MIKE: Yeah, the tale had great costumes and the rooms of the house had great set/prop design with suitably old fashioned sets for the varying time periods.

MAREK: As we see across all genres, the choice of an interesting location, and particularly in this case its incorporation into the story, can really help the filmmaker make the most of limited production budgets but in this opening segment I feel that it was a missed opportunity. .

MIKE: Agreed. The story is straightforward and the lighting was good. I was a bit unsure of starting the film with a monologue sequence and tension was only created by the music and not particularly the pacing or editing.

MAREK: I think that explains the issues perfectly, it was difficult to get into as a starting point (for the whole anthology) due to the narrative choice which relied too much on a script that while functional was not simply not engaging enough to hold my sole attention.

MIKE: Multiple speeds of pacing keep interest up but the one-note speed in this segment didn’t reflect the drama being described.


MIKE: The second tale was Rebecca Harris-Smith’s ‘The Witch in the Mirror’ set in 1934 and then 1974. As I mentioned, it was now 18 minutes before any dialogue had been delivered which made me think the order of tales could be reversed.

MAREK: After quite an intriguing start I found this one a little confusing in terms of tone although the opening aesthetics, in particular the costumes, did grab my attention.

MIKE: I loved the steampunk-esque plague masks of the necromancers. The main couple’s real-life argument in another room heard by the guests was a great parallel twist on hearing ghostly sounds through the walls.

MAREK: Exactly and it is in this manner that I hoped the story and style would develop. Although I felt the pacing was a bit disjointed and while, again, the script was functional that every time it built up momentum it became bogged down in the minutiae of everyday conversation.

MIKE: A well-lit dinner meal used creepy candles as we see a couple spend a night in the inherited house. I enjoyed the nods to ‘typically’ horror set ups, again harking back to their retro influences.

MAREK: See for me this was one of the areas that missed where the real interest of the story lay, rather than uninteresting bickering of some confusing characters, confusing in the sense of motivation, I wanted to discover more about the supernatural.

MIKE: I found the structure a little strange as we flash-forward at the story’s start and then at the table hear a story from the past. I kept wondering, as the film switches time periods anyway, which date are we on now? But the reversal (mirrored, if you will) ending nicely linked up the two time periods which clarified the crossover.



MIKE: So we move on to the third story titled ‘The Vampyre’ from Dave Hastings set in 1888.

MAREK: For me this was the highlight of the anthology, a strong concept that was well delivered and engaging throughout.

MIKE: This segment had my favourite characters for me. The vicar delivered a good performance and enjoyed the stereotypically burly locals nonplussed by the city outsider and the central villain of the segment as well.

MAREK: I fully agree, it knew what it wanted to achieve and set the characters out to deliver that with a few nods to the past.

MIKE: A pub scene was notably quiet with no background “hum” and also no score. It was like the audio was missing rather than a stylistic choice. The silence was unnatural but not in a supernatural way.

MAREK: Sadly this appears to have been a theme that frequently reoccurred, to a greater or lesser extent, throughout and did make a difference taking you out of the created world although thankfully this segment was strong enough for me to manage to survive.

MIKE: There were a few scenes in the forest that were really dark and possibly under-lit but it certainly kept it realistic for the time period it was set in.

MAREK: Now I think that final part you mentioned is key but we also need to remember that this story utilised the outdoors a lot more as well as shadows to perhaps hold the mystery a little longer in regards to our villain and I felt this was handled very well in what must have been some difficult shooting conditions regarding lighting.


MAREK: For the final, we are whisked to 2017 (by way of 2015) for the ‘The Diabolique’ by Alex Bourne.

MIKE: Here, we have a lady investigating the disappearance of her brother which leads her to the house.

MAREK: Like the previous segment I thought this was a strong, engaging concept and serves the additional purpose to bring us back to present day.

MIKE: Again, classic horror tropes like a ‘haunted’ doll and cult like images help cement the anthology’s love of the past and this tale wears it’s influences on its sleeve which will attract the fans of the that genre to it all the more.

MAREK: Although everyone deserves credit, perhaps this segment is the best acted out of them all and it helps bring it together.

MIKE: Agreed. It had the best pacing of the sequences for me too and the set of shorts ended on a high note as the tempo had really sped up by now.


MIKE: So in conclusion, what were your favourite parts of the film and which did you think needed improving?

MAREK: I felt the final two stories were undoubtedly the strongest, with ‘The Vampyre’ being my favourite. However I have to say that I do worry that the overall story order is wrong and certain viewers will not stick with it.

MIKE: For me, and I think I’ve mentioned it in so many reviews now that both independents and mainstream blockbusters have a current trend to make everything 2 hours plus, no matter what the content.

MAREK: Exactly and while this film at around two hours might seem like it would break down into four 30 minute episodes it does not play out that way in terms of an even split, and perhaps was overly ambitious based on the resources.

MIKE: Yeah, I sadly feel it’s also magnified by a lower budget. If resources like locations, money and some technical aspects are limited then it makes sense to me that these limitations could be extended to the length. A short, punchy, tightly-edited film often has more impact. In comparison, the recent mainstream release XX had 4 stories coming in at 80 minutes.

MAREK: Sometimes less is more but perhaps with a little tighter editing and post-production many of these qualms can be answered and all of a sudden it becomes a much more enjoyable film.

MIKE: Maybe a re-ordering of the tales would have helped so as to draw the viewer into the exciting beginning of tale 2 before the more mournful reflective narration of Story 1.

MAREK: Exactly, and I think this is perhaps where I am doing a disservice to the opening story but to me it does not set the anthology off on an engaging note and its sparse, bleak tone then permeates to the viewer making for a dry and unfortunately slow start.

MIKE: There’s definitely much more to recommend it than the few areas of improvement we’ve discussed and the anthology format works well for tales of camp-fire horror.

MAREK: Certainly and I think it is just a few minor tweaks required which will perhaps even come as the experienced directors continue their edits. There are of course plenty of positives to take from this and enjoyment to be had, particularly from the last two stories.


So ultimately House of Screaming Death is a retro-infused horror collection that it is more Inside No.9 than Amicus/Hammer but there is a lot of promise and clear genre knowledge behind the camera. One area which anthology films often get wrong but was perfect in this, was the wraparound story which worked exceptionally well and deserves credit. And with 4 exciting directors honing their craft both of us are looking forward to the next terrific tell-tale terrors they have to offer.


Midlands Movies Mike & Marek


Find out more about the film and its release at the Official Website: http://onabeamoflight.wixsite.com/screamingdeath/the-stories





By midlandsmovies, May 17 2017 01:21PM



STILL

Directed by. Carl Timms

Dark Matter Films


“What the fuck made me do this for a living?”


Written, produced and directed by Midlander Carl Timms, his debut short entitled STILL is a zombie-infused story filmed entirely in Birmingham and comes with a unique premise that tackles the often ‘chase-based’ nature of this horror genre.


Starting with a voiceover questioning the main character’s motivation for wanting to perform in the first place, the film begins with a human statue standing in a town centre. Panning around we see the chaos and disaster caused by a horde of zombies who are shown attacking the public in the background.


The human statue conceit may be a nod to Edgar Wright’s Hot Fuzz (and ergo Shaun of the Dead) but it is a uniquely good idea as it focuses on a protagonist frozen in time when his instincts are to run. Especially since the camera rotates around the static man (painted head to toe in gold no less) and it is revealed he is face-to-face with an infected blood-lusting zombie.


As cramp, heavy breathing and nose itching start to become a concern, the short uses this inactivity to create high tension as the minutiae of human feeling is brought to the forefront as he stares down the closely positioned zombie.


A great score comes from Matthew Steed who uses an alarm-based synthesiser composition to highlight the emergency nature of what is going on, whilst the excellent special make up effects by Stuart Conran (head make-up effects artist on Shaun of the Dead and The Descent) are gleefully gruesome.


The short combines horror and comedy with the living statue soon craving a toilet break at the same time as entrails litter his shoulder and blood and gore splatter his gilded suit.


Still takes time to perfect each beat and as the tension rises, the statue asks who else has possibly survived and we head into another superb sequence. The audience is shown the aftermath of what has happened to a street artist whilst the similar act-copying “wheelbarrow man” is exposed to his own dangers.


The film uses close-ups to great effect as the actor Joe Capella uses all his talents to show his concerned face. This great performance has to display anger, determination and being petrified with very little movement and he delivers a first-rate act.


As a decision is made to leave, an injury is sustained and we get a comedic limping/zombie shuffling chase – possibly the slowest seen since Will Ferrell’s ice-skates-on-land chase in Blades of Glory. Again, another great idea in a film already full to the brim with them.


But is the celebratory escape short lived? Well, you’ll just have to watch it as we’re not giving up any spoilers here.


An outstanding concept, fully realised and delivered with a great cast, huge laughs and some superbly shocking terror, STILL is a great entry into zombie folk-lore, despite the fact the genre has a tendency to easily become stilted. You’ll find no such slowness here in the most fast (and fantastic) short about a statue you’ll ever see.


Midlands Movies Mike


Follow the film at https://twitter.com/zomshortstill & view at www.vimeo.com/ondemand/zomshortstill


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