Midlands Movies

Midlands Movies Awards 2026 - Full nominations

Sun, 26 Apr 2026 16:59:08 GMT

On Sunday 26th April Midlands Movies Editor Michael Sales & awards ceremony co-host Ed Stagg (BBC Radio) announced the nominations for the 2026 Midlands Movies Awards live from the Queen of Bradgate Vintage Cinema in Leicester.

A big thanks was given to the entire Jury Panel of industry experts who gave up their precious time to watch a huge selection of creative projects and as always, had a difficult time choosing from the excellent number of films from the region.

You can read the full list of nominations across all 16 categories below and watch our announcement videos here: Part 1 & Part 2

And please also check out our great awards partner Chrome Video

Best Actress in a Leading Role

Karendip Phull for Family

Kate Bracken for The Lace

Rachel Baker for Throwing Fruit

Chloe Wade for How Long

Sophie Bullock for Ma Prison

Best Animated Film

Of All the Things by Steff Lee

Big Red by James Pyle

Statue in the Garden by Qianhui Yu

Butterfly by Jacob Christie

Best Director

Luke Worrall for The Waterline

Lily Portman for Quiet

Jack Richardson for Daniel’s Room

Jonathan Hawes for Sorry We’re Closed

Sophia Dall'Aglio for Man from Mars

Best Documentary

Nothing's Impossible by Jacob Thomas McClean

A Birmingham Symphony by Jemma Saunders

We Bring Light: Leicester's Diwali Legacy by Kieran Vyas

The Sunshine Café by Jill Lampert

Through the Viewfinder by William North

Best Sound (Editing or Mixing)

Neil Evans & his team for Artificial Insanity

Alasdair Gretton for Dead on Distribution

Deepanjali Patel for Earworm

David Hamilton-Smith for The Pause

Heidi Wilson for Of All The Things

Best Actor in a Supporting Role

Devon Junior for Lazar

Tim Sparrow for Safety Net

Shaiek Ahmed Rana for Family

Luke Rollason for Quiet

Peter Willoughby for A Story of Spring

Best Visual & Special Effects

Jake Wesley-Worrall for Soul Trader

Steve Askey & team for The Correction Unit

Nick Willett & Matt Burkey for Black Goat

JaqD SFX MUA, Mind Magic Studios and Ben Harker for Beyond the Witching Hour

Jacob Christie for Countenance

Best Cinematography

Gary Rogers for The Pause

Laurence Mason-Guetta for Sorry We’re Closed

Ian Snape for Soul Trader

Ash Connaughton for Daniel’s Room

Duane Adamoli for Surfing

(nominations continue below...)

Best Costume & Makeup & Hairstyling

Amrita Mudan, Lillian Neil, Bethany Longstone-Mays for Daniel’s Room

Polly Shearlaw and Yvonne Bird for Lazar

Emily Laye, Mega Skillern and Millissa Morris for Soul Trader

Cian Whyles & Victoria Jones for Quiet

Nicole Sarah Fry for The Lace

Best Actor in a Leading Role

Harry Clarke for Surfing

Joe Spoors for Homebird

Timothy Mylechreest for Earworm

Joseph Emms for Lazar

Darren McAree for Beyond the Witching Hour

Best Editing

Mikolaj Kacprzak for Soul Trader

Will Simpson BFE for Daniel's Room

Gillian Abraham for The Pause

Dave Alexander Smith for The Run

Samuel Moult for Mia, Alex and Dean Make A Movie

Best Music (Score or song)

Thomas Pearce for All Eyes on You

Dave Mooney for Lazar

Sarah Playford for Of All The Things

Kitty Harper for Ma Prison

Lina and the Lions for If This Is It

Best Actress in a Supporting Role

Grace Devall for Echoing

Elleese Bradshaw for The Correction Unit

Tessa Wood for The Waterline

Aleesha Gill for Family

Issie Victoria for Teabags

Best Feature

The Beast Of Riverside Hollow by John Williams

This Is Birmingham by Kay S. Ubhi

Rites in August by Tom Turrell & John Turrell

The Correction Unit by Derry Shillitto

Best Writing (Original or adapted screenplay)

Tom Wallbanks & Grace Carter for Bob

Jonathan Hawes for Sorry We’re Closed

Rachel Baker for Throwing Fruit

Ash Arnold for Present Company Excluded

Jonathan Lill for Eulogy

Best Short Film

(winner will be chosen by VIP jury panel member RACHEL SHENTON)

Daniel's Room by Jack Richardson

How Long by Louise Wildish

Sorry We're Closed by Jonathan Hawes

Soul Trader by Geneviève Lowe

Family by Shaiek Ahmed Rana

Quiet by Lily Portman

Safety Net by Alfie Beard

Awards tickets to the ceremony are now available here https://www.midlandsmovies.com/awards-tickets

Review of Exit 8

Thu, 23 Apr 2026 18:51:59 GMT

Exit 8 (2026) Dir. Genki Kawamura

Exit 8 is an incredible film adaptation that fully embodies the spirit of the Japanese indie horror genre.

As someone who has been a fan of indie horror games for over a decade, I was jumping for joy when I first saw the announcement that an indie horror game I really enjoyed was receiving a film adaptation. After viewing the film, I’m pleased to say that it did not disappoint. Exit 8, directed by Genki Kawamura, is a film adaptation of the 2023 indie horror game ‘The Exit 8’ developed and published by Kotake Create.

Set in modern-day Japan, Exit 8 follows an unidentified man plagued by a series of strange events as he navigates a seemingly endless subway tunnel in search of the exit. While the premise sounds simple, the narrative unveils a much more complex story lying just beneath the surface.

‘The Exit 8’ is successful in leaving the viewer questioning if what they are seeing and experiencing is real my perpetuating this continuous cycle of self-doubt and paranoia, making one question their understanding of reality. The film adaptation does an incredible job at replicating the feelings of tension and uncertainty that many players experienced while playing ‘The Exit 8’ game.

The film begins by breaking one of the most traditional aspects of filmmaking – it starts in first-person. From the very beginning, the viewer is transported into the eyes and ears of the main protagonist, only ever identified as ‘The Lost Man’. The first scene takes place in a crowded subway carriage, with the protagonist standing near the door listening to music. The viewer (who hears everything the same way the protagonist does) can hear a baby crying over the music. The protagonist looks over and witnesses a man standing over and yelling at a woman who is trying to shush her crying baby.

Despite a plethora of witnesses on the busy subway, nobody intervenes, including the main character. He gets off at his stop before taking a call from his ex-partner. She reveals that she’s pregnant, before asking a vague question that is repeated in the film a handful of times: “So which is it?”

Before the protagonist can respond, his signal cuts out once he reaches the main concourse of the station. As he traverses the empty corridor towards the exit, he soon realizes that he’s stuck in a loop and keeps going back to level 0, unable to progress to the next exit. After some trial and error, the protagonist soon realizes the rules of this loop: if you see an anomaly, turn around. If not, continue forward until you reach the exit.

As the loop begins, the camera shifts from first person to third person, allowing the viewer to see who the protagonist is, as well as his surroundings. The set is almost an identical reflection to that of the game which the film is based on, which is a crucial narrative element. As the film continues, the viewer, along with the protagonist, are searching this seemingly simple corridor for anomalies, hoping that you can reach exit 8.

As the plot continues, however, things become strange for our protagonist, who is faced with his guilt, morality, and fatherhood, all while trying to maintain his sanity. The only information that the viewer is given about who the characters are is by how they interact with their environment, which some may see as lacklustre character writing, however I see it as an intentional artistic choice that works for the nature of the story. The few characters present in the narrative are not given identities beyond vague titles. The characters include: The Lost Man (the protagonist), The Walking Man, The Boy, The High School Girl, and the protagonist’s ex-partner.

The cinematography remains dynamic for most of the film, making the viewer feel as though they are walking behind or standing in front of the individual on screen. I found that the camera motion at times was almost disorienting, reflecting the emotions of the protagonist as he tried to navigate this increasingly distressing situation.

Not only does the film’s ending leave room for speculation, but the majority of the film’s narrative remains unclear. The plot is only revealed by the actions happening on screen, with no internal dialogue to guide the story or present an understanding of any given character. In some ways, that’s what makes Exit 8 such a unique film. It breaks the film conventions we’ve grown accustomed to, and its sole purpose seems to be disorienting and confusing the viewer.

Given that the runtime is only 1 hour 35 minutes, the film could have incorporated more screen time towards character and narrative development, however I can also appreciate that it stayed true to the eerie ambiguity of its indie game predecessor.

★★★★

4 / 5

Angelique Ritter

www.instagram.com/_angiesjournal

Exit 8 is in UK and Ireland cinemas 24 April from Vertigo Releasing

A battle to behold as Midlands Movies visits upcoming historical epic

Thu, 23 Apr 2026 10:25:18 GMT

On a bright Sunday morning at a campsite just off the A52 in rural Staffordshire, you would never have guessed that a run-of-the-mill grass field would soon set the stage for an epic encounter between 15 ^th century armies.

This was the location for an ambitious 4-day shoot as part of new short film The Pretender which is being made by Anthony-Hamilton Productions and OGK Pictures.

The film is set in 1497, where Prince Richard of Shrewsbury, the youngest of the missing 'Princes in the Tower', faces both inner demons and King Henry Tudor’s forces during the final days of his conquest for the throne of England.

This fictionalised alternative history suggests Richard III’s oft-rumoured ‘disappearing’ of his young nephews to take the crown was actually not as dark as portrayed. Here, much later, the film explores a theory that one of the boys may have survived and began plotting to regain his sovereignty.

This intriguing new angle will be made by the Derbyshire director of the film Oliver Griffiths. Griffiths has already cut his cloth with a number of successful shorts including Smile Smile Smile and the Midlands Movies Awards-nominated A Personal Errand . The latter of the two being set in the American West (but shot locally) and shows the filmmaker’s experience in taking viewers back to the past and demonstrates his already successful handling of creating historical stories in the Midlands.

But despite the accolades this film is his and the team’s biggest project to date with over 2 years’ worth of preparation. And boy, could you see it on the day. A huge team of battle reenactors, with era accurate armour and weapons, were prepped to recreate this alternate chronicle set within the War of the Roses.

There was also a large, tented encampment and men, women and children of all ages in costume to provide further authenticity to this period reproduction.

Playing Prince Richard is seasoned actor Jack D. Anthony, who is also producing via Anthony-Hamilton Productions. And Louis Brough, no stranger himself to the Midlands Movies Awards and a filmmaker in his own right, joins the team as Director of Cinematography and between the whole group, shots were set up to make the most of this amazing ensemble.

Once the army had been ushered into place, the dedicated production team readied the makeup, camera and blocking ready for one of the film’s most important moments.

And it was here during this brief scene we saw filmed, there were exciting echoes of the best Hollywood movies set during the era, with nods to Henry V (both Olivier and Brannagh versions) as well the more recent The King (2019) with Timothée Chalamet. With the promise of a call-to-arms being heard, a Braveheart-style rousing speech was on the cards and is surely an essential must for any medieval movie skirmish.

Once the army had been ushered into place, the dedicated production team readied the makeup, camera and blocking ready for one of the film’s most important moments.

Exploring the Plantagenet line, the film already has a great connection to the history that took place in the region – and especially Midlands Movies’ hometown of Leicester where the King Richard III’s remains were unearthed in the car park just a decade ago.

And the famous Bosworth Battlefield where Plantagenet and Tudor history clashed is just down the road – and funnily enough, holds its own battle reenactment days – undertaken by the very same group involved on this shoot!

With the film's shooting days continuing throughout the rest of the week at a local castle and church, the film continues apace and you can follow the film's latest updates and release schedule via the official page and production companies below.

https://www.instagram.com/thepretendershortfilm/

https://www.instagram.com/anthonyhamilton_productions/

https://www.instagram.com/ogkpictures

Midlands Review of Lacuna

Mon, 13 Apr 2026 12:54:39 GMT

Lacuna

Directed by Sophie Black

2026

Prime Video and the National Film & Television School

Lacuna is a new short film from Midlands director Sophie Black and explores the sensitive subject of sexual abuse and its many ramifications.

Sadie Soverall (Saltburn) stars as shy art student Mia, who is enrolled in a life drawing class and sketches intensely whilst receiving compliments from a supportive teacher. Also attending is a young man called Danny (Albert Magashi) and the two lock eyes as they peer behind their canvases.

However, as a man and woman model begin to position themselves for the next pose, their proximity appears to cause a strange sense of anxiety in Mia. Despite this, she begins her drawing. But quickly finds her angst causing her to scrawl uncontrollably on the paper.

Made as part of National Film & TV Society (NFTS) and Amazon Prime Video Directors Workshop, Lacuna brilliantly delves into the distress and sensitive issues asscoiated with past trauma. The cinematography is first-class and the use of life-drawing as both a story device and as a thematic core is exceptionally well-handled.

Creating, and potentially erasing, one’s past sees the film put emphasis on “the self” and the body, which appear as motifs throughout. Production design and artistry has always been a strength of the director’s style (see A Different Place and Lepidopterist reviews) and here it is pushed to the forefront to become part of the story-telling process itself.

Later as Mia shares a lighthearted moment with Danny, she agrees to join him at a party - but with some trepidation. A passionate kiss between them is less a declaration of romance than it is Mia’s escape from prying eyes and disturbing gazes. But as they reconnect back at Mia’s home, she silently opens up about her traumatic past through a series of private paintings which say more than her words ever could.

What haunts Mia is a secret set up well by director Sophie Black. And this ensures the short’s central mystery gives the narrative an intriguing tone even in its brief 14-minutes. And two formidable but appropriately delicate performances from the leads provides a tactful and subtle welcome into a story with difficult topics it wants to tackle.

The film doesn’t brush past the constant overhanging entity faced by survivors of abuse at its ending. Yet there is a glimmer of hope with the support and understanding of others. But even with this, it does emphasise the constant worries around isolation and dealing with things alone.

Lacuna is a wonderful short with a technical skill as good as any local film you’re likely to see. And this marries perfectly with a story told less with words than it does visuals, using the creative process as a way to deal with one’s personal wounds. With all the filmmaking aspects as sublime as this, Lacuna uses the technical and the creative to draw a brilliantly made and powerful exploration of surviving abuse.

★★★★★

5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Lacuna is screening on Saturday 25th April as part of the Beeston Film Festival at the Arc Cinema

Click here for tickets

Review of The Wizard of the Kremlin

Thu, 09 Apr 2026 17:27:44 GMT

The Wizard of the Kremlin (2026) Dir. Olivier Assayas

An ominous (ironic?) disclaimer about not taking fiction as fact opens this story about the oppressive Russian regime and one which covers the rise of President Putin through the eyes of fast-rising spin doctor Vadim Baranov (Paul Dano).

Jeffrey Wright’s strange noir-detective voiceover structures the framing device as he interviews Dano’s character about his pathway to power before Dano himself recalls, in excruciating detail, the events leading up to the present.

I’m not sure I can summarise all the film’s events - it’s basically everything that’s ever happened in the period - but in short we move from Dano’s bohemian origins via Boris Yeltsin’s decline before Prime Minister Putin picks up the reins.

It’s listed as a satire, nay even a comedy, but you’ll struggle to find many sharp jibes and certainly no laughs except the actors’ VERY English accents. Jude Law as Putin has the look and facial expressions but his voice is pure cockney. What?

Dano fares even worse though. His (non-stop) voiceover is delivered stoically mixing half a misjudged English posho and a weird cod-Phantom Menace monotone. And it’s constantly present over the speed-run of historical (and drama free) scenes that whack you over your head with their message. And if you miss them, don't worry, the voiceover will tell you. And sadly, the performance serves only to give Tarantino more ammunition.

A talented - no, world class - cast cannot overcome the messy structure jumping from moment to moment with no strong backbone. But in the positive column is that it's so crammed with story, characters, history and politics that audiences may find at least one of those delivers.

It’s certainly overstuffed and its tone, acting, pacing and structure swing wildly from innovative to utterly baffling, yet during the second half - after Law’s arrival as potty Putin - things do get a bit more lively and intense. Quite a clever move of moods reflecting the flow of events and changing of the guard.

Arresting his enemies - politically and imagined - Putin ruthlessly implements his power change as he’s called the “Tsar” and shares his admiration of Stalin’s dictatorship. Ruling by fear, and with his war with oligarchs and the Ukrainian people, the film demonstrates that no one or no thing is safe from his revolutionary aims for his “great” Russia.

Honourably tackling themes of oppression, political abuse and media tyranny, The Wizard of Kremlin needs to be so much more focused to really give each of these - or even just one - the in-depth critical eye they deserve.

The subject matter is ripe for deconstruction but this mostly entertainment free zone feels like being imprisoned in a gulag. The Wizard of the Kremlin therefore admirably takes a swing at the acts of a despotic authoritarian, but for the regular viewer it’s sadly like watching an audio book. There's an argument for you to save some time and simply read the history on Wikipedia. It may give the depth you need. It may also be more fun too.

★★

2 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Midlands Review of This Is Birmingham

Mon, 06 Apr 2026 05:00:06 GMT

This Is Birmingham

Directed by Kay S. Ubhi

2026

Director and actor Kay S. Ubhi takes us on a whirlwind journey through Birmingham’s dark side in this stark, gritty and gripping new British crime drama.

The Kaleo family name is no secret in the Birmingham underworld. Known for their prolific drug trades and warfare, leader Al Kaleo (Navdeep Monga) has established himself and the family as a dominating force within Birmingham’s notorious crime ring. Following Al Kaleo’s arrest after a suspected murder charge, the underworld descends into chaos without any clear leadership.

In the midst of the uncertainty, Al Kaleo’s brother-in-law, Baz (Surj Kumar) is appointed as the new head of the Kaleo family operations. However, Asher Kaleo (Kay S. Ubhi), son of Al Kaleo, disapproves of his uncle-in-law’s methods, and instead uses the opportunity to make his debut into Birmingham’s underground crime scene as a well-respected crime lord. Asher (referred to as ‘AK’) recruits London-born runaway TJ (Marlon Watkis) as his cash runner alongside Blacz (Jerome Richards) who acts as his closest ally and enforcer.

When a London gang run by the infamous Ruvelle (Jag Patel) and enforced by the shady Zaza (Tayfun Sevgili) begins encroaching on Kaleo territory to sell grade A heroin, a devastating gang-war breaks out in a suspenseful and thrilling fight to see who will ultimately take over the Birmingham underworld.

Director Kay S. Ubhi introduces the story with striking visual aesthetics and cinematography akin to that of the popular Netflix series Top Boy through the use of cool, gritty colour grading and striking city B-roll to create a moody and intense atmosphere. However, given how beautifully crafted the film itself is, I was heavily disappointed that the cover used for the film was ai-generated.

The narrative of the film tells a story much deeper than two rival gangs competing for territory. It tells the story of TJ, a wayward young man going through the motions of life and struggling to find purpose, and AK, a sheltered son who merely wants to live up to his family name, feeling as though it’s all he has. As the film progresses, AK begins to understand why his father kept him away from the underground, grappling with the weight of responsibility and the gang war looming over him. Meanwhile, through AK, TJ learns how to listen to himself and his intuition and ends up becoming a vital piece in ending the war between the gangs before finding a happy ending of his own.

How this narrative unfolds throughout the film, however, severely lacks in its ability to show rather than tell. Key plot points, character backstory, and relationship building are all done through dialogue, with the occasional voiceover to supplement a transition of time. The viewer only understands TJ’s trauma and his development through his voiceovers, and AK’s character is only explored through his dialogue with Blacz, TJ, Ruvelle, Zaza, and the other gang members.

There are key characters and character relationships which we never learn about. For example, the viewer is never told or shown why Baz was placed as head of the Kaleo family over AK, nor is the relationship between Al Kaleo and Baz ever established. This is particularly confusing when you consider that Baz married into the family. His background prior to the Kaleo’s in unclear.

The narrative also fails to reveal why Al Kaleo wanted to keep AK away from the underworld until the very end of the film in a moment of self-reflection from AK says “My father, I understand you now, why you tried to keep me away from all this. You sacrificed your relationship to protect me.” Given how crucial this piece of dialogue is in understanding AK as a character, it should not have been left to the end, and the viewer should have seen more of AK’s relationship with his father, whether through the use of flashbacks or present-day communications with relatives or with Al Kaleo in prison.

The lack of nuance in storytelling diminishes the narrative’s impact and leaves no space for the viewer to interpret the story for themselves and create their own meanings. Characters aren’t developed, relationships aren’t clearly established, and the film becomes reduced to its core elements of enticing visual aesthetics and well-choreographed fight scenes.

‘This is Birmingham’ does deliver in its promise of being a gritty, thrilling crime drama. However, if you’re someone looking for a film with a deeper, more inspirational message, then this may not be the film for you.

★★★

3 / 5

Angelique Ritter

www.instagram.com/_angiesjournal

On digital 6 April from Miracle Media

Midlands Review of Surrender To It

Thu, 02 Apr 2026 12:36:16 GMT

Surrender To It

Direcetd by Tim Bryn Smith

2026

Showcasing a cast of local talent from the Nottingham Actor’s Workshop, new feature Surrender To It is a true Midlands production mixing horror and comedy as a group of friends take a trip to the countryside.

We are introduced to a couple (Daemian Greaves as Dani and Melissa May Smith as Celena) who argue over joining some friends for a trip despite an imminent house move. Dani leaves without Celena before stumbling upon Erin (Olivia Bailey), who has arrived, without her partner too, at the outdoor retreat.

With no Wi-Fi signal and intermittent phone connection (of course), the old friends congregate at a bar, as Dani joins pals Chrissy (Clare Alexandra Isabelle McGill), Cadi (Joe Kirton), Sian (Matthew Thomason) and Evie (Chantelle Lee).

Their absent friend Timmy texts coordinates to come meet him, and the group begins to head off whilst avoiding a trio of anti-social yobs. And an encounter with their now-famous superstar friend Ram Richards (Fletcher Graham) and his pal Pryce (Alex Rose) means the circle of friends is complete and they can finally get on with their scenic ramble.

The film sets up its world very well. Each character gets an introductory moment and the dialogue fills in their varied backgrounds. They are all different with enough quirks to separate them out given the large cast and from the outset there’s an intriguing and underlying tension linked to past events.

We discover Dani is still dealing with the loss of his child and once Timmy arrives it’s revealed he has the ashes of his father. Both add some emotional depth to a film which could have been a standard walk-around-the-forest thriller. There’s a real compassionate theme about coping with death that is successfully weaved throughout.

The film swings between anxiety-filled encounters when the yobs re-enter the fray, to more amusing sequences such as a skinny-dipping pause at a lake and unavoidable “calls to nature” - which consistently helps the narrative and tone avoid getting too stale.

And cutting to the stalking trio of thugs, as well as Celena back at the house, we get further viewpoints to keep the story engrossing for viewers. There’s even a nicely-shot genre-hopping historical epic sequence during a meditation session!

The appearance of facemasks and inclusion of lockdown talk were a blast from the past it has to be said. It’s slightly strange watching a film made during the Covid pandemic, but the combination of close relationships yet keeping one’s distance works thematically well.

However, about two-thirds in I felt the film needed to begin pulling its various strands together before it lost control completely. The mish-mash of tones and stories - from stalking, to drug-induced hallucinations via the comedy skits and relationship dramas - needed to coalesce together a little better. What was once the film’s strength of variation unfortunately becomes a bit of a weakness in all honesty.

That said, as we trek towards the end of this cinematic hike, a few revelations shed much-needed light on people's situations, as well as the effects these have on various characters. But I personally found one particular twist a huge cop-out sadly. Again, it's the weird jump in mood that gives a certain feeling of whiplash, and was probably the most disappointing aspect despite its honourable intentions to celebrate filmmaking and acting.

Surrender To It therefore reaches for the stars and *almost* hits its heights. The oscillating tone leaves viewers a little disorientated at times which may become frustrating, but it’s never short of talking points. And it very much keeps you on your toes throughout as dilemmas in the present link to the ghosts of the past with some lightheartedness sprinkled in as garnish.

With an exceptional cast delivering all its multiple threads and ideas, the feature is definitely one to check out and shows the great work that can be done with a small budget and hugely enthusiastic and talented creatives.

★★★★½

4.5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Surrender to It is on UK digital 30 March from Miracle Media

Film Festivals in the Midlands

Thu, 02 Apr 2026 09:30:00 GMT

Quite simply, here is our ongoing and updated list of Film Festivals in the Midlands (2026/2027 edition):

THE MIDLANDS MOVIES AWARDS - Midlands region

27 June 2026 (submissions open October)

https://filmfreeway.com/MidlandsMoviesAwards

SHORT IS BEAUTIFUL FESTIVAL - Solihull

2026 Dates TBC

https://filmfreeway.com/ShortIsBeautiful

WOLVERHAMPTON FILM FESTIVAL - Wolverhampton

29th April 2026

https://filmfreeway.com/Wolverhamptonfilmfestival

CINE-EXCESS INTERNATIONAL FILM FESTIVAL - Birmingham

19th - 24th October 2026

https://www.cine-excess.co.uk

https://filmfreeway.com/Cine-Excess

THE STRATFORD ON AVON FILM FESTIVAL - Stratford on Avon

15th - 16th August 2026

https://filmfreeway.com/StratfordonAvonFilmFestival

THE POCKET FILM FESTIVAL - Stafford

2026 Dates TBC

https://www.unseencinema.co.uk

COVENTRY PHOENIX FILM FESTIVAL - Coventry

24th - 26th April 2026

https://filmfreeway.com/CoventryPhoenixFilmFestival

WIRKSWORTH HORROR FILM FESTIVAL - Wirksworth

2026 Dates TBC

https://www.wfcn.co/festival/whff

SHARED VISIONS FILM FESTIVAL (previous Nottingham International Festival) - Nottingham

19th - 21st April 2026

https://filmfreeway.com/sharedvisions

https://sharedvisions.co.uk

LEICESTER FILM FESTIVAL - Leicester City

20th December 2026

https://filmfreeway.com/LeicesterCityFilmFestival

BORDERLINES FILM FESTIVAL - Herefordshire/Shropshire rural film festival

March 2027 Dates TBC - 25th Anniversary year

http://www.borderlinesfilmfestival.co.uk

BIG PICTURE FESTIVAL - Stratford-Upon-Avon, Warwickshire

2026 Dates TBC

https://filmfreeway.com/BigPictureFestival

BIRMINGHAM FILM FESTIVAL - Birmingham

6th - 15th November 2026

https://filmfreeway.com/festival/Birminghamfilmfestival

MANSFIELD TOWN FILM FESTIVAL - Mansfield, Notts

25th - 27th September 2026

https://filmfreeway.com/MansfieldTownFilmFestival

BUXTON SHORT FILM EXHIBITION - Buxton, Derbys.

July 2026 Dates TBC

https://buxtonfilm.org.uk

BIRMINGHAM INDIAN FILM FESTIVAL - Birmingham

25th October - 12th November 2026

http://birminghamindianfilmfestival.co.uk

THE UK ASIAN FILM FESTIVAL - events in Leicester, Coventry & London

1st - 10th May 2026

https://www.tonguesonfire.com

PARACINEMA – Derby

2026 Dates TBC

https://paracinema.co.uk

MAYHEM HORROR FILM FEST - Broadway, Nottingham

2026 Dates TBC

http://www.mayhemfilmfestival.com

FLATPACK FEST - Birmingham

8th - 16th May 2026

http://www.flatpackfestival.org.uk

BEESTON FILM FESTIVAL - Beeston, Nottingham

23rd - 26th April 2026

https://www.beestonfilm.com

https://filmfreeway.com/BeestonFilmFestival

REPTON FILMFEST - Repton, Derbyshire

3rd - 5th July 2026

https://www.reptonfestival.co.uk

WIRKSWORTH FILM FEST - Derbyshire

11th - 20th September 2026

https://www.wirksworthfestival.co.uk

THE SHORT STACK FILM FESTIVAL - Broadway, Nottingham

Bi-monthly local short film screenings

https://www.facebook.com/groups/841340665914084

NORTHAMPTON FILM FESTIVAL - Northampton

2027 Dates TBC

http://www.northamptonfilmfestival.co.uk/

https://filmfreeway.com/northamptonfilmfestivaluk

WORCESTER FILM FESTIVAL - ODEON, Worcester

22nd - 26th September 2026

https://filmfreeway.com/WorcesterFilmFestival

INDIE-LINCS - Lincoln Performing Arts Centre (University of Lincoln)

2027 Dates TBC

https://www.indie-lincs.com

DEAFFEST UK International Deaf Film & Arts - Wolverhampton

8th - 10th May 2026

https://filmfreeway.com/Deaffest2026

BLACK COUNTRY HORROR SHORTS FILM FESTIVAL - Stourbridge

21st November 2026

https://filmfreeway.com/TheBlackCountryHorrorShortsFilmFestival

BIRMINGHAM ANIME FILM FESTIVAL - Birmingham

2026 Dates TBC

https://www.baff.uk

EARTH STORIES FILM FESTIVAL - Staffordshire

2027 Dates TBC

https://filmfreeway.com/EarthStories-1

GRINDHOUSE PLANET FILM FESTIVAL - Leicester

22nd November 2026

https://filmfreeway.com/GrindhousePlanetFilmFestival

DARKNESS IN THE FIELDS FILM FESTIVAL - Derby

2027 Dates TBC

https://filmfreeway.com/DarknessintheFieldsFilmFestival

FORWARD FILM FESTIVAL - Birmingham

1st - 4th October 2026

https://www.forwardfilmfestival.com

BIRMINGHAM HORROR FILM FESTIVAL & CONVENTION - Birmingham

2026 Dates TBC

www.birminghamhorrorfilmfestival.com

FILMGAGE FESTIVAL - Birmingham

2026 Dates TBC

www.filmgagefestival.com

STAMFORD INTERNATIONAL FILM FESTIVAL - Lincolnshire

7th October 2026

https://filmfreeway.com/StamfordInternationalFilmFestival

Other useful Film Festival information can be found at these links:

http://film-directory.britishcouncil.org/festivals-directory

Review of The Cure

Mon, 30 Mar 2026 19:52:30 GMT

The Cure (2026) Dir. Nancy Leopardi

Samantha Cochran (V/H/S/Halloween) stars as Ally, a young woman whose mysterious illness is only superseded by her mysterious adoptive parents and their disturbing intentions in new thriller flick The Cure.

The always twisted David Dastmalchian (Late Night with the Devil) and the Twilight saga’s Ashley Greene star as parents Jeff and Georgia, a rich corporate couple looking into future scientific advancements to help Ally with her condition.

We are soon introduced to Sydney Taylor as Brooke, a girl initially hired to bond with Ally. The two end up sharing some fun, as well as some personal, moments to build a friendship, before Brooke begins to open up Ally’s viewpoint of her situation.

With only 90 minutes to play with – an underappreciated length for modern films I’d say – it’s a slight shame then that The Cure takes a while to get going, especially with what eventually becomes quite an eerie premise.

A mishmash of Ex Machina moments in a sterile glass-walled home is cross-cut with wig-wearing musical montages, which creates a strange tonal vibe from the outset too. And yet despite the cryptic illness seemingly the driving force, the narrative has far too little drive in itself.

Ally has multiple dream-like recollections of strange experiments, but early on too much time is spent on teenage foibles and chit-chat. This may connect with a younger crowd but this jaded 40-something felt it was time best used elsewhere as it reveals very little about the characters in the end.

Strangely the parents use bodyguards to protect Ally with the film encouraging an audience to ask why she is so “valuable” and after an attack by an older woman, questions begin to plague Ally herself given her strange predicament.

For me, one positive is the cast of actors who do their best with some well-worn material. Dastmalchian brings his perfect eerie aura, whilst Ashley Greene’s protective but shady mother hints upon some immoral grubbiness behind the business façade. And Samantha Cochran, as the poorly protagonist, gives empathy and nuance to an archetype seen many times before.

As the plot develops, we get escape attempts, potential conspiracies, a dab of action, (too much) security footage and ultimately a pretty-much-as-expected revelation to the proceedings.

There’s one very specific M. Night Shyamalan film that echoes throughout – especially reminiscent given its beach setting – and so unfortunately it has a disappointing air of familiarity. And one from a superior film as well.

But there is probably just enough here for low-budget thriller fans to have an enjoyable time. It doesn’t push any boundaries – filmmaking wise or thematically – yet the actors elevate some standard material for the mystery to still hold some intrigue. Its short length means you don’t have to worry about it dragging on too long either as The Cure tackles the shady side-effects of medical malpractice.

★★★

3 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

The Cure is available on Digital HD 13 April. Distributed by Signature Entertainment

Birmingham's Flatpack Festival marks 20th Anniversary

Thu, 26 Mar 2026 17:24:22 GMT

Tickets for the 20th Flatpack Festival (8–16 May) go on sale on 30 March, with UK premieres spanning cinema, music and audio-visual art plus some fantastic one off events for their anniversary.

Highlights include Spirit of the Tramp, Carmen Chaplin’s documentary revealing that Charlie Chaplin was a Roma boy born in Black Patch Park, Smethwick. Carmen Chaplin will attend the gala screening.

Two decades since its beginnings as a film night in a Digbeth pub, Flatpack continues to foreground Birmingham’s artists, stories and communities alongside the best new international work.

A major strand of the festival celebrates Midlands homegrown talent. Victoria Wood is honoured with a special screening at Midlands Arts Centre, alongside a comedy bus tour led by Rachel Baker and Barbara Nice (Janice Connolly), visiting sites from Wood’s career including The Sportsman Pub.

Elsewhere, German-Brummie artist Michael Wolters stages Fairlight, an electropop musical about the invention of tennis, at The Archery in Edgbaston - the world’s oldest tennis club. Up the road, at the Birmingham Botanical Gardens, star Paul McGann will attend Withnail and I.

Year-round, Flatpack delivers Midlands movie magic with pop-up screenings across the region. At the festival's 20th edition, local stories continue with the late photographer Martin Parr celebrated through Black Country documentaries Teddy Gray’s Sweet Factory and Turkey and Tinsel.

A world premiere of local filmmaker Kyle Green’s short on Dudley Road Hospital gives audiences the opportunity to share their memories.

And for those with a taste for bizarre musicals, there’s a rare screening of Curriculee Curricula, filmed at the University of Birmingham in 1978 and starring rock singer Chris Farlowe.

A 40th Anniversary screening honours Black Audio Film Collective’s Handsworth Songs too. Free installations and workshops in partnership with Handsworth Compost Village, including on nature animation and composting skills, introduce audiences to the greener side of this iconic neighbourhood.

Mos Hannanand Usayd Younis’ After Eight explores systemic racism and the miscarriage of justice suffered by Birmingham local Satpal Ram, after an attack in a curry house led to his wrongful conviction for murder - made with The Guardian and BFI Doc Society, screens with a Q&A.

Flatpack itself further expands its global majority outlook through a partnership with the June Givanni Pan African Cinema Archive, with screenings like Rage and Desire and Difficult Love exploring Black gender and sexuality; and new curatorial work from Birmingham-based trainees, Denise Amory-Reid, Janet Nagudi and Rene Francis-McBrearty.

Community partners, including Film Pardna and Falasteen on Film will co-present workshops, screenings and live events, contributing to Birmingham’s cultural regeneration. At the festival’s Digbeth hub, artist Michael D Kennedy will create work live, embarking on a quest to uncover a mythical subterranean cinema — a reminder that, 20 years on, Flatpack remains blisteringly alive to the underground imagination shaping Birmingham’s future.

To find out more about all these events and many more head to https://flatpackfestival.org.uk/

Midlands Review of Dreamcrasher

Sun, 22 Mar 2026 12:29:01 GMT

Dreamcrasher

Directed by Joseph Ringland

2026

Nova Wave Film Productions

This 13-minute debut short from writer/director Joseph Ringland is a fully rounded, accomplished piece that skirts the boundaries of horror, drama and even some light comedy.

Lyud Hristov stars as Norman, a young man who is struggling to sleep, and when he does, is haunted by an antlered sleep paralysis demon. Despite regular sessions with his therapist (Adie Mueller), the disturbances continue to escalate, forcing Norman to come terms with his own past.

There’s a lot to like here. The cinematography is simple and effective, keeping the demon in the shadows at first and bathing the cast in a hazy, TV glow which contrasts nicely with the stark natural lighting of the daytime scenes. When we see the demon clearly, it’s a combination of influences – including Donnie Darko; an influence that becomes clearer as the film progresses – but it’s an effective mix of costuming and practical effects that do not overextend the limited budget of the film.

More impressive is Ringland’s ability to weave humour into the film. The synopsis is riddled with psychological horror buzzwords, but the script manages to avoid the worst of these cliches by keeping Norman as a down-to-earth, rather earnest man who is doing his best.

The montage of him confronting, and then accepting, his sleep paralysis demon is a genuine highlight that breaks the tension and progresses the character, without it feeling rushed.

There are a couple of issues. While Ringland’s script works well, there are a few scenes where the language feels a little stilted. It’s unclear whether this is purposeful (to represent Norman’s sleep deprived state) or an indication that the script needed just one final go through, allowing a few extra moments of silence to linger.

However, Dreamcrasher remains a hugely impressive first film; one that avoids the worst mistakes that are seen in this genre (vilification of mental illness) and comes from a place that is clearly personal to the filmmaker. Ringland already feels like a creative ready to take on bigger projects.

★★★½

3.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Review of Project Hail Mary

Sat, 21 Mar 2026 17:13:12 GMT

Project Hail Mary (2026) Dir. Phil Lord and Chris Miller

The Sun is dying. Earth comes up with one last ditch effort to save it. Send astronauts into the deepest parts of space, to study and understand why the stars are going out. But when Science teacher Ryland Grace (Ryan Gosling) wakes up from his induced coma, things have gone wrong. He is left to fend for himself. It’s up to him to save the universe.

Lord and Miller are an extraordinary duo. Many of their previous films like, 21 Jump street and The Lego movie, have gained much critical and commercial praise. But it’s their work has producers and writers that have excelled them to A tier talent. They have been responsible for writing and producing the animated Spider-Verse movies, which not only heralded a new age of animation, but those movies are also magnificent pieces of art.

So, when I heard they took the leap and were jumping back into the directorial chair I was thrilled. Project Hail Mary is an adaptation of an Andy Weir book. If that name sounds familiar it's because Andy Weir also wrote a book called The Martian which was adapted by Danny Boyle in 2015, which was also nominated for best actor, best adapted screenplay, and best picture at the Oscars that year.

Then I heard Greig Fraiser was coming on board as cinematographer. All these ingredients make for a film that cannot fail and is guaranteed to be a success on all accounts. Well, I can happily say that Project Hail Mary is absolutely the best blockbuster of the year, by a country mile.

It feels like we haven't had a proper space blockbuster epic for a while. Star Wars movies have been off the big screen for quite some time, the closest thing I can think of would be the dune movies, but those are few and far between. Project Hail Mary is stand alone and can be enjoyed without having to know extensive amounts of lore or franchise knowledge. This is a crowd pleaser in the best possibly way, allowing a general audience to enjoy this film, as well as having plenty of things for the die-hard film fans. Fantastic colourful visuals, solid writing with great character moments, and experimental story telling through a non-linear narrative. There is something in this film for everyone.

Lord and Miller inject such a humanity into Ryland Grace, he feels like such a rounded individual as well as someone who we can all relate too. That feeling of imposter syndrome and the idea that some people are constantly shouting at the top of their lungs “I'm right!” only to have everyone say you’re wrong. I think that feeling is wildly unrepresented in modern media. He is written so well.

This is helped by the ever-charming Ryan Gosling, who continues to be a fantastic on-screen presence. He plays off other people on earth very well, but when he’s in space, he’s all alone. This is where Gosling really shines, to act basically on your own throughout most of the runtime of this movie is something to be commended. I’m trying my best not to spoil the movie when I say whilst he’s in space, he also has great chemistry with another character that is extraordinarily hard to pull off, due to the nature of the character.

The score of this movie I found to be so astounding. I loved Daniel Pemberton’s work on the Spider-Verse films. In particular, I love the way he composed those scores with mostly electronic sounds and reoccurring motifs. I was expecting something similar with this film, but I was very wrong. In this film he uses mostly orchestral music as well as utilising a choir. Choirs in scores are very rare, but I adore them when they are included. This made the score and the film feel so much grander than I anticipated. Which adds an extra edge to the enjoyment of this film.

The cinematography in this film is nothing other than sublime. Greig Fraser as the director of photography was an incredible choice, he has this natural ability of adding so much grit as well as vibrancy to the world around him. There are many scenes in this film that will leave you heart warmed as well as exhilarated. Some of the scenes here are truly invigorating. I was constantly on the edge of my seat, especially when Grace ventures out of the spaceship.

This film was made for the big screen. It needs to be seen on the biggest and loudest screen possible. It has love, melancholy, and laughter but also a solid story and concept which makes it feel fresh and unique, even in a genre where everything has been done to death. What more could you want?

★★★★½

4.5 / 5

Jacob Holmes

https://www.instagram.com/_jacob.holmes

https://letterboxd.com/jolmes_media

Review of Dead Man's Wire

Fri, 13 Mar 2026 10:06:18 GMT

Dead Man’s Wire (2026) Dir. Gus Van Sant

Having not read much around the film but always interested in a gritty hostage thriller, I had a strange sense of Déjà vu when starting out Gus Van Sant’s latest drama.

Not because we’ve seen this wronged-man take a corporate employee hostage to highlight a perceived injustice many times already, but a more literal “I’ve seen this before”. Well, turns out it’s based upon 2018 true-crime documentary Dead Man's Line. Van Sant liaised with the filmmakers to help shape his dramatic retelling of the same story.

If you’re not aware - or seemingly forgotten like me - the tale sees Bill Skarsgård as Tony Kiritsis, who in 1977 heads to a mortgage broker’s office to take a man hostage after feeling cheated on a business deal.

Although he’s frustrated with the sleazy M.L. Hall (Al Pacino) he is stood up and quickly takes his son Richard (Dacre Montgomery) hostage by using a shotgun with a “dead man’s switch” - meaning if he tries to escape, the weapon will go off automatically.

With the police called early on, a cat-and-mouse chase ensues, and Kiritsis engages with local radio DJ Fred Temple (an excellent Colman Domingo) in efforts to get his message out to the media. Kiritsis continues in the hope to receive monetary compensation and, more importantly to him, an apology before the standoff eventually takes darker twists.

On the plus side, the cast is top tier. Skarsgård is fantastic as the desperate protagonist, Domingo is smoothly sensitive as a considerate confidante and Al Pacino adds slimy gravitas even in his minor role.

Also, the movie’s look is incredibly well handled. Cinematographer Arnaud Potier used refurbished broadcast cameras to recreate 1970s vintage news. And the more traditional film stock parts have a grittiness and depth to them which is a million miles away from the streaming “flat” digital look of modern releases that are also often colour-graded to hell.

The negative is that it just isn’t particularly thrilling. Adhering so accurately to the beats of the story is honourable but made me think the film was a bit redundant. Especially with the documentary already existing. And the use of song “The Revolution Will Not Be Televised” is probably just a badly timed inclusion - given it’s in One Battle After Another - but still adds to an undesirable familiarity.

This closely resembles the situation when Robert Zemeckis made The Walk (2015). Taking one of the best documentaries of all time, Man on Wire (2008), and dramatising the story simply wasn’t as exciting as hearing it from the real-life individuals and seeing footage from the era.

There’s nothing inherently wrong with doing this but the story does need more pep or a different angle than the original take. And I suspect its amazingly high Rotten Tomatoes score (91%) is owing to nine out of ten critics giving it a 7/10 and I feel much the same here.

Dead Man’s Shoes has plenty of going for it and it’s certainly a well-made movie with great performances from a powerhouse cast. Yet I couldn’t help thinking that I really wanted to explore the documentary again rather than watch this. And so it ends as a more-than-solid but sadly predictable effort.

★★★½

3.5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Dead Man's Wire is in cinemas 20 March from Vertigo Releasing

Midlands Review of Sorry We're Closed

Wed, 11 Mar 2026 12:04:30 GMT

Sorry We're Closed

Directed by Jonathan Hawes

2026

One Door FIlms

It’s the little things in life that matter in Jonathan Hawes wonderful short film, Sorry We’re Closed. Jacob and Olivia (Michael Muyunda and Jemma Bentley) are a bored couple, sitting at home, silently dissatisfied with their jobs, their social lives, and the lack of spontaneity in their relationship.

After some goading from Olivia, they walk down to the local chip shop only to find it closed, which exasperates their frustrations. As their argument escalates, Jacob decides to break in, allowing them to cook their own fish and chip supper.

Hawes really showcases his writing ability here, creating a relatable couple in a few scant minutes, one that is clearly still deeply in love and yet stuck in a rut. The sharp, witty script is brought to life by the two leads, who share a clear chemistry.

Add to this, the fact that the film looks stunning – director of photography, Laurence Mason-Guetta, clearly loves their fish and chips as much as the characters given the care taken when the two are prepping the potatoes and fish.

There is a moment towards the end, a sudden bit of dark comedy, that could feel a little too leftfield for some. The film certainly doesn’t need it, and it does put a darker edge on the very sweet, very illegal date night. However, Hawes understands not to linger on this for too long. Bad things happen in the world, sometimes to an overwhelming degree, but Jacob and Olivia have each other and they can face whatever comes because of that.

One Door Films have been putting out consistently excellent shorts, and Sorry We’re Closed feels like a creative team at the top of their game. Breaking and entering never looked quite as romantic as it does here.

★★★★

4 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Review of The Secret Agent

Sat, 07 Mar 2026 17:24:18 GMT

The Secret Agent (2026) Dir. Kleber Mendonça Filho

Kleber Mendonça Filho transports viewers into a tropical thriller in “The Secret Agent,” using expressionistic cinematography and satire to paint a picture of the corrupt political landscape of its time.

Set in 1977, the story follows our lead protagonist Marcelo (Wagner Moura) who has fled to the city of Recife in Pernambuco, Brazil. It is unclear as to who the man is and why he has fled to Recife until later in the film, when Marcelo’s identity is slowly unveiled in a surreal and non-linear sequence of events.

The opening scene captures the viewers’ attention immediately, as it sets the tone for the rest of the film. We see Marcelo arriving on the outskirts of Recife in a yellow Volkswagen Beetle on a sunny day. Soft music is playing from the speaker of the car as Marcelo pulls into an isolated petrol station where a corpse lay partially covered by cardboard just ahead. The petrol station employee casually explains to Marcelo that the man had arrived on Sunday to steal cans of petrol and was shot by the night shift employee. He then explains that it was now Tuesday, and the police had not come.

As if on cue, officers arrive at the petrol station, but instead of batting an eye at the body, they seem more interested in Marcelo’s car, scanning thoroughly for any fault that they could potentially fine him for. When they find nothing of note, they solicit Marcelo for a donation to “Policeman’s Carnival Fund,” to which Marcelo gives them his pack of cigarettes instead.

Right from the start, the film establishes the themes of violence, death, and corruption that will persist throughout, while simultaneously using colourful visual aesthetics and a deceptively peaceful atmosphere to catch the viewer off guard and hold their interest.

Throughout the rest of the film, we discover that Marcelo is actually Armando – a widower and professor of engineering - who has made himself an enemy of the state by ruffling the feathers of Ghirotti (Luciano Chirolli), a bigoted businessman who had intended to shut down Armando’s department at the university and use their research for his own corrupt purposes.

In an act of aggression, Ghirotti hires two grotesque hitmen, Bobbi (Gabriel Leone) and Augusto (Roney Villela), to eliminate Armando. The two hitmen sub-contract a local man, Vilmar (Kaiony Venâncio), to do the job for a lesser fee. In the meantime, Armando has been hiding out in a safehouse in Recife with a kind but hardened woman, Dona Sebastiana (Tânia Maria), and yearns for nothing more than to escape with his young son who has been living in the care of the parents of Armando’s late wife.

There is an underlying chaos in the midst of this, with carnival at its peak throughout Recife, and the new release of the movie Jaws having everyone in a shark-crazed frenzy. This is only heightened after the leg of a corpse was found inside the stomach of a shark. Local greasy cop-villain Euclides Cavalcanti (Robério Diógenes) is particularly disturbed by this, as the victim is likely someone he had thrown into the sea in his attempt to have at least 100 deaths or disappearances at Carnival.

While praised for its political commentary, “The Secret Agent” doesn’t give any false hope or promises about overcoming the political corruption present at that time. It uses satire and drama to normalize the violence happening throughout the narrative - perhaps as a statement on how normalized corruption and violence has become in Brazilian society - but doesn’t paint any sort of solution or redemption for our protagonist.

There’s one particular scene when the neighbours that are all staying with Dona Sebastiana are having a get-together and Marcelo reveals himself as Armando. Some of the others share that they have been operating under fake names as well. It’s a very touching scene that ties in themes of community and hope for the future of Brazil, however the ending alludes to the idea that these dreams might not have come to fruition.

The lack of a “happy ending” per se is almost refreshing, as it maintains a level of realism about the world rather than attempting to be a feel-good piece. The true ‘thriller’ aspect may just be how real the themes are to Brazilian society at that time, despite being conveyed in a surrealist format.

The non-linear plot can almost feel confusing at times, and with a runtime of 2 hours and 40 minutes, audiences may feel exhausted by the slow-burn narrative. However, if you’re willing to sit through it, you’ll find yourself fascinated by the world that Kleber Mendonca Filho has created and the story he tells.

★★★★

4 / 5

Angelique Ritter

www.instagram.com/_angiesjournal

Darkness In The Fields film festival comes to Derby

Sat, 07 Mar 2026 11:28:28 GMT

Derby's rather excellent Darkness In The Fields Film Festival returns for 2026 promising another full day of folky horror scares featuring new films and filmma kers.

With successful events already taking place over the years (click these links to read Matt Tilt's thoughts from 2025 and 2024 ), the organisers are promising another exciting day for horror fans from all walks of life

Once again taking place at independent cinema Derby Quad in the East Midlands, the full day lasts from 12pm until late on Saturday 21st March 2026.

Fright fans can purchase full day passes for £30 with concessions prices at £25 (available from this page ), but individual film tickets are also available if you want to pick and choose from the five movies screening.

As folk horror’s resurgence continues, Darkness In the Fields returns for its third film festival and still promises to be a gathering together of an exciting array of features and shorts within the genre.

So expect rituals, cults, witchcraft, old beliefs, monsters and more with a loaded day of screenings – a must attend for the folk horror fan!

CONFIRMED FILM LINEUP:

12:15pm: Dog of God (Dir. Lauris and Raitis Abele, 2025)

2:40pm: Her Will Be Done (Dir. Julia Kowalski, 2025)

5:00pm: Roqia (Dir. Yanis Koussim, 2025)

7:20pm: The Virgin of the Quarry Lake (Dir. Laura Casabe, 2025)

Events at Derby Quad https://www.derbyquad.co.uk/events/ditf2026/

Leicester Film Club presents Moulin Rouge!

Sat, 07 Mar 2026 10:43:22 GMT

This year marks the 25th anniversary of Moulin Rouge! (2001) the dazzling Academy Award winning musical directed by visionary filmmaker Baz Luhrmann.

And the Leicester Film Club alongside Showcase Cinema de Lux Leicester are thrilled to invite fans of the film to experience the vibrant spectacle of Moulin Rouge the way it was meant to be seen — in a large cinema surrounded by fellow fans.

You can now reserve your seats for the Saturday 21st March screening and be part of the celebration of truth, beauty, freedom, and — above all — love. All you need is love! Tickets can be found here
https://www.showcasecinemas.co.uk/movies/1000039436-moulin-rouge-leicester-film-club

Moulin Rouge! came out in 2001 as a "jukebox" musical romantic drama directed, produced, and co-written by Baz Luhrmann. It follows an English poet, Christian, who falls in love with the star of the Moulin Rouge, cabaret actress and courtesan Satine.

The film uses the musical setting of the Montmartre Quarter of Paris and is the final part of Luhrmann's Red Curtain Trilogy, following Strictly Ballroom (1992) and Romeo + Juliet (1996). A co-production of Australia and the United States, it features an ensemble cast starring Nicole Kidman and Ewan McGregor, with Jim Broadbent, Richard Roxburgh, John Leguizamo, Jacek Koman, and Caroline O'Connor in supporting roles.

And it was a commercial success, grossing $179.2 million on a $50 million budget, and at the 74th Academy Awards, the film received eight nominations, including Best Picture, and won two (Best Production Design and Best Costume Design).

Later critical reception for Moulin Rouge! remained positive and has been considered by many to be one of the best films of all time, with it ranking 53rd in the BBC's 2016 poll of the 100 greatest films of the 21st century

�� Moulin Rouge! (2001) ��
25th Anniversary Screening
Leicester Film Club X Showcase Cinema de Lux Leicester

"No laws. No limits. One rule. Never fall in love"

��️ Saturday 21st March, 2026
⏰ 6pm drinks and social in Director's Lounge & 7pm intro and film in Director's Hall

�� Showcase Cinema de Lux Leicester
��️ Screen 7: Director's Lounge

�� Intro by Leicester Film Club
�� Vintage Trailers
�� Themed Drinks
�� Suggested Dress: Smart

This film has a rating of 12A. Please consult the bbfc.co.uk website for further content information.

��️ Tickets on sale now via Showcase app and website ��️
�� https://www.showcasecinemas.co.uk/movies/1000039436-moulin-rouge-leicester-film-club

Leicester Film Club is a non-profit pop-up community cinema screening cult, horror and classic movies. A chance to ditch the streaming services for an evening to watch films with other movie fanatics, meet new people and learn more about movie history in a relaxed environment.

Follow them on social media for more upcoming events:
instagram.com/leicesterfilmclub
facebook.com/LeicesterFilmClub

Midlands Review of Earworm

Mon, 02 Mar 2026 09:24:51 GMT

Earworm

Directed by Ethan Whyborn

2026

InVitro Productions

*POTENTIAL SPOILERS*

Earworm is a psychological short film written and edited by Ethan Whyborn. No doubt inspired by a plethora of addiction-focused movies like Aronofsky’s Requiem for a Dream, Whyborn’s impressive score undercuts everything that is done well.

Its ambient sound makes use of heavy reverb from guitars and synths, which helps establish an eerie sense of dread throughout.

The main character, Sam, Timothy Mylechreest, starts the film off by visiting his doctor, Bary Smith. The doctor, as is often the case in films about addiction, is dismissive to Sam’s problems with sleep.

Sam, deprived of any solutions, then takes matters into his own hands with black market drugs.

He works in a café, and has a close relationship with Mia, Chloe Nicholson. Although the film was no doubt limited in terms of budget, it would have been nice to see their friendship developed a little more over the 18-minute runtime.

Sam’s boss, Del, Harish Gogna, did a good job of harnessing the tyrannical cruelty of customer service managers to their underpaid staff.

In between the increasingly infrequent lucid scenes, there is a surreal nature that overlays Sam’s torrid efforts to sleep in his room, lit ominously red. Whilst Sam is trapped in this confined space, the film’s score is once again able to work its magic paired with these visuals.

It would have been interesting to see the surreal elements of the film dialled up another notch as Sam starts to derail.

In its best moments, Earworm captures a modern sense of directionless dread. Sam has a job he clearly doesn’t care about, where he and his colleague Mia are treated poorly for little reward. Despite this, Sam is a mysterious character who we know little about. Perhaps because of this, the script feels a little rushed and underdeveloped.

A mad descent into drug addiction is a complicated and difficult topic to broach, but it did feel as though Sam lost his mind too abruptly.

At the climax of the film, Sam and Mia are at the café when Sam’s ear starts bleeding. Here, the throbbing, almost metallic, industrial-like soundtrack reaches an exceptional crescendo. As the camera zooms in on Sam’s despairing face, the ‘earworms’ are discarded, forgotten, the damage already done.

Earworm is a strong directorial debut, no doubt filmed and produced on a shoestring budget.

With a slightly more fleshed out script, it will be exciting to see what direction Whyborn goes in next.

★★½

2.5 / 5

Jacob Poole

Review of Else

Sat, 28 Feb 2026 09:48:39 GMT

Else (2026) Dir. Thibault Emin

Expanded from director Thibault Emin’s 2007 short film of the same name, Else boasts a really strong premise but struggles out of the starting gates. A bizarre virus which merges people with their surroundings forces the introverted Anx (Matthieu Sampeur) and extroverted Cass (Edith Proust) to hunker down in Anx’s apartment.

While there’s real chemistry between the leads, some of the writing in the opening half hour – which lays out the nature of the relationship (situationship) – leans too heavily into the quirkiness of these characters.

This eases later on as the tension ramps up, but for a film which is essentially a two-hander, chamber piece, the lack of connection to these characters is massively damaging.

It feels like a consequence of the filmmakers throwing everything at the wall to see what sticks. From a visual perspective this works well, as we shift from the soft neon glow of Anx’s apartment, to stark, rapid-cut black and white sequences, and finally a hazy, sepia-tinged landscape that feels pulled from Tarkovsky’s Stalker. All of this is punctuated by impressive practical effects, with the shifts in style helping to raise the stakes.

But the hook comes a little too late. Shaving 15 minutes off the run-time and allowing some of the quirkiness to be explored while the pair are trapped together would have really benefited the pace.

It’s a shame because Emin’s theories behind the film are interesting; concerned with the dissolution of the self, our relationships with our surroundings, and the fear of the other. Yet it’s bogged down with an opening that fits the brief – as in, how our individuality can be diluted when we enter a relationship – but stalls the plot.

As Emin’s first feature, this will be an excellent calling card. Comparisons to Cronenberg will be inevitable, as both focus on the physical breakdown caused by our mental state and our surroundings.

The parallels go further as well, with Cronenberg’s debut Shivers is an imperfect hint at what the director would do later.

★★½

2.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Else is on UK and Ireland digital platforms 2 March

Midlands filmmakers launch new sci-fi horror

Sat, 28 Feb 2026 09:36:07 GMT

Genesis is an upcoming sci-fi horror from Midlands filmmakers Lunar Gold Productions and billed as a blend of Alien meets Stranger Things.

The production team's latest short film follows on from the company's 2025 installment 'Deadstock' which won Best Thriller at both the Calgary and United Artist International Film Festivals. This was alongside a successful screening at the Stratford-On-Avon Film Festival in the Warwickshire.

The story of Genesis centres around Junior Medical Officer Savannah Thompson who sees a routine patient appointment as an opportunity to rekindle with an old flame from her dark past.

Lunar Gold Productions are a Birmingham based filmmaking company founded by Taran Erhart-Bains. The company are "dedicated to creating original, high quality audio visual content in the areas of promotional video, motion graphics and short film."

The film's director Taran Erhart-Bains and the producer Mandisi Sibanda have already begun sharing further details of the film's pre-production and influences in a series of campaign videos on Lunar Gold's YouTube channel. (See the latest one above).

The team are also currently preparing to shoot an introductory piece which will help establish the world the characters will enter. They hope this will provide a defined backstory and also set the tone for this sci-fi horror to build anticipation ahead of the main release later in the year.

Taran Erhart-Bains is a British filmmaker of Austrian-Indian heritage with the mission of creating a body of work including short films, screenplays and eventually feature films.

"The craft of filmmaking is an art form I have a great passion for and began as an appreciation for the moving image during my studies at the University of Wolverhampton. With a particular focus on narrative film, these creative concepts grew into practical goals and Lunar Gold was formed", says the filmmaker on their website.

Taran adds, "I made a short film called Broken Vases", ( Midlands Movies Spotlight here ), "which was officially selected at the Wolverhampton Film Festival in 2023 and covered BTS for Midlands Fashion Designer Jheez at London Fashion Week and a Documentary Premiere at The Midlands Art Centre".

This production company aims to bring together aspiring and established creatives to produce alternative and engaging work.

To find our more about Lunar Productions, Genesis and their future projects, follow them over on Instagram and Lunar Gold Productions - YouTube as well as their official website https://www.lunargold.co.uk/

Middling Connect launches crew database for the region

Wed, 25 Feb 2026 17:22:42 GMT

The Midlands has incredible filmmaking talent but finding each other has often been the hard part. But Middling Connect, which launched earlier this year, hopes to try and change that with its new dedicated crew database built for the Midlands, by the Midlands.

As we know well, the Midlands has always been home to incredible filmmaking talent — camera operators, sound recordists, lighting technicians, art directors and every department in between. But finding like-minded folk to help with productions can be tough

Middling Connect is a dedicated crew database built specifically for the Midlands film and TV industry. Whether a production company looking to hire local talent, or a crew member looking to get noticed, this could be the platform for you.

Middling Connect is also branch of Middling Women, a production company founded by writer and director Lily Portman. At Middling Women, they "tell stories that celebrate the flawed, the overlooked, and the beautifully average".

"We're alchemists — turning the pain of injustice into power and the quiet moments of everyday life into something extraordinary", the organisation states.

They go on to add, "In a world obsessed with adding miles to the never-ending hedonic treadmill, we're here to tell you to grab your slippers. Because *what if the middle is enough?*"

That same ethos is what they hope can drive Middling Connect. They believe the Midlands doesn't need to compete with London or Manchester to be taken seriously. "The talent is already here — it just needs a proper home".

Some of the benefits they have to offer include:

A Crew Directory - A searchable database of Midlands-based film and TV professionals across every department — camera, sound, lighting, art, production, post-production, and more. Members get a detailed profile showcasing their skills, showreel, rates and availability.

A Community Hub - A Discord-style chat space where crew members can network, share job leads, ask for advice, and build connections. Public channels will be available for general chat, jobs, gear talk, and locations — plus direct messaging for private conversations.

The Marketplace - Need a camera kit last minute? Looking for studio space? Their marketplace connects members with available equipment and spaces across the region, with a focus on last-minute deals.

Industry Discounts - Exclusive partner offers on kit hire, insurance, software, and more for members only.

A Monthly Spotlight - Each month they will showcase a standout crew member on their homepage — putting them front and centre for production companies actively hiring.

Middling Connect hope that their laser-focus on the Midlands will help across the local film community. "We know this region has the talent, the locations, and the ambition to rival anywhere in the UK". What it needs is infrastructure — and that's what Middling Connect hopes to provide.

To get involved you can get membership at £5 a month — cancel anytime, no contracts. So whether you're a seasoned professional or just starting out, if you're based in the Midlands and work in film and TV, this could be the community for you.

Find out more and sign up here: https://middlingconnect.co.uk

Review of Peaky Blinders: The Real Story

Mon, 23 Feb 2026 08:00:08 GMT

Peaky Blinders: The Real Story (2026) Dir. Robin Bextor

Now a worldwide phenomenon with much global attention brought to the show’s Midlands location of Birmingham, Peaky Blinders is set to hit cinemas in 2026 for a movie following on from the TV series.

In the build up to that release we get a new documentary that sheds a little more light on the show’s creation and achievements, as well as the real-life history of the gangs that inspired it.

Peaky Blinders: The Real Story therefore acts as a bit of a warm-up to the upcoming movie. We get clips from the series and chats with both critics and those involved in the show’s inception (arf). Many were surprised by its huge success even though its mix of “historic drama” and “pop video” aesthetics made it an almost instant hit with viewers.

It’s an affectionate, if slight, look to begin with. There’s not a great deal of juicy insight but the explanations from production crew about the show’s risk taking and its unique use of modern music in a period drama is fascinating.

More interesting is Peaky Blinders’ movie influences on the look and ‘feel’ of each season. The unlikely visual source of Heaven’s Gate (1980), and later more obviously, The Godfather, provide further trivia and behind-the-scenes tidbits. From a filmmaker’s perspective it gives a good insight into its borrowed cinematography from gangster and Wild West films like Rio Bravo to other well-worn Americana cinema styles.

The usual talking-heads and clips - and a few welcome drone shots of Birmingham’s winding canals - doesn’t particularly set it apart from usual documentary fare. It’s a bit rough and ready, although it’s always great to see Birmingham on screen and an interview with Steven Knight (who’s clearly on his holidays lol) adds some legitimacy to a low-budget project.

Knight’s own upbringing in the area and his family connections to the original gang is explored, and he explains how he wanted to embellish and show the myth of these stories from the past rather than stick too close to grounded reality.

There’s also lots of (well-earned and deserved) praise for protagonist Cillian Murphy and his understated acting style. And Knight’s career is throws light on its launch and we hear about its early limited budget which led to the recycling of sets.

The second half changes tact to focus on the history of the gangsters themselves. Crime historian Carl Chinn – apparently the world expert on Peaky Blinders and descendent of member Edward Derrick - tells us about the style, authenticity and working class roots of the gang and the upper class villains they face.

This historical perspective is informative and passionate and Chinn’s theory on why they are called Peaky Blinders is a somewhat different take to the others already out there.

One question raiased was that the documentary feels slightly backwards. There's an argument to be said that the focus on the origins should have come before we see how this real-life background was adapted for international acclaim. Probably just a personal preference, it made more sense to me to build from a homemade, West Midlands-centric tale to the show’s worldwide praise.

That said, overall Peaky Blinders: The Real Story works as a fan-loving look at the world of the show and its impact. It has a slightly homemade feel on a limited budget but it’s made with passion and a devotion to the series and the area it hails from. And doing what we do, and being a fan of the show ourselves, we have no issue with that one bit… By order of the Peaky Blinders.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Peaky Blinders: The Real Story is on UK digital 23 February from Reel2Reel Films

My Kingdom for a film - Shakespeare on screen in the Midlands

midlandsmovies@yahoo.com — Sun, 22 Feb 2026 10:29:54 GMT

“My kingdom for a film!”

William Shakespeare wrote 38 plays and over 150 short and long poems, many of which are considered to be the finest ever written in English. And The Guinness Book of Records lists 410 feature-length film and TV versions of The Bard’s plays, making Shakespeare the most filmed author ever in any language.

He was born on Henley Street, Stratford-upon-Avon in Warwickshire where he also spent his youth, before travelling between London and his family who remained there, before finally retiring back in the region some years before his death.

And so, given his Midlands connections, how many of this huge number of films have been shot in (or even connected to) his hometown and local area? Well, hardly any. Having covered the Midlands region for over 10 years now, I was incredibly shocked about how few productions based on the author’s work there are.

But there are some adaptations. Just. And so, with that rather sad fact, let us take a look at those few special films that link Shakespeare’s work back to the Midlands itself.

Richard III (1995)

“The king's name is a tower of strength”

In this mid-90s drama, the classic Shakespearean play about the murderously scheming 15th-century king is reimagined in an alternative setting of 1930s England under a growing threat of fascism. Directed by Richard Loncraine, the film stars Ian McKellen as the dastardly monarch who, in real life, was found buried in the famous “car park incident” in Leicester just down the road from me.

An amazing support cast sees Annette Bening, Jim Broadbent and a pre-Iron Man Robert Downey Jr. join British heavyweights Nigel Hawthorne, Kristin Scott Thomas and Maggie Smith in a unique reimagining of the historical play. Gosford Park on Binley Road in Coventry is listed on the film’s IMDB page as one of the locations in the film. The locals still call it "Gentlemen's Green" and I suggest if you visit you grab a bite from the now famous (via a viral Tik Tok) Binley Mega Chippy whilst you’re there.

As You Like It (2006) & Elizabeth: The Golden Age (2007)

“Ay, now am I in Arden; the more fool I; when I was at home, I was in a better place: but travellers must be content”

Perhaps the most well-known forest in Shakespeare’s work is the famous Forest of Arden in As You Like It. First performed in 1599, the play uses theatrical woods to explore feelings of wildness and rebellion and provide a hint of fantasy too. And the real Forest of Arden was situated in the playwright’s native Warwickshire stretching from Stratford-upon-Avon to Tamworth in Staffordshire. And in the past, it covered vast areas including what is now Coventry and Birmingham.

Not only that, the bard’s mother’s maiden name was Arden too. For the Midlands connection we’ve chosen Branagh’s famous 2006 adaptation (sadly not filmed in Warks) alongside Elizabeth: The Golden Age which features Baddesley Clinton . This a moated Elizabethan Manor House set in the Forest of Arden in a film featuring the famous Virgin Queen who would have seen a number of Shakespeare's plays performed at Court.

Midsummer Night’s Dream (1968)

“The course of true love never did run smooth.”

This 1960s adaptation not only starred Derek Godfrey and Diana Rigg but also RSC alumni like Helen Mirren (Hermia), Ian Holm (Puck) and Judi Dench (Queen Titania). One of the most popular of the Bard’s play’s, the story is set in Athens with the plot revolving around the marriage of Theseus and Hippolyta. They and the supporting players find themselves in a forest inhabited by fairies who then manipulate the humans whilst engaging in their own domestic intrigue.

And so, in the film, the "Athens" scenes were shot at Compton Verney House , an actual Warwickshire country house. Director Peter Hall filmed his version here using the magnificent parkland setting of the ‘Capability’ Brown designed grounds for the play’s comedic interactions. And you can still visit here too – they proudly promote their Shakespeare connections with a variety of events and screenings.

Gnomeo and Juliet (2011)

"Did my heart love till now? Forswear it, sight, For I ne'er saw true beauty till this night."

Famous for stage performances and film versions, 10 years ago saw Gnomeo & Juliet become the first computer-animated Shakespeare feature film “loosely” based on the famous romantic play. In fact, it even features the voices of some famous Midlanders including Jason Statham (Derby), Julie Walters (Edgbaston) and even famous Brummie music metaller Ozzy Osbourne. Grossing a staggering $193 million, the song "Hello Hello" by Elton John and Lady Gaga was also nominated for a Golden Globe.

The film which borrows its story from the warring families of the play, is set in Stratford-upon-Avon and it’s great to see some of the regional landmarks beautifully captured in fun animation. From the mock-Tudor homes of the two “houses” to town centre sights, you can even go visit real-life places they’ve used in the film’s exciting chase-scene. This includes the Grade-II listed Shakespeare Memorial Fountain and the William Shakespeare Gower Memorial - which comes alive in the film’s park scene where it is voiced by appropriately cast thesp Patrick Stewart.

Shakespeare & Hathaway: Private Investigators (2018)

An oddball couple of private detectives named Luella Shakespeare and Frank Hathaway are the protagonists of this crime series based around Stratford-upon-Avon. A witty title isn’t the only Shakespeare reference in the show as we see a myriad of locations from the historic town during the 4-seasons.

Produced by BBC Birmingham, it’s a bit of a stretch but the show has a number of Easter Eggs referencing the plays, as the duo solve crimes around the area. Shakespeare super-fans will notice background objects nodding to Elsinore (Hamlet’s Castle) and Boar’s Head (Falstaff’s Inn) as well as character names and lines of dialogue cribbed directly from the books.

Viewers can visit the show's locations across Warwickshire such as the Lord Leycester Hospital (constructed in the late 15th century so around in Shakespeare’s days) which is used as the detectives' fictional office. The Alscot Estate plus the National Trust property Coughton Court in Atherstone on Stour also appear. And finally, in previous episodes Shakespeare and Hathway has been filmed outside the Royal Shakespeare Theatre too.

Looking for Richard (1996)

“So wise so young, they say, do never live long”.

The University of Leicester weren’t the only ones “looking for Richard” as in the mid-90s, Godfather actor Al Pacino directed and starred in a fantastic documentary about Shakespeare, his works and his relevance today. Al Pacino's rumination on the author’s significance and relevance to the modern world is captured through interviews and an in-depth analysis of "Richard III."

This leads him to interview a variety of people, from academics to famous actors to people he meets on the streets, about whether Shakespeare is still relevant to contemporary life. His journey takes him to Shakespeare’s birthplace in Stratford-upon-Avon where he ends up chatting to what seems like a very drunk man at Shakespeare’s birthplace. Catch the trailer here .

Happy Birthday Shakespeare (2000)

Another film that has more to do with Stratford than Shakespeare himself, this comedy drama follows Neil Morrissey (named “Will”) as a tourist bus driver who wishes to move his family to Stratford and open a restaurant. Again, a tenuous link for sure – we’ll take what we can get – but as before, you get to see the homely Shakespeare sites of this historical town including Anne Hathaway’s cottage which highlights why the area is so much admired. Catch the trailer here .

Macbeth (1997)

"There’s daggers in men’s smiles”

Jeremy Freeston directs this low budget take on the ruthlessly ambitious Scottish laird who seizes the throne with the help of his scheming wife and a trio of witches. Shrinking the extensive play down to film length, it stars Jason Connery and Helen Baxendale in the Lady Macbeth role. The film has scenes at Warwick Castle – who also do amazing outdoor screenings, this year with Luna cinema .

Jason Connery's father Sean Connery also played Macbeth in the Canadian adaptation Macbeth (1961). And for another Tudor/Shakespeare hit, Warwickshire Castle was also used in The Virgin Queen (2006) which follows the reign of Elizabeth I and stars Anne-Marie Duff, Sienna Guillory, Ian Hart and a young Tom Hardy .

Macbeth (2022)

“Fair is foul, and foul is fair.”

We’ve saved the best for last with Screen Northants’ recent film of Macbeth which is their very first feature film. As a social enterprise, the organisation has made Macbeth in a unique way with diversity and representation at the core of its production especially with Screen Northants promoting, championing and supporting young filmmakers from their county. Filmed partially in Hunsbury Hill Country Park as well as Northampton Town Centre, it’s great to see how the organisation has given help to underprivileged young people to gain experience in the creative industries. Catch the trailer here .

And so, there we have it. Much Ado About Nothing perhaps? Well, despite being few and far between, fans of Shakespeare’s work can dig deep and catch a range of films (and TV shows) related to the area he was most connected to. But have we missed any? There’s 410 to choose from so drop us a line with further suggested film links you’ve found. But I think by visiting these amazing locations too, we hope that all the interest in the area can inspire the upcoming generation of Midlands filmmakers to use the works as a basis for their future films in the region.

Michael Sales

Exit, pursued by a bear

Alien on Stage Blu-Ray launch heads to Birmingham

Wed, 18 Feb 2026 13:33:58 GMT

Why do pantomime when you can do Alien?

A very amateur dramatics group of Dorset Bus Drivers spent a year creating a serious stage adaptation of the sci-fi, horror film, Alien. With wobbly sets, awkward acting and special effects requiring more luck than judgement.

And now after a hugely successful festival run and rather impressive ratings of 7.3/10 on IMDB , and 95% Fresh on Rotten Tomatoes the filmmakers of documentary Alien on Stage are celebrating the launch of the film's Blu-Ray release in Birmingham.

The Midlands Arts Centre in Birmingham will host a regional cinema screening on Friday 13th March where viewers can enjoy the film with the buzz of a live audience. And it's a rare chance for cast and crew to get back together, as well as sign copies of their shiny new physical media to keep forever!

For those new to Alien on Stage (it made number 5 in out Top 20 of last year so comes highly recommended from us) the documentary is a unique look at a crew of Dorset Bus Drivers whose amateur dramatics group decided to ditch doing another pantomime and try something different.

Having never done anything like it before, they spent a year creating a serious adaptation of Ridley Scott's legendary horror Alien; finding ingenious solutions to re-create this Hollywood cult classic for the stage.

Unfortunately, the show was a crushing flop but fate gives them a second chance to find their audience. Whilst still adjusting to the idea that their serious show is actually a comedy, the group found out they’re suddenly being whisked from their village hall to a London West End theater to perform this accidental masterpiece for one night only!

As with the best home-grown projects filmmakers Danielle Kummer and Lucy Harvey self-funded the filming of the documentary and then raised £10,000 for post production through Kickstarter. And the Blu-Ray launch will be the final piece of the puzzle as "a celebration of that spark of madness and genius when people come together and commit to creating something purely for the love of it".

The Midlands Arts Centre event will be hosted by Midlands Movies film friend Simon Brew of Film Stories and the filmmakers are encouraging fans of documentaries, Alien AND comedy to grab the Blu-Ray which includes 30 minutes of extra features.

To book tickets for this special event head to the venue's website here: FRI 13th 7pm Midlands Art Centre BIRMINGHAM

The screening will be followed by a live onstage Q&A with directors Lucy Harvey and Danielle Kummer.

And for more information about the film, its creators and history check the official website at www.alienonstagedoc.com

https://macbirmingham.co.uk/cinema/film-stories-presents-alien-on-stage-q-a

Review of Redux Redux

Mon, 16 Feb 2026 00:00:10 GMT

Redux Redux (2026) Dir. Kevin and Matthew McManus

Reading through the various synopsises of Redux Redux, the third feature film by writer/director siblings Kevin and Matthew McManus, I can’t help but wonder if they do the film a disservice. While the idea of a grieving mother travelling through parallel universes to murder her daughter’s killer on repeat sounds like the basis of a fast-moving, if repetitive, thriller, it gives little indication of the emotionally driven moments in this film – the scenes that are arguably the best in the film.

Michaela McManus plays the grieving mother, Irene, and we kickstart the film with a brutal series of kill sequences as she sets the killer Neville (Jeremy Holm) on fire, then in the next universe drops a bed frame on his head before shooting him and then shoots him in the middle of a diner before going on the run.

It's a great, fast-paced opening which showcases the physicality that Michaela brings to the role, as well as the McManus brothers’ sense of pacing. But where the film really succeeds is when they slow it down and focus on Irene’s loss of self, her loneliness in her never-ending pursuit of justice.

There are some really quite tender scenes as she reconnects with a hook-up from multiple universes, Jonathan (Jim Cummings), and McManus is excellent in these scenes – tense, agitated, but yearning for something other than the constant need for vengeance. The introduction of Mia (Stella Marcus), a runaway and near-victim of Neville adds another nice touch. The two have good chemistry and Irene is forced to choose between putting Mia back into danger – even when Mia wants to – and protecting the teenager.

This isn’t perfect, however. There’s a wholly unnecessary scene around fixing the machine Irene uses to travel between universes. It’s entertaining sure but feels designed to add a moment of jeopardy when the film already had an enticing hook. It’s also an exposition dump about the existence of a whole universe-hopping black market; an information overload for audiences who have already bought into the premise.

More forgivable is the rather generic end sequence, that does little to humanise Neville, instead keeping him as a near-faceless monster.

One wonders if an effort to explore the antagonist would have helped with Irene’s story of coming to terms with her grief. Still, these are relatively minor blips in what is a hugely entertaining, surprisingly brutal and often heartfelt thriller. It’s certainly head and shoulders above the endless rip-offs of Taken, and a film that is well worth checking out.

★★★½

3.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

ON DIGITAL PLATFORMS 23 FEBRUARY 2026

Midlands Review of I Love You Too Much

Fri, 06 Feb 2026 11:07:47 GMT

I Love You Too Much

Directed by Jack Davies

2026

Door Stop Films

The repeating day formula is the groundwork (hog?) set-up for a new local short made in Leicester which explores the attempts to prevent a deathly accident.

We open on a couple - Alisha (Madeleine Sanderson) and Nick (Max Newland) - waking up in the morning in bed. Despite their hopes of spending some more loving time together, they have to split up when Nick finds he’s late for work.

As they say goodbye at the door, Nick slips and bangs his head on the road outside their home leaving him bloody and unconscious, whilst a silent figure in a mask and coat stands nearby. But after collecting a random liquid, the stranger touches Alisha and there’s a repeated sequence of their goodbye again and again.

No matter what Alisha does, she’s unable to stop events occurring and her frustration increases as she experiences heartbreak multiple times.

The director says one of the influences is 2021’s Groundhog Day-style comedy Palm Springs ( our review ) and you can clearly see the parallels. It’s also reminiscent of Happy Death Day with its focus on the prevention of a morbid act. There’s also hints of Time Crimes (2007) and Triangle (2009) with their mysteriously masked characters involved in complex time plots.

The production team have set themself a tough task given this plethora of similar films and comparisons are inevitable. Sadly, those films have a much tighter narrative and clearer picture of events which is essential for time-looping plots. Combined with the general editing, which at times is experimental and abstract, it unfortunately adds another layer of confusion to an already muddling story.

However, the biggest area for technical improvement would be sound editing. All the aspects are there but it definitely could be sharpened with another pass in the studio. There’s an unfortunate feel of “on camera” audio to the film. A bit more compression, checking of audio-levels and mixing would add a more professional polish.

Filmmaker Jack Davis was previously the cinematographer on local short Meta Mum ( review ) as well as directing his own short The Perfect Stranger ( review ) so is definitely moving on as a filmmaker by stretching his cinematic horizons.

And I Love You Too Much is another ambitious short from the up and coming director. Yet with the film’s high-concept ideas comes an unfortunate low budget production. Admirably challenging, it doesn’t quite achieve what it sets out to and I don't doubt the filmmaker will take another solid run at an idea, but with a different outcome next time.

★★½

2.5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Review of Strongroom

Sat, 31 Jan 2026 09:08:33 GMT

Strongroom (1962) Dir. Vernon Sewell

Apparently a favourite of Quentin Tarantino and Edgar Wright, Strongroom peaked my interest given those director’s recommendations as well as my own New Year goal to watch more under-the-radar classic movies.

It opens with three men - Griff (Derren Nesbitt), Len (Keith Faulkner) and Alec (W. Morgan Sheppard) - getting ready to commit a bank robbery with what they feel is a foolproof plan. No sooner do they begin, their craftly-curated preparation goes awry as they are faced not just with the expected manager Mr. Spencer (Colin Gordon) but his co-worker Rose (Ann Lynn).

The trio still manage to escape with £30k of loot, but have to lock up the two witnesses in the bank’s vault. The AIRTIGHT vault.

This scuppers the heist further as they begin to debate the consequences of their actions. And back in the vault, the two workers begin to calculate the oxygen left in the room before trying various ways to escape.

Strongroom’s heist scenario may seem standard with 60 years of cinema following its release. But rather than an Ocean’s 11 focus on planning and blueprint homework, what we mostly view is the post-heist scenario the men find themselves in. This is much more in line with Reservoir Dogs which similarly delves into the murky decisions the men may need to make afterwards.

The film is not a polished Ealing or Rank production, but is better for it. It has a satisfying rough and ready vibe and a well-written script. It still has the theatrical staging of the era and cinematography is barely present , but the dialogue comes quick and fast like the best classic gangster movies.

Tensions rise with the involvement of the police who show up relatively early in the proceedings to put further pressure on the men. And an unexpected car accident turns their frustration into a disaster.

The best parts of Strongroom are its explorations of the moral questions the gang face. Even from the outset they have doubts about their act. Guilty consciences and increasing panic set in motion a culmination of issues as their differences explode. Are they modern day Robin Hoods fighting against corporate greed?? Should the men return to the vault? Have they got the guts to put themselves back in the firing line? Should they leave with the money?

Yet with a dash of sly comedy added as well, at times you can see the origins of modern films like Guy Ritchie’s Lock Stock and Snatch.

Cutting back to the duo in the vault adds a ticking clock aspect and the co-workers relationship develops from a frosty friction to an entwined trust ensuring the victims are not forgotten about either. The fact is that if the two die, the men would be on the hook for murder. Which at at that time in the UK, came with the possibility of death as a capital crime.

All these quandaries are excellently examined with a grown up attitude and delivered alongside an exciting narrative. And throughout, the film presents a great examination of men who did a break-in but ask themselves should they go back to enact a break-out. So I’d encourage film fans to expand their cinematic history horizons with a fantastic crime thriller which comes recommended as an off-beat oddity that fans of the genre will absolutely enjoy.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Strongroom is in UK and Irish cinemas from 30 January and on Blu-ray from 23 February and on BFI Player from 23 March.

The film also screens in the Midlands at Broadway Nottingham https://www.broadway.org.uk/whats-on/strongroom

From Birmingham to the U.S. Big Screen

Fri, 30 Jan 2026 16:02:10 GMT

Daniel Alexander’s feature film GALE: Yellow Brick Road is set to become one of the first Birmingham-made horror films to secure a nationwide U.S. theatrical release, screening in over American 1,000 cinemas.

Daniel Alexander has achieved a milestone seldom seen outside Hollywood, with his achievement marking a major breakthrough for UK independent film – especially in the Midlands.

The release makes Alexander one of the first Birmingham filmmakers to command a commercial U.S. release at this scale.

The film itself is a bold horror reimagining of The Wizard of Oz and will be distributed by Fathom Events, the international distributor behind global cinema events including Batman: The Killing Joke and the restored theatrical releases of The Lord of the Rings trilogy.

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Gale first gained international attention through a self-produced concept trailer, written, directed and edited by Alexander, which demonstrated his vision for a darker reinterpretation of Oz. (Check out our review of Daniel's original concept film GALE here: https://www.midlandsmovies.com/midlands-review-of-gale ).

Going viral, it amassed amassing over 5 million YouTube views and millions more across social media platforms. The global response rapidly accelerated industry interest and opened the door to this U.S. distribution.

The theatrical trailer later premiered exclusively with Entertainment Weekly, one of the world’s largest entertainment platforms, which described the film as " a world shaped by decay, memory and emotional fracture ” as it explored the darker themes behind the project. Hundreds of fan reaction videos have since gone viral across TikTok, YouTube and Instagram.

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Alexander’s achievement lands at a significant moment for both the Midlands and the wider film industry. In an era where diversity and access remain central cultural conversations, Alexander is also one of the few Black British directors to secure a U.S. wide-release horror feature — and the first from Birmingham to do so.

For more than a decade, Alexander has played a central role in nurturing talent across the Midlands film community, helping young filmmakers gain experience, credits and industry pathways.

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And staying true to that mission, Gale enlisted students and first-time filmmakers across multiple departments, giving many their first professional cinema credit on an international film.

“In cities outside London, filmmaking can often feel invisible,” Alexander said. “I wanted to prove that our region isn’t just part of the conversation — it can lead it.”

Gale: Yellow Brick Road was written by Matthew R. Ford, produced by Tenisha White, and executive produced by Dane Petrali and Chilling Inc, a California-based production company.

The film will open in cinemas across the United States on February 11th, 2026, with tickets available via Fathom Events :

Find out more about Danie l 's work at www.danielalexanderfilms.com

Outward Film Network launch new short Self-Tape

Fri, 30 Jan 2026 13:56:38 GMT

Midlands film company Outward Film Network are excited to announce a new locally made short film that will begin its festival submission run from February 2026.

Written & directed by Matthew Simmonds, Self-Tape follows an ambitious actor’s self-tape audition that becomes a mirror of obsession, as she slowly sacrifices love, stability and identity in pursuit of success.

Described by the filmmakers as an “intimate psychological short that explores the quiet devastation of artistic obsession”, the film is framed almost entirely through the lens of an audition.

It goes on to follow a driven actor whose pursuit of success begins to eclipse everything else in her life. And the story itself questions what happens when discipline curdles into addiction and how this becomes a test on relationships.

Of the film’s conception, the director says, "Some short films aren’t necessarily planned. By this I mean you don’t necessarily put making another short film at the top of your to-do list."

"Every now and then, however, an idea calls to be written and therefore made. The first draft of Self-Tape was written in roughly five hours and was shot in around the same amount of time", adds Matthew.

continues...

But where did the idea come from? "It came from my experiences of working in film for roughly fifteen years", explains the director. "Over this time, I’ve encountered a few things about the creative industry that don’t sit well with me. The film reflects on the dangers of chasing success in an industry that’s super competitive, ruthless and fashionable.”

Inviting the audience to sit with the discomfort, silence and repetition, Self-Tape mirrors the emotional narrowing of its protagonist Rachel (played by Midlands Movies Awards 2025 Best Actress nominee Poppy Abbott).

Supporting Poppy is Belle Walsh and the film was shot at Black Star Studios in Digbeth, Birmingham, which kept the production very much a local affair.

"Self-Tape is born out of repetition", sums up Matthew. "The endless attempts to find success. The isolation, the belief that one more go will fix everything. It’s not about success or rejection, but about what happens when nothing else fits the frame."

Find out more about the film and follow its progress over on Instagram: https://www.instagram.com/outwardfilmnetwork/

How they built a film in the Midlands

midlandsmovies@yahoo.com — Wed, 21 Jan 2026 17:21:45 GMT

How to Build a Girl

Writer Caitlin Moran grew up on a council estate in Wolverhampton and new film How to Build a Girl is an adaptation of her biography of the same name which covers her career as a budding young music journalist.

Not a regular place to film for such a high profile movie, Wolverhampton has been a bit sparse when it has come to being a shooting location for the big screen. On Movie-Locations.com (the bible for famous film locations across the globe), Staffordshire as a whole shows the following message “ No Films Currently Listed ”. Oh dear.

IMDB isn’t much more use with the TV series Toast being the most recognisable production but all is not lost, Midlanders! There’s also Snarl from L.J. 'Stark' Greenwood ( which we reviewed here ) and now we have this new movie which hopefully can shine a spotlight on this underused West Midlands destination.

How To Build a Girl is directed by Coky Giedroyc and stars Beanie Feldstein (who had co-starring roles in the excellent coming-of-age dramas Booksmart and Ladybird) and here she plays a fictionalised version of Moran who rose out of the poverty of a Wolverhampton council estate to become a music writer.

Surprisingly, although not uncommon, in preparation to play Johanna Morrighan, Feldstein (who hails from Los Angeles) worked in a local Wolverhampton shop for a fortnight. Providing service to local customers she went full Daniel Day-Lewis method to try and nail the accent at a small gift shop.

And she does surprisingly well. American actors tend to go for the posh Bridget Jones-type of Queen’s English or a middle-of-the-road fantasy/theatrical cadence – think Peter Dinklage in Game of Thrones.

It's a great bad stab at the pronunciation and when compared to Russell Crowe’s meandering “Midlands” accent as Robin Hood in Ridley Scott’s 2010 film, then it’s a hugely admirable performance for such a tricky twang.

After honing her skills at Shop in the Square in Wolverhampton city centre, the actress herself has said how she didn’t understand “how many accents exist in your very small country” when she spoke to Yahoo Movies. Read more about her "work experience here: https://www.expressandstar.com/entertainment/wolverhampton-entertainment/2019/09/11/american-actress-in-caitlin-moran-film-perfected-black-country-actress-by-working-in-wolverhampton-shop/

From Shropshire to Birmingham, via Nottingham and on to Lincoln, the Midlands is one such place in itself. And it’s good to know the Midlands provided such warm hospitality as Feldstein goes on to add she had “such a lovely time. The whole city was so welcoming and kind”.

Although Feldstein’s character eventually leaves for the bright rock ‘n’ roll lights of the London music scene, she returns a number of times to visit her family. Her father is played by Paddy Considine who gives a more comedic performance as an over-the-hill/comeback musician but also a very loving father.

Considine himself is no stranger to the Midlands either, appearing as he does in celebrated local filmmaker Shane Meadow’s films. Meadows cast Considine in several shorts, as well as his second film A Room for Romeo Brass (1999). In that he co-stars with BAFTA-winning actress and Nottingham-born Vicky McClure, another Meadows regular who broke through in This Is England.

Following that, Considine appeared as the star of Meadows' Dead Man's Shoes (2004), a film he also co-wrote and won the Best British Actor award at the 2005 Empire Awards.

There’s some personal connections of my own in the film too. At one point in her up and coming career her character is assigned to cover the Manic Street Preachers at Birmingham’s Edwards No. 8 music venue. Our Blondes Make the Best Victims tour from 2006 (a quote from celebrated Alfred Hitchcock) took us all over the region and from my (hazy) memory, we had a cracking gig at the venue. (see our flyer – probably done in Paint - below).

And heck, she even mentions a Wurlitzer during one of her conversations which was the name of the first band I was ever in! Small world. Well, for me anyways. And although we never got covered by Moran herself, we did find ourselves on the end of a few scathing reviews. LOL

However, it is a shame that a scene recreating the famous Edwards No 8 was actually shot outside of the area at the Koko venue. Edward’s hasn’t been there for some years now – it’s now an office space, yawn – but it’s still a shame that the replacement was London-based.

But after that little walk down memory lane let’s get back to the film in question. The cast and crew of the film spent more time shooting in the locality on the Warstones estate – near to where the Wolverhampton writer was actually raised.

Other locations also include various spots around the city centre, the Civic buildings and the Wolverhampton train station where Feldstein begins her journey away from her home, physically and metaphorically.

And so what’s next for wonderful Wolverhampton? Well, the glamour hasn’t stopped yet as there’s even more productions heading its way.

A new period drama called 'Small Axe' is being filmed by Oscar and BAFTA winning writer and director Steve McQueen. This six part series will tell five stories set within London's West Indian community. It’s now time for the Midlands to be a stand-in for London for a change! Hurrah!

The series features superstars John Boyega (Star Wars trilogy, Detroit) and Black Panther's Letitia Wright alongside Alex Jennings and Line of Duty actress Rochenda Sandall.

How To Build a Girl is available on Amazon Prime Video from 24 July.

Review of 28 Years Later: The Bone Temple

Tue, 20 Jan 2026 08:41:05 GMT

28 Years Later: The Bone Temple (2026) Dir. Nia DaCosta

With 28 Years later coming in at number four on our favourite films of 2025, hopes were high for this follow up with director Danny Boyle handing over the reins to Nia DaCosta to continue this zombie nightmare.

We pick up immediately from the previous movie with young Spike (Alfie Williams) who was left exploring the mainland but confronted with a marauding tracksuit-ed gang called the “Jimmies”. Forced to fight and subsequently join the group, Spike is dragged along to enact their own brand of “charity work” (brutal violence) to anyone they come across.

Simultaneously we also revisit Ralph Fiennes’ Doctor Ian Kelson. Still living amongst the temple of bones, a memorial ossuary to the lives lost to the virus, he begins to experiment with a calming cure mostly made of morphine with one of the infected alpha males.

Early on I was reminded of The Dark Knight Rises? Why? Well, like that film it feels like they’ve dropped the main focus on the central character to explore larger themes of society in turmoil and vigilante groups exacting revenge. I like Nolan’s efforts in that film but it’s almost not even a Batman film at all. And perhaps better off not thought as one either.

So it’s ultimately a shame they don’t continue the story of Spike here. If anything his arc from the last film - learning to grow into a self-reliant young man dealing with the harsh realities of life (and death) - is jettisoned entirely. He merely becomes a spectator in this world.

However that’s not to say this new story and angle is extremely entertaining and disturbing throughout. The head of the gang is Lord Jimmy (all the members are renamed Jimmy in fact) played perfectly by Jack O’Connell. The actor is making a name for himself as nasty pieces of work (see Sinners) and is absolutely monstrous here. Cruel and unflinching, his main driving force to impose his cult-like retribution to others is horrific to watch. A grotesque barn sequence of torture will have all but those with the strongest stomachs flinching in disgust.

Fiennes is also magnificent here. Bringing his usual gravitas, the film adds a surprising amount of humour to the mix in some of his scenes. Dancing and singing around to Duran Duran and Iron Maiden really is a sight to behold.

Another drawback sadly is the lack of an intricate plot. The gang’s religious satanic punishments and the doctor’s attempts to find a medical solution are the only two threads and are simple to the point of “not a lot really happens”. And those of a certain age will find the “Howzat” nods to Jimmy Saville as gruesome a reference as the real visual violence on screen.

That said, Alex Garland’s vitriolic script and Nia DaCosta’s assured direction expand on the themes and look of the previous film but without moving the story a great deal forward. And an end-of-story sting lines up further tales from this world too. Ending as more of a side-quel than a fully fledged sequel, those looking for a continuation may be slightly disappointed with this story, that circumnavigates threads built before. However, as mentioned up top, if you’re interested in exploring this world in general, it makes a great companion piece to Boyle's sequel with plenty of horror, tragicomedy and macabre spectacle to keep your attention and then some.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Review of The Ugly Stepsister

Mon, 19 Jan 2026 21:36:45 GMT

The Ugly Stepsister (2025) Dir. Emilie Blichfeldt

Second Sight continues its excellent run of special edition releases with this stunning edition of Emilie Blichfeldt’s 2025 horror The Ugly Stepsister. This gruesome retelling of the Cinderella story follows Elvira (Lea Myren) whose mother (Ane Dahl Torp) ends up destitute after her new husband drops dead of a heart attack.

Obsessed with marrying Prince Julian (Isac Calmroth), who is due to hold a ball, Elvira – egged on by her mother – begins a painful series of cosmetic surgeries. Blichfeldt uses the procedures as a blunt instrument – never slipping truly into all out gore but providing plenty of moments to make the audience wince. It’s worth remembering how dark the original Grimm story was, and Blichfeldt deftly integrates a commentary on how we police women’s bodies throughout.

This isn’t just through the ‘beauty is pain’ motif, which sees our protagonist willing have her nose broken, have eyelashes literally sewn into her skin and ingest a tapeworm, all to look her best, but also the construct of virginity. The Prince calls a ball for noble virgins yet is spied discussing his latest conquests with his friends. Virginity is yet another way in which he can control the women in his life.

This is further explored through Elvira’s stepsister Agnes (Thea Sofie Loch Næss), who is also invited to the ball until she is caught having sex with a stableboy. When Elvira moves in, Agnes is reserved but kind, until her father dies and then, in the throes of grief and disgusted by the actions of her stepmother, she rejects the ‘ugly’ stepsister. She is forced into her scenario to escape the family, a natural beauty, yes, and therefore the focus of Elvira’s jealously, but also truly in love with a stableboy, regardless of his position in society.

It's a brutal piece, all building towards a bloody, puke-covered, bone-breaking end, but Blichfeldt never loses touch with the deeper themes at play. It never feels excessive, just uncomfortable enough to make the audience empathise. Like Walerian Borowczyk through the lens of Julia Ducournau, it uses genre to ask deeper questions about bodily autonomy and gender roles, careful to never sacrifice the meaning, or the fun of a good horror flick.

As normal, Second Sight have done an incredible job with this release. The transfer looks incredible – although to be fair it should as the film is only a year old – and the interviews provide a little bit of insight into the story, and how this fairytale can resonate with modern audiences.

There’s also a video essay by Kat Hughes on the film, and Blichfeldt’s previous short films How Do You Like My Hair, and Saras intimate betroelser. Not included with our review copy, but available with the special edition is a 120-page booklet containing Blichfeldt’s own short story of the film, storyboard comparisons and new writing about The Ugly Stepsister.

★★★★

4 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Review of Is This Thing On?

Thu, 08 Jan 2026 08:50:29 GMT

Is This Thing On? (2025) Dir. Bradley Cooper

After an inevitable divorce starts and a marriage comes to an end. The life of Alex (Will Arnet) only just begins. After accidently being roped into doing standup comedy, Alex finds a real passion for it. At the same time his soon-to-be ex-wife Tess (Laura Dern) navigates life alone, trying to find out who she is and what she is passionate about.

As of late I have felt a bit iffy about Bradley Cooper as a filmmaker. It feels in recent years that he has been desperate for an Oscar. From his acting work on Guillermo del Toro’s Nightmare Alley to his work as a director on A Star Is Born and Maestro, he has been calling out to critics for praise. I was not a fan of Maestro at all, I felt it was very self-indulgent, pretentious, and downright boring. So, I was very cautious of Is This Thing On? When I arrived at the screening at the London Film Festival, I had no idea what to expect.

Is This Thing On? Is a big surprise. This film is a character study about so many topics such as divorce, relationships, and growing up. In many ways it can be seen as a coming-of-age film, even if the main characters are middle aged, there is something so universal about finding your passions and doing it no matter what people think.

This movie is everything Maestro wasn’t, it’s stripped back of all its bells and whistles and focuses on something much more personal. The complexities of human life and relationships. There is real heart in this screenplay, real profoundness that builds to a really heartwarming ending, that I found strangely life affirming. Even the camera work felt clever and so much more intimate than its predecessors.

The weight of this film is carried by none other than Will Arnet, of Bojack Horseman fame. Considering Arnet has mostly done voice acting until this point, I did not expect his screen presents to be so commanding. He really is the heart of this film, giving a performance that tell us all why he isn’t a perfect human. He provides sadness, happiness, and vulnerability to the role.

It should also be noted that I was shocked to find out that this film is loosely based on the life of English comedian John Bishop. Which in some ways is cool and interesting, but in others a bit odd. Cooper switched the Liverpool Scouser setting for an American New York City setting. In some ways the switch does make this movie more marketable and more universally accessible.

But I can’t help but wonder what this movie would have been like if it was made by a British director, and set in Liverpool, with a British cast. I believe this would have added a bit more personality and uniqueness to this project, seeing as we have had plenty of films about the American dream of making it in the big city.

This film is a fun watch, it perhaps won't get as much critical and award attention this time around for Bradley Cooper, but I for one enjoyed this film way more than Maestro. It’s full of funny moments, heartwarming scenes, and a sharp visual style at times.

★★★★

4 / 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Bulgarian Film Premiere comes to Nottingham

Mon, 05 Jan 2026 11:18:30 GMT

UK Premier of new literary film comes to Nottingham

Kino Koło Notts are making final preparations for their next event premiering a new Bulgarian documentary - Cinema Lover: Stanka Penchevaabout - about one of the countries giants of literature.

The group and Nottingham City of Literature will screen this documentary at ARC Space in Nottingham on Wednesday 28th January 2026 and the film recounts the life of esteemed national poet Stanka Pencheva using archival footage collected by her own daughter.

The film offers an intimate glimpse of a bygone era, and insight into the inspirations for the formidable writer. The film screening will be followed by a panel discussion chaired by Nottingham City of Literature Director, Hannah Trevarthen, along with Leeds based artist and translator Kristina Nenova, and others.

Liam Skillen from Kino Koło Notts said, "It’s a real pleasure to be in a position to support such important narratives in film, and bring to light the inspiring life of a distinguished poet little known here. I think a lot of people will relate to the desire to preserve memory alongside cultural identity. Cinema and storytelling are both such powerful tools for deepening compassion and empathy".

"Events like this allow us to come together, listen, and share a common experience in a way that is real and profound."

Hannah Trevarthen from Nottingham City of Literature said, "We are thrilled to be supporting Kino Kolo to share the life and work of Stanka Pencheva, the distinguished Bulgarian poet, and to discuss the power of storytelling. We are particularly

delighted that this project will connect organisations from Nottingham, a UNESCO City of Literature and Sofia, a UNESCO City of Film."

More details of the evening can be found at: https://www.eventbrite.co.uk/e/stanka-pencheva-the-life-of-a-poet-tickets-1979214193933

SOCIAL MEDIA

Facebook: KinoKoloNotts

Instagram: @kino_kolo_notts

Kino Koło Notts is a new community cinema bringing Central and Eastern European cinema to Nottinghamshire screens. Their aim is to provide affordable cinema screenings in foreign languages throughout the County, and support cultural exchange and appreciation.

Leicester Film Club presents Big Trouble in Little China

Mon, 05 Jan 2026 10:52:32 GMT

The fantastic Leicester Film Club continue their ongoing film night events with a screening of John Carpenter's 80s action classic Big Trouble in Little China.

Moving into a new and bigger home at the Showcase Cinema chain in Leicester city centre, the film club are presenting the 1986 film for its 40th (!) anniversary on Saturday 31st January 2026.

The movie sees Kurt Russell starring as Jack Burton, a wisecracking truck driver who gets pulled into the supernatural underworld.

Set in San Francisco’s Chinatown the "trouble" begins when his friend’s fiancée is kidnapped by mysterious businessman and sorcerer Lo Pan.

This John Carpenter directed action comedy classic is back on the big screen for one night only to celebrate its birthday milestone and will also kick off a selection of upcoming Leicester Film Club 2026 events!

Full details below:

A Leicester Film Club x Showcase Cinemas Collab.

��️ Saturday 31st January, 2026

�� Showcase Cinema De Lux Leicester, 7 Highcross Lane, LE1 4SD

⏰ 6pm drinks and social in Director's Lounge

7pm film screening in Director's Hall

�� Intro by Leicester Film Club

�� Vintage Trailers

��️ Tickets 9.99 (7.99 concession)

�� Booking via Showcase app or website

https://tickets.showcasecinemas.co.uk/login/0104/175955

Follow the Leicester Film CLub on their socials at:

instagram.com/leicesterfilmclub

facebook.com/LeicesterFilmClub

Leicester Film Club is a non-profit pop-up community cinema screening cult, horror and classic movies. A chance to ditch the streaming services for an evening to watch films with other movie fanatics, meet new people and learn more about movie history in a relaxed environment.

Midlands Review of One Road Out

Tue, 30 Dec 2025 10:30:37 GMT

One Road Out

Directed by Frank Howell/Alexander J Rose

2025

Alpha Shortreels

"Welcome to Mosspoint".

A strange island with a mysterious aura is the focus of a new 30-minute short film where a community is plagued by disappearing inhabitants and horrific goings-on.

We are introduced to Sadie (Naomi Elizabeth) who’s in a rush but receives a call that informs her she was unsuccessful at her recent job interview. Without time to dwell on her disappointment she brushes past a sinister looking hooded man, before arriving at a nearby community centre where there are greater woes facing the area.

A packed room of locals listen to a police press conference which explains that 3 young people have gone missing alongside an old lady from a care home. Whilst most of the community are concerned, some are not so bothered including the arrogant Michael (Frank Howell). Yet one woman, Maggie (Tammy Heath), recalls the loss of her own son who disappeared 10 years ago, having been affected by the area’s strange local island.

As they establish a search party, we cut to Maggie at night who is attacked by a small boy in a similar hooded mask as seen earlier. And whilst looking at the island, Michael is shocked to find himself engulfed in an ominous flare of light in his house. Another odd event sees a woman drawn to a hazy glow after the electrics in her home fail.

One Road Out is a brilliantly shot short for sure. The cinematography is excellent with a rich colour tone and expertly composed landscapes. And with a mix of tracking, drone and intense close-ups, there’s a real professionalism on show throughout. The sound mix is good as well, balancing the different SFX, dialogue, score and frightful moments very well.

“What’s going on?”, asks Michael later in the film. And he has a point. For me, the story struggles by creating confusion as to the logic of the island. Does it turn people to killers? What is the light? Why does it turn off electrics? What is the weird sound some people hear? Why does it draw people to it? Why does it affect some and not others?

It seems to have every mystical power the filmmakers conveniently need during particular scenes. That’s not to say a mystery film shouldn’t have some mystery. And intentionally ambiguous to keep up interest and allow for interpretation. But here, it seemed quite random. And this made it difficult to build suspense between scenes.

Remember Hitchcock's quote about suspense, with the filmmaking concluding “that whenever possible the public (viewer) must be informed”.

As the story continues, Michael - now convinced something is going on and armed in cricket gear to warn off this evil spirit it seems - goes on the run to warn others. And Sadie’s evening with Anthony (Shaun Harper) takes a bad turn too as he now gets possessed (?!).

Soul-sucking, zombie-faces and physical attacks are further demonic elements added which add to the befuddlement, but tension is raised well during the film’s climax as our resourceful heroes begin to fight back and plan an escape via a handy vehicle.

Despite the above, overall the balance of all the filmmaking elements on show here just about holds it together. As although the randomness of the island’s power may cause confusion, the ensemble group of actors give it their everything and the technical elements are all superb and show first-rate movie-making skills.

With a little more focus on the island's lore and some further development of characterisation, One Road Out could have pushed itself into a more narratively satisfying and cohesive tale of monstrous dread. Nevertheless, it does still deliver a handful of dangerous events and scary moments. And these provide enough intrigue to maintain an audience's attention as it explores a haunted community impacted by a multitude of threats.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Midlands Movies Top 20 Films of 2025

Sun, 21 Dec 2025 13:14:14 GMT

A mixed-bag of quality throughout the year, I felt 2025 seemed to be missing a cultural milestone of a movie but that’s not to say there wasn’t a slew of brilliant productions released in UK cinemas this year. We take a look at our favourites from the last 12 months in our annual list of the movies we think you should check out as soon as you can.

Starting out, the horror genrre really had a phenomenal year - check out the number of films in our Top 20 alone - and just missing the cut but certainly well worth checking out as well are Weapons, Together, Companion and Dead Mail.

Other films unfortunately missing a spot in the top slots include Wake Up Dead Man (the first of Rian Johnson’s somewhat overrated Knives Out trilogy that resonated with me), Steve Coogan’s heartwarming The Penguin Lessons, emotional John Candy documentary I Like Me and both Sydney Sweeney films Eden and Americana. Noted others include the polarising Mickey 17, historical drama September 5, Tom Hiddleston’s The Life of Chuck (check out the dancing scene if nothing else), apocalyptical musical The End and soulful drama Sorry, Baby.

A somewhat surprising return to form for Marvel with Fantastic Four and Thunderbolts* were probably the best of the summer blockbusters but there were a few stinkers of course too.

Steven Soderbergh’s Black Bag was the most overrated film of the year (I’ve already forgotten the whole bland thing) and whilst Yorgos Lanthimos’ Burgonia, Benny Safdie's The Smashing Machine and military drama Warfare were mostly disappointing overall, the true turds were The Electric State, Highest 2 Lowest, Havoc and James Gunn’s Superman (I absolutely despised this “film”).

It’s also worth mentioning some of the more noted movies that I sadly didn't catch this year which include Hamnet, Nuremberg, Nickel Boys, Sisu 2, Eddington, Die My Love, K-Pop Demon Hunters, A House of Dynamite, The Running Man and Avatar 3 (not out at the time of writing this). And finally, our criteria for a 2025 film is based on the UK release date from January 1st to December 31st 2025 .

But enough rambling, let's get on with the countdown...

One of Them Days (Directed by Lawrence Lamont)

An excellent and hilarious Keke Palmer plays waitress Dreux who has had her rent money taken by her roommate’s boyfriend and needs to find a way to settle her debt before 6pm or be evicted. Along with her artist friend Alyssa (SZA in her debut), the two go hunting for the culprit but are confronted with a ton of barriers that get in their way. The funny sequences come thick and fast from cheating couples, loan applications, (very messy) blood donations, a pair of Nikes and much more. With the possibility of an exciting new job on the horizon and thwarted attempts to prepare and arrive for the interview, the two leads make for a fantastic combo, delivering plenty of jokey dialogue and slapstick incidents but with much-needed warmheartedness during the sentimental moments. The fast-paced urgency keeps the story flying by and with a potential sequel in the works, spending more time with this crafty comedy duo sounds like a fantastic prospect.

Materialists (Directed by Celine Song)

Not being a fan of Celine Song’s previous (and overrated) film Past Lives, I was more than impressed by the filmmaker’s latest which once again delves into messy relationships - albeit with a lighter touch than her earlier exploration. A romantic comedy with added sobering themes, Dakota Johnson is a high-class matchmaker who has her own turbulent love life. An encounter with millionaire Pedro Pascal makes her question what she’s looking for, as she’s recently split with her ex, Chris Evans as a jobbing actor. The trio’s interactions are balanced well with tender and amusing moments sitting alongside tough themes and the more realistic risks of dating. With such a sensible approach to the wild opposites of relationships, the outcome is a first-class film of romance and thoughtful introspection.

Blue Moon (Directed by Richard Linklater)

A one-location movie with one lead performance that dominates throughout, Ethan Hawke’s fascinating portrait of composer/lyricist Lorenz Hart delves deep into artistry, collaboration and lost opportunities during one’s lifetime. Hart is the former partner of Richard Rodgers (a splendid turn from Andrew Scott) and heads to a bar to monologue about his previous achievements with his musical collaborator, but is frustrated with Rodger’s new commercial direction and success with musical Oklahoma! Hawke’s philosophising is witty and humorous, yet tinged with melancholy, and Linklater’s direction is wisely kept simple to focus on the verbal outpouring from this troubled soul. A cathartic exploration without being too maudlin, Hawke is supported by a fun cast lead by Margaret Qualley but this is a true one-hander from the actor that may see Academy calling in the new year.

Spinal Tap II: The End Continues (Directed by Rob Reiner)

Spinal Tap II catches up with the band after a falling out 15 years previously and with nostalgia turned up to eleven, fans will love spending time again with the band and the actors' brilliant new improvisations. However, it doesn’t shy from the passing of time, not just on worn faces, but careers, past glories and their place in contemporary music. How they deal with podcasting, Zoom and staying in shape questions their significance today, but these also play out as funny sequences through visual jokes, witty word-play and hilarious one-liners that keep the joke-count pretty high. Most importantly, it's not a disappointing delayed legacy sequel like so many others. It's actually a very solid and entertaining rock n roll creation that's a fan-focused continuation of their musical odyssey. And it contains enough familiarity and heavy duty humour to satisfy many of us older (and big-bottomed) groupies.

Sinners (Directed by Ryan Coogler)

The Mississippi Delta in the 30s is the setting for a(nother) brilliant Michael B. Jordan performance, who plays dual roles as twin brothers who come back to their hometown with their criminal proceeds to start a juke joint. But what they hope to be a communal celebration takes a turn into the otherworldly as a community of blood-seeking monsters gathers to stop the party. Mixing music and monsters, it contains one of the scenes of the year where song, history and dance combine in a spinning whirlwind of brilliant costumes, choreography and camerawork. The ensemble all deliver well with their layered roles and Coogler takes a b-movie premise but sinks his teeth into artful drama and his trademark cultural commentary.

The Long Walk (Directed by Francis Lawrence)

Anything but a laborious slog, this Stephen King adaptation is actually a brisk stroll and a fascinating surprise as who would have thought a saunter through the countryside could be so tense? Here, a dystopian future sees a group of men enter a walking marathon until one last man standing takes home a prize. And the tournament slowly reveals characters’ motivations as they preamble through this wilderness with Cooper Hoffman, David Jonsson and Garrett Wareing delivering emotional portrayals of men who find purpose in this exhausting trial. Watching the wary entrants battle their own handicaps is full of suspense as the omen of death - overseen by an army Major personified well by Marc Hamill in an against-type villainous role - comes for them whether it's via injury or simply fatigue. A pumped up, and yet surprisingly sensitive portrait, The Long Walk uses a unique concept to take a singular exploration of unbending determination.

The Last Showgirl (Directed by Gia Coppola)

Exploring how women cope with the effects of time and aging within an industry focused on youth and beauty, it’s a refreshingly straightforward tale told in a brisk 90 mins with Pamela Anderson infusing some of her own experience into the emotional drama. It’s more than pleasing to see films showcasing older female casts, with Jamie Lee Curtis’ dance twirling reminiscent of her sultry turn in True Lies, whilst themes of aging bodies and past glories successfully showcases Hollywood's obsession with youth, which hasn't changed in 100 years it seems. A direct razzle-dazzle of a film, like its central character The Last Showgirl has plenty of heart which helps it overcome the limitations around it.

F1 (Directed by Joseph Kosinski)

After the huge ($1.5 BILLION!) success of Top Gun: Maverick, Kosinski returns to join forces with another Hollywood A-lister (this time Brad Pitt) in a vroom vroom bangbuster set amongst the racing world of Formula 1. Speaking of formula, it barely breaks any blockbuster rules but what it does is breathtaking action filmed at real F1 race track locations held together by Pitt’s effortless charm and big screen charisma. The on-track footage is breathtaking and its use of real life drivers adds further realism to the proceedings. But this is Summer popcorn fare at its best. Dramatic, exciting and starring the most charming actor of a generation, its simplistic pleasures contain all the right ingredients to pull us into the cockpit thrills. It’s an original big screen smash hit fighting amongst the franchises for its slice of the blockbuster pie so go refuel your excitement glands with this tremendous Pitt stop.

One Battle After Another (Directed by Paul Thomas Anderson)

Perhaps not loved by me compared to critics in general, nonetheless PT Anderson’s One Battle After Another is clearly still a high quality drama. Inspired by Thomas Pynchon's novel Vineland, Leonardo Di Caprio’s stars as an older revolutionary who rejoins his former lifestyle when danger comes for his daughter. Sean Penn is great as military officer Lockjaw, whose obsession fails to subside over the years as he hunts down the members of the radical movement. Mixing dark comedy and tense action thrills, from bounty hunting to footchases, Anderson fills his film with a host of entertaining moments making it more accessible than his previous output. The surface-level political themes feel like a broad landscape for the more heart-stopping and amusing scenes, but the script still allows for an organic exploration of contemporary American concerns. An ensemble cast featuring Chase Infiniti, Benicio del Toro, Teyana Taylor and Regina Hall all provide top-notch work in a film that definitely delivers on its epic scope.

Bring Her Back (Directed by Danny and Michael Philippou)

An unrelentingly bleak horror that takes the strongest of dispositions to fully enjoy, but those willing to delve into its dark themes will find a raw but engaging tale of death and desperation. Sally Hawkins is the star as a woman who takes in two orphans but has sinister intentions at heart in order to get over the passing of her own daughter. Billy Barratt and Sora Wong provide equally compelling roles as the tormented brother and sister as they face motherly manipulation as they battle their new situation. It’s all shade with no light, which can be a tough slog, but it is constantly mesmerising and discomforting as the best horrors should be.

Caught Stealing (Directed by Darren Aronofsky)

With Elvis, Dune and The Bikeriders under his belt, Austin Butler is quite a regular in my best of the year lists and here he gets a starring role in an exciting crime drama as a bartender dragged into a sleazy underworld. Butler’s charm simmers off the screen as a man who faces increasing pressure and nasty violence from a host of savage felons who are trying to track down their money. An unlikely genre exercise from the often high-brow and super-serious Aronofsky, the director brings all his talent for weaving dark tales into something more “friendly” without scrimping on shocking moments and viscous visuals. Excellent support comes from big hitters Regina King, Matt Smith, Zoë Kravitz, Liev Schreiber and Vincent D'Onofrio and there’s plenty of satisfying action and drama. And alongside great music and a punk sensibility, there's even a frankly amazing end-credit sequence that’s well worth sticking around for.

Presence (directed by Steven Soderbergh)

Soderbergh is very much known for his genre-hopping, experimental and frankly quite uneven career but you know you’ll always get something interesting from the prolific director. And here he takes the well-worn concept of a family moving into a haunted house and twists the conceit so we see events unfolding from a ghost’s point-of-view. A whole host of voyeuristic scenes play out and its straightforward family drama is given new context as seen through the spectre’s eyes. Genuine anxiety abounds and it’s the viewing opposite of Paranormal Activity where we try to spot a presence in scenes. Here the tension and unease stems from being “spotted” ourselves as the viewer. A swift 85 minutes is the perfect length so its unique persepctive doesn’t outstay its welcome (somewhat ironically in fact). And although some may accuse it of being one giant gimmick, Soderbergh handles the whole thing so well with clever direction and shot composition, inventive “floating” camerawork and plenty of scary sounds (and silence), that I was creeped out from the very first frame.

The Ugly Stepsister (Directed by Emilie Blichfeld)

A live action remake of the classic fairy tale Cinderella from the perspective of the villain? What sounds like another yawn-fest Disney “reimagining” turns out to be one of the top horrors of the year. Despite all the iconography being present - a charming prince, a sumptuous ball, a lost shoe - Maleficent and Cruella this is not. Corpses, painful cosmetic surgery and tapeworms (don’t ask) are just a few of the moments that will induce revulsion. But for all the gore and grossness, there’s a very thoughtful and sad period drama underneath. One which explores themes of external beauty, societal hierarchies and the extreme lengths people go to to achieve a semblance of “conventional beauty”. Lea Myren as the lead is a star of the future as she holds together what could be a silly and fanciful diversion, but provides a real empathy to a movie that is not just entertaining, but holds a magic mirror up to a grim fairy tale full of narcissism and nastiness.

The Brutalist (Directed by Brady Corbet)

An impressive Adrien Brody lays the foundations of an epic journey as a Jewish-Hungarian architect and Holocaust survivor who emigrates to the USA as he struggles to get his life together. The building blocks of the film see Brody’s character labour on charity housing before a wealthy industrialist tasks the experienced architect with creating a huge new Institute. Battling drug addiction, construction problems and personal and private attacks by Guy Pearce’s vile money-provider, his tenacious obsession is aided by Felicity Jones who provides brilliant support as Brody’s sympathetic but opinionated wife. It’s an “utter unit” of a film - all 215 minutes. And it’s as narratively, thematically and structurally brutal as the film’s title. The Brutalist builds its story piece by piece and strikingly explores everything from the smallest details of architecture to huge issues of the meaning of life, immigration anxiety and the power of legacy.

Frankenstein (Directed by Guillermo Del Toro)

Wonderful gothic horror from the master of gothic horror, Guillermo Del Toro throws all his best attributes at the screen - great casts, inventive production design and visually stunning cinematography - in his pet-project adaptation of Shelley’s classic novel. An always-watchable Oscar Isaac as the doctor is supported by excellent turns from Christoph Waltz, Mia Goth and Charles Dance but it’s Jacob Elordi as the Creature who provides a smorgasbord of scares and terror, but with additional compassion and sensitivity as we see the tale told from multiple perspectives. A satisfying companion piece to this year’s Nosferatu, each film takes extremely different slants with their source material - with Eggers’ methodical darkness contrasting with Del Toro’s romanticised extravaganza. But more blockbuster than head scratcher, Del Toro’s Frankenstein is full of entertaining set pieces, from monster fights, explosive firestorms and nauseating yet fascinating body horror. (Oh, and it’s fine to call the monster Frankenstein as he’s the son of the Doctor - don’t you have the same surname as your father?)

Alien on Stage (Directed by Danielle Kummer & Lucy Harvey)

“In Dorset no one can hear you scream”. An hilarious and heartfelt documentary that finally got a full release this year, this documentary follows a group of amateur cast and crew mostly made up of bus drivers from the South West of England who put on their own homemade production of Ridley Scott’s seminal 1979 sci-fi classic. Replacing their annual pantomime(!), the writing, rehearsal and special effects process is covered, as passionate amateurs give their all every step of the way. With both a love for the film, and sometimes utter bewilderment with regards to the task they’ve set themselves, they eventually pull together their show despite the obvious struggles and budget limitations. With a West End finale looming, you’ll be rooting for a successful opening night and I knew the film was working as I cheered when a homemade facehugger was launched at an actor's face. I’ve rarely seen such an uplifting portrait of the creative process - plus I’d argue it’s far better than a few entries from the real franchise!

28 Years Later (Directed by Danny Boyle)

Danny Boyle returns to his zombie roots with a legacy sequel that has a bigger budget but still plenty of anarchic, experimental and frankly chaotic themes and violence that directors half his age would be proud of. Reuniting with original writer (and now very successful director himself) Alex Garland, the talented duo provide a thought-provoking survival flick that doesn’t skimp on the gore either. And this is all grounded by terrific turns from Aaron Taylor-Johnson, Jodie Cromer, Ralph Fiennes and especially newcomer Alfie Williams. Tackling life, illness, compassion, warfare, conflict, Covid, politics and much more, it’s stuffed with motifs and ideas that thankfully never overshadow the panic-inducing entertainment and exciting frights.

Nosferatu (Directed by Robert Eggers)

Eggers’ edgy take on the Dracula story sucks both the imagery and mythos from all versions of vampire lore and transforms them into a gothic exploration of sexual mania. With his eclectic cinematic eye, Eggers’ dream-like scenes are drained of colour with the desaturated visuals harking back to the 30s original, whilst a steady Kubrick-style use of camera positioning and Barry Lyndon-esque smoky, candle-lit rooms, gives it a deliberately theatrical quality. And it contains one of the best scores of the year as well, one filled with torturous strings that provide an eerie backdrop for its themes of obsession and romance. The archaic dialogue works well with the symbolic imagery too, and with great sets, lighting and big showy performances, it’s hugely atmospheric and unsettling. In the end, for a story seen so many times on screen, in the skillful shadowy hands of historical connoisseur Eggers, it’s one of the greatest takes on the legend.

A Real Pain (Directed by Jesse Eisenberg)

Don’t be fooled by the film’s refreshingly direct and rather straightforward structure, A Real Pain hides a multitude of complex personal and historical components within its story of two dissimilar cousins who head to Poland to honour a loved one. Writer-director Jesse Eisenberg plays Benji, who becomes increasingly aggravated by loudmouth Kieran Culkin (in an Oscar-winning turn) whose headstrong vivaciousness antagonises his straight-laced and conforming cousin. Their family conflict creates entertaining, but also thought-provoking, drama as both actors brilliantly portray their differing outlooks on life during their increasingly heated quarrels. The issues are given further depth when they and fellow travellers take tours of concentration camps and other emotional WW2 locations. Yet at its centre, this fantastically well-mannered film balances both large and small issues alongside how the past, present and future of our lives are intrinsically linked together.

The Ballad of Wallis Island (Directed by James Griffiths)

Tim Key and Tom Basden play a folk music superfan and the artist he wishes to hire for a final gig respectively, in a quaint but powerful film about love, life and loss. Key is phenomenal as the quirky oddball, instilling his witty dialogue with comedic pathos as well as a heartfelt but sometimes awkward affection. And Basden brilliantly explores the dilemmas of the cynical singer-songwriter who is exasperated by his host. despite having been paid a lot of money to perform a one-off private gig. He's also conflicted over his musical direction with his ex bandmate, played by an always wonderful Carey Mulligan, which further adds to the dysfunctional dynamic on the isolated island. A stunningly simple portrait of lost souls, the film delivers brilliant drama, a plethora of laughs and a truly poignant and teary-eyed conclusion.

Michael Sales

Check my full ranked list of the year 2025 over at Letterboxd here.

Midlands Review of Big Red

Wed, 17 Dec 2025 15:46:11 GMT

Big Red

Directed by James Pyle

2025

Midlands writer-director-actor-animator James Pyle ends the year with Big Red, a new 8-minute short film that explores the fun relationship between man and beast.

Here, the beast in question is a suspected squirrel and the short opens with a news anchor called Marty sharing a story about the possibility of humans communicating with animals.

Out in the field is the news channel’s Jimmy Benson, a roving Ron Burgundy-style reporter broadcasting from the woods. And he's leading the investigation into the potential of interspecies relations. No, not that.

As the anchor cuts to “Sports” we return to Jimmy off-screen who begins to hear a cacophony of voices - are these real, or is his earpiece playing up or is it something else altogether? Whatever it is, it throws him into a wild trance before he realises the film crew have left him stranded in the forest.

The short’s animation is basic but effective - getting across the characters, their personalities and the locations well. Better still is the voice-work from Pyle himself. He does a more than convincing job with an American accent. The news presenters are suitably hokey and deliver their transatlantic “media speak” with clear diction and a surprising amount of snark.

But now alone in the woods, Jimmy starts to go a little “nuts” and his paranoia mixes with an 80s-style music montage as Jimmy searches for the mysterious “Big Red” - a name he hears amongst the whispering voices of the outdoors.

A red squirrel’s tail is all we see of this mysterious creature, and Jimmy struggles with his search as he rummages amongst the nooks and branches of trees to find the elusive critter.

Jimmy makes a valiant effort to capture the animal. But this soon becomes a life affirming fight for his destiny. And it all ends with a rather dark turn which sees him fulfilling his apparent purpose - someone alert PETA!

Yet amongst all this, there’s a final twist in the “tail” where something much stranger is revealed. There’s definitely an influence from Studio Ghibli’s Totoro and his tree here - both in terms of the visuals and a thematic parallel of sorts. But to be fair that’s no bad influence at all.

Big Red is a fun little animated short and it’s refreshing to see the filmmaker literally extend his range with a longer film. The increased length allows more time for creativity and develop an expressive narrative - signifcantly improving upon the slightly slim content of Pyle’s previous micro-shorts.

And the filmmaker's love for weird stories once again comes across very well - and rather than “Do-little”, the filmmaker has “done-lots” to create an American squirrel saga that’s entertaining and suitably bizarre.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Midlands Review of Mia, Alex and Dean Make a Movie

Mon, 15 Dec 2025 12:36:45 GMT

Mia, Alex and Dean Make a Movie

Directed by Declan Smith

2025

The “All the world’s a stage” quote from 'little-known' Midlands playwright William Shakespeare opens up a new and quirky short from writer-director Declan Smith.

And never was it more relevant than in this Meta take on film, fiction and real life, which begins with an introduction to a trio of protagonists in a cafe - each who thinks they have MCE - or Main Character Energy.

They debate the connection between life and narrative conventions but after this brief chat, there’s a sudden burst of energy which leads to the three speaking directly to camera and addressing the audience with the promise “this is going to be unlike anything you’ve ever witnessed”.

Breaking the fourth wall, they begin to deconstruct the tropes of cinema language and even the camera operator gets involved as they clean the lens after the remnants of a rather large sneeze blurs the shot .

Playing with the format of film itself isn’t the newest of ideas - 1977’s Annie Hall having some of the most famous examples - but the three leads add so much warmth and kinetic chaos that I was captivated by all their efforts.

Given the 7-minute runtime, the director includes as many cinematic flourishes as possible. We get fade-outs, text on screen, black and white photography, whip pans and more. Each one adds further vitality to the short’s pace and I thoroughly enjoyed the acknowledgement by the characters of each movie technique as it happens.

The nods don’t stop there either as the film leaps genres too. A trip into a fantasy world is perfectly colour graded to match the Twilight films with an appropriate (perhaps Harry Potter-esque too) orchestral symphony mixed in to acknowledge the influences.

The cinematography is solid and rich with detail, and the close-ups focus on the faces of each person allowing us to engage with their individual stories at the start before becoming more frantic as the zaniness of the story ramp up.

As they continue to jump from genre to genre and location to location we get further movie influences including European arthouse and even a freaky body-swap moment and a hint of a musical too.

Full of laughs and smart references Mia, Alex and Dean Make a Movie really is a great short film. From the look and the witty spoofing of movies to the gentle mocking and back-and-forth quips of the leads, the film runs at break-neck pace to include an abundance of cinematic references that viewers will lap up.

The chemistry between the three - Georgie McGuigan (Mia), Megan Dunnico (Alex) and Giuseppe Manzione (Dean) is really fantastic. And with a canny script, a knowledge of cinematic conventions and a wry tongue-in-cheek tone, I highly recommend checking out this wonderful short film. It's full of technical skill and an enthusiastic spirit, meaning audiences won’t be able to resist its wacky and humorous charms.

★★★★★

5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Midlands Review of The Winster Werewolf

Mon, 08 Dec 2025 16:04:37 GMT

The Winster Werewolf

Directed by Jake Mayo

2025

Amberwell Productions

*some SPOLIERS ahead*

On the 4 ^th of December 2025, as the cold moon rose, evil spirits and terrifying creatures lingered in the darkness.

In rural Derbyshire, the full moon welcomed in the premiere of The Winster Werewolf – Amberwell Productions' new short, the fourth in their six-part ‘creature anthology’.

And in the Whitworth’s grand Victorian ballroom in Darley Dale, a well-attended audience had settled down to embrace whatever frights and thrills would await them!

Although it stands alone from the other films in the anthology, The Winster Werewolf follows what seems to be a consistent formula. John (Steve Williams) is a YouTuber who is looking for various creatures around Derbyshire, followed by his eager and sardonic assistant, ‘Cameraman’ (Raymond Lesley).

Directed by Jake Mayo and written by James Ledger, this film has a unique and carefully managed self-awareness. From the very first scene, Cameraman exhibits this style of humour - which is throughout the script. For example, when asked by John if he believed there was a werewolf in Winster, he stated “well, it’s an alliteration, so it must mean something is true”.

John and Cameraman then go into Winster, a quaint village in Derbyshire, where they recount the ancient legend of Harold Hand, a man who was found naked and asleep in the local Winster church after a full moon. Fearful of execution, Hand escaped with angry villagers in hot pursuit.

Filmed in Winster itself, Mayo’s camerawork and editing is impressively displayed. Utilising a multi-media format, the camera distinguishes between Cameraman’s shots and external shots by cleverly changing the aspect ratio.

Mayo also incorporates whip pans to implement his meta narrative, wherein John is noticing himself in the distance, also filming in Winster. Although there is no clear explanation for this part, it could be suggested that the anthology has merit to being watched altogether.

By the end, John and Cameraman run out of fuel and encounter the werewolf in their attempts to get home. The werewolf itself (Lyla Stevenson-Rowe) is a hooded figure, who approaches the camera in a jittery fashion before the screen flashes red and we cut to credits.

At this point, the meta-narrative might explain more about the ending. Had John and Camerman entered a parallel universe where the werewolf would always kill them? Did the werewolf put some sort of curse on them? There were many questions left unanswered as the credits rolled.

Jake Mayo, James Ledger and Edmund Hunt (of Amberwell Pictures) are clearly committed to their ambitious six-part project. Future titles include “The Beast of Riber Castle” and “Revelation of the Peak”, the former being a zombie film which will premiere April 2026.

With a bigger budget and a slightly snappier script, there is no doubt that Mayo, Ledger, and the rest of the team will enjoy continued success. Their mission to expose the terrifying creatures of Derbyshire is well underway – and who knows where the future will take them!

★★½

2.5 / 5

Jacob Poole

Instagram @shot_by_gretton

Link to the Amberwell Pictures website

Breaking The Silence - domestic abuse film seeks cast

Sun, 07 Dec 2025 18:27:30 GMT

BREAKING THE SILENCE

‘Every story has a turning point’

Sarah Hughes is a Midlands-based actress & TV, film and SFX artist and is about to begin production on her first ever full feature film.

Breaking The Silence is an upcoming project which follows a man going through a domestic violence relationship at the hands of his female partner.

“There is so much out there from a women’s point of view”, says Sarah. “But I wanted it to be from a man’s and his experience of asking for help”.

The production is currently casting for the lead role of the victim called Daniel. The film’s synopsis sees ‘Daniel hiding the suffering he endures behind forced smiles and quiet routines. Trapped in an abusive relationship that’s he’s too ashamed to talk about’.

‘The stigma around male victims convinced him no one will understand and each day chips away at who he used to be. But when a moment of clarity breaks through the chaos Daniel finally finds the courage to escape and discovers that reaching out can be the beginning of reclaiming his life.’

Sarah herself has featured in a number of films, both in front of and behind the camera, including Ummah - The Godmother (2024), Brutus (2024) and Sacrilege (2020) but this will be her first as director.

Although still in its early days, in preparation for Breaking The Silence the filmmaker has already spoken to many men’s charities. And the film will also help highlight current 2025 statistics for men that are suffering owing to domestic violence crimes, and hopes to shine a spotlight on the sensitive issues surrounding the topic.

Sarah goes on to add, “So I could write this film accurately, I spoke to many brave men that told me their stories too. And with this film, I also plan to raise money for the charities I reached out to”.

Interested actors can contact the filmmakers at slcasting@myyahoo.com and read more in the post below.. You can follow Sarah on her Instagram account to stay abreast of the film’s progress via @sarahhughesofficial

Check out Sarah Louise Hughes at IMDB https://www.imdb.com/name/nm16891275/

Midlands on the Move: Carl Staples storyboard artist

Sat, 06 Dec 2025 09:07:18 GMT

As part of our Midlands on the Move features, we speak to Carl Staples, a Midlands storyboarder and filmmaker with a wide range of regional experience and we found out more about Carl's work, his experience in the Midlands and what he's taken with him as his career developed...

Midlands Movies: Hi Carl, can you tell our readers a bit about yourself and your role in the film industry?

Carl Staples: I have always loved films. My mother is a fan of Alfred Hitchcock and I began to love films from an early age. In the 80s the cinema was dominated by epics so there was no shortage of inspiration, and I would find escape in the movies. In the mid-nineties I enrolled in Media Studies and learned the processes of writing and storyboarding, editing and sound design. By 2002 I continued (and still do) to balance my day job interspersed with script writing and storyboarding for Independent filmmakers and Staffordshire University student films. It is here I was first aware of "The Silent Child." that was in development.

Following this I worked as storyboarder on the short film "Ethel", a dementia drama set in London. Written and directed by Jonathan Wright, it starred Miriam Margolyes as the lead. And so both The Silent Child and Ethel tackle very resonant subjects. Most recently, I worked with Misty Moon Films in London who offered me a chance to write and storyboard a short thriller that became "Served". I will be indebted to them for a chance to write for the prominent actors the got on board.

MM: And what sort of projects have you tackled in the Midlands?

CS: As a storyboarder I collaborated with Midlands filmmaker Harrington Day on his short drama film "Leaving Smith's Pond" and "Ma" a short film for former Staffordshire University student Jack Burney.

MM: So, other than a flair for art, what sort of skills would Midlands creatives need to do well in the industry as a storyboard artist?

CS: I watch a lot of films, from David Lean's "Lawrence of Arabia" to Michael Mann's "Heat" which use widescreen so well. I am also inspired by paintings and how the frame is used. This stems from viewing Stanley Kubrick's "Barry Lyndon" as a student, in which it took its visual cues from the 17 ^th Century paintings of Hogarth, Gainsborough and Reynolds which were recreated with natural candle light. I also read, and re-read, the scripts to learn fluidity of story. The script will undergo many drafts, and in many cases storyboard work will be discarded. Be open to change, but also know the script material.

MM: I've heard locally that "no budget" local filmmakers can find it a struggle to find artists. What would you suggest they could do?

CS: When I was a college Media Studies student you had to know all the skills from writing to final sound mix. I am still new to the discipline myself. Script writing is the cheapest way to convey ideas and a pencil and pad can take this further to a thumbnail sketch to a concept drawing, or even a host of paintings. Its then you reach out to independent filmmakers with resources who see potential in the script or how you see it visually.

MM: You mentioned you worked on The Silent Child with our 2026 Midlands Movies VIP jury member Rachel Shenton. How did that come about?

CS: My first knowledge of the film was via local news and I was subsequently invited to a Staffordshire University networking event to meet Rachel Shenton and Chris Overton, and expressed my interest to contribute. It was amazing to see the film develop. The script presented a sensitive story and all the performances, especially Maisie Sly , were very moving. I remain very grateful to Slick Films, Rachel and Chris and the host of producers for including me in a "Special thanks".

MM: What was the process on that particular project?

CS: The speed of production was moving that fast that my work was ultimately not used. However it remained a very important moment as I had begun writing my own work. The storyboard art would also inform my drawing style. Crucially it made me focus on stories that occur in the real world with real people. I will refer back to The Silent Child script as a template. The work on this script gave me confidence to work on the "Ethel" short film.

MM: How did it feel seeing a Midlands(-adjacent) film get so honoured at the Oscars?

CS: It was very exciting to see a film that had a message and to see it embraced not only by the UK, but at the Academy Awards, and honoured so deservedly.

MM: What did you learn from your Midlands projects that you’ve taken forward into UK and global productions?

CS: The Midlands projects have been diverse and challenging. I have made relatively small steps and hope to get a chance to take my scripts overseas. I continue to write short and feature scripts. Short films, and indeed features are often a way to experiment with genre, visuals, structure, be it conventional or unorthodox.

MM: Briefly tell us what’s next on the horizon for you. Anything back in our region?

CS: I am currently completing a script adaption for "Chomp! Charlie Carter and the Monster Pike" for author Dave Rogers. Once completed, I have a desire to adapt Arnold Bennett's "Riceyman Steps". I hope I can generate interest in this particular novel; from the writer of "The Card". I am also writing a dementia drama feature script inspired by my grandparents entitled "All That is Broken is Not Lost". I find it important to keep people guessing as to what genre I write and never repeat myself. I am currently working with another former student , Tom Ratcliffe at Slanted Media on a short film as co-writer and storyboarder too.

MM: Any final thoughts on what Midlands filmmakers (or the filmmaking community) should be aware as they move forward? How can filmmakers learn from your career path in working beyond their Midlands-based projects?

CS: If there is a desire to tell a story that speaks about your own experience, and more importantly allow you to identify with the characters then it is worth telling. I am still finding my feet and in many cases making things up as I go along. My goal is to find like-minded people who would like to collaborate and who see potential in stories. It was great to interpret a variety of scripts visually but also learn how each script was written.

Find out more about Carl's work at IMDB

Midlands on the Move: A Local Lad in London

Thu, 04 Dec 2025 17:59:40 GMT

Our resident local film critic @_jacob.holmes headed off beyond the region's boundaries to the BFI London Film Festival. In our latest Midlands on the Move feature, Jacob shares some helpful hints for first timers, as he provides a guide for local filmmakers and film fans as to what to expect when visiting events further afield...

In 2025 I had the honour of attending the 69 ^th BFI London Film Festival for a week, I attending premieres for some of my most anticipated films of the year. And even grabbed a press pass too. This wasn’t my first film festival, but this was my first London Film Fest and to be brutally honest, in the build-up, I was nervous!

Sadly, I found the BFI and Accreditation websites not very intuitive and quite confusing. So this this article hopes to give some peace of mind and let people know what they can expect when attending such UK festivals - both as a regular guest and as press.

Tickets

Getting regular tickets can be stressful, akin to a big concert. And in a way it's like the Hunger Games, a survival of the fittest type of vibe. First off, BFI advertise tickets go on sale at 10am in September, which is true but not wholly accurate. Instead, at 9am you head to the website and get put in a waiting room with a random allocated number for when the actual sale start at 10am. At that time it tells you where you are in the queue. If you get lucky, you could wait 15 minutes, but often the wait can be an hour plus. Finally when you can make a purchase, you are let in and can put all tickets into your basket. I have two years of experience with this queue! The first time, I failed completely and all movies I wanted to see were sold out. But this year I had a plan! The key to success is knowledge to how to play the game.

Tip 1: For the best possible chances, subscribe to the BFI and become a member. The year membership was £35 at its cheapest. And if you're in the Midlands like I am, outside the festival a membership can be fairly useless unless you go to London often. But what this membership gives you is important. A week before general release there is a presale for BFI members. Not only is this a benefit, it also gives you a crucial second chance. By that I mean if things don't go your way the first time, you can try again in the general sale. And I had to do exactly this. When general admissions came out, I tried again for tickets for Wake Up Dead Man and got my ticket!

Tip 2: Quantity. There's nothing against the rules saying you can’t enter the queue on multiple devices! I was placed very low down in the queue in my first year on one laptop, but this year I used my phone, PC, laptop, my friend's laptops AND my friends' devices! But it all paid off. Devices can take 2 hours or only 30 minutes. More Devices = Higher chance of getting tickets.

Tip 3: Know the films you want to see beforehand. If you don’t know what films you want to see or when they screen you will be completely lost. Write a timetable - and furthermore, have back up plans. Sometimes you'll click on what you want and it will be sold out, but having a backup plan will be much easier overall.

Tip 4: Even if you don’t get tickets, it's not the end of the world. There are plenty of second-hand ticket websites selling tickets at normal (or sometimes cheaper) prices. Websites like Twickets, social media accounts like @LFFstubs on X or the r/londonfilmfestival on Reddit will have second-hand tickets. In fact, I sold one of my tickets on Twickets and had no complaints either.

Press passes

As you can imagine, this process is very different for industry passes. The biggest issue is tickets go on sale in waves each day. Instead of one go, pass holders book their tickets day by day. Tickets go on sale at 8am two days before, usually taking place on the accreditation app or website. In some ways this is easier, but it's also a gigantic pain. Although it's MUCH easier to get a ticket, do have to wake up every single day to go onto a laggy website and book a few tickets. You may even have to book tickets in the cinema.

Another issue can be if you plan to see both general and press screenings. One you book way in advance, but press screenings are booked during the fest. Ticket prices for public screenings vary, but the gala/premiere screenings are usually £30-£40. Whilst the press screenings are completely free, you just have to pay for the pass itself which is around £55.

Attending screenings

You’ve got your tickets and now you just have to go to the screenings! This is the easy part. For public screenings you have allocated seats so what time you arrive doesn’t really matter. As a rule of thumb, 15-45 minutes will be more than fine but do remember there are no adverts or trailers, so the movie starts bang on the allocated ticket start time. They have a tendency to be late getting started but you arrive early and although you stand in line, once the doors open you'll get in fine. If attending a gala, you can walk the red carpet, but do allow more time. If you not too fussed, you can literally walk into the Royal Festival Hall, scan your ticket and find your seat. (A little side note - if you have a balcony seat at the Royal Festival Hall, don’t worry about not being able to see the movie, the screen is massive!)

Whilst there is a general hub in BFI southbank, public screenings are dotted around London - from the Prince Charles to the Curzon - so allow plenty of travel time. For pass holders, this is different as you don't have allocated seating, so get there early for a better seat. And note that the start of the festival is when it's the busiest. Films that didn't seem as 'big' (for me Bad Apples and Good Boy) there were surprisingly long lines. As the festival goes on there's gradually less people. But don't worry, even if you are the last in the queue you will still be able to see the film - perhaps just not with the greatest view.

Another press pass positive is the vast majority of screenings are shown in one place - the Picture House Central Cinema. This makes seeing as many films as possible so much easier and can literally finish one movie and go straight into the next. One downside is you won't usually have any filmmakers or actors make special appearances, as they are more likely to attend the public screenings. This means no introduction by the director and no Q&As. Which is why I recommend attending both public and press screenings for the full experience.

Festival etiquette

One thing I worried about was not understanding the rules and etiquette of the festival. What should I wear? How should I act? Will I make a fool of myself? But you needn't worry.

Premieres sound really fancy and I had no idea if my clothes would be appropriate. I didn’t want to be refused entry but it turns out I could have warn an old hoodie and joggers! Most public screenings see people wear their everyday clothes. There are plenty 'smart casual' too, but the right vibe can be achieved with a nice outfit. For press screenings it's actually a similar deal. You don’t have to wear smart clothes and most are wearing everyday outfits.

The big one were galas and premieres - surely, I must have to look smart and suited up the entire time? Turns out there is no dress code, but it is important to note that a lot of people do dress up smart for these events. Whilst at the gala, you’ll see everything from everyday clothes to full glamour. I opted to wear something in the middle for most of the galas. A smart shirt with jeans and a nice jacket worked for me. It felt I had made an effort whilst also feeling comfortable. The only gala I attended in a full suit was for Guillermo del Toro’s Frankenstein, and that was because del Toro is my favourite director and I wanted to show a bit more appreciation and respect.

Another big worry I had was looking like I had absolutely no idea what I was doing. To an extent, I did have no idea what I was doing! But there are hundreds of first timers that also have no idea what they are doing and there are plenty of festival veterans that also get confused. What I am trying to say is if you are confused about something that's going on, the film community is genuinely very welcoming, if you have a question, there are plenty of people more than happy to answer. And you can also talk to staff or just be confused together. Remember everyone who attends has common ground; we all love film! So please talk to someone if you need help.

Final thoughts

The BFI Film Festival is the pinnacle of the British film industry; it'ss a massive event that should be enjoyed and remembered. Going to something as big a s this can seem daunting to a Midlander who has never been before. But as someone who was worried about going on my own and experiencing it for the first time, I am here to say there is nothing to worry about. Enjoy yourself and have fun. To any readers who still have questions about anything I recommend checking out Reddit page r/Londonfilmfestival. If your question isn't answered on there already, ask it yourself and people are than happy to answer. That subreddit saved my skin on many occasions. Thanks for reading and happy film festival travels!

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Midlands Review of Royston Vale Road

Tue, 02 Dec 2025 07:54:02 GMT

ROYSTON VALE ROAD

Directed by Chris Annable

2025

Developed as part of the anthology, Serial, Royston Vale Road is a slight, comedy-heavy, found footage short directed by Chris Annable, co-owner of the Straight to Video movie memorabilia and tape store in Alfreton. It was shown alongside Exhibit B to kick-off the Quad’s POV: The Found Footage Project one-day film festival.

It follows a group of online paedophile catchers, led by the absurdly gruff, over-the-top ‘Gaffer’, played by Rick Mallin. How much milage you’re able to get from the opening of the film will depend on how much absurd, mansophere nonsense you can stomach, as ‘Gaffer’ bullies and belittles his subordinates before heading on a sting operation.

In a joke taking straight from The League of Gentlemen, the influence of which should be obvious from the title, they arrive at what they believe to be the right house: 696 Royston Vale Road. However, the ‘9’ is clearly a ‘6’ that has a lost a screw and fallen beneath the other numbers.

There’s nothing really surprising from this point on. ‘Gaffer’ attempts to intimidate the supposed predator (Steve Dwyer) only to have the tables turned in particularly gory fashion.

There are some really funny scenes here and there, especially when the mistake with the house numbers has to be pointed out to the crew, and an excellent one-liner about not getting a new pair of trainers in the blood – a line made even funnier by Chris explaining that they were shooting in a house that was for sale, and the line was necessary because they couldn’t risk stomping fake blood across the carpets.

There’s also something unnerving about Steve Dwyer’s laugh, which is sampled and repeated over and over as the hunters find themselves locked inside the house. It would be interesting to see how it fits within the Serial anthology because overall, this is just a bit too heavy-handed with the performances and a little too light on story to stand on its own.

★★

2 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Midlands Review of Dead on Distribution

Sat, 29 Nov 2025 17:55:11 GMT

Dead on Dsitribution

Directed by Alasdair Gretton

2025

Dead on Distribution tries to tackle a lot in its brief 17-minute runtime. Taking place just as the VHS market was starting to boom, flooding shelves with low budget horrors, the film satirises the prevailing thoughts of the time.

The kinetic introduction includes voiceover snippets from Mary Whitehouse, decrying the levels of violence and sex in the cinema of the day. We then cut to scenes from a fictional effort called Lead Rained Down at Midnight – a violent revenge fantasy, but one that seems to lack the necessary narrative, or sufficient gore and nudity to be a smash hit.

Producer William Flagg (Brian Clarke) is forced to distribute it on video, rather than on the big screen. This new market is a mystery to the man; according to the distributor, it’s less about the content of the tape, and more about the sleaziness of the cover. No doubt an uncomfortable truth for us horror hounds who remember strolling through the local Blockbuster.

At the same time, the leading man, Danny Felt (Jacob Poole), is devastated by the lack of success the film has had and is encouraged by Flagg to do something outrageous to drum up publicity. Here, the film does bite off a little more than it can chew, and while it’s clearly not supposed to be a serious expose on the impact of cinema or mental health, the decisions writer/director Alasdair Gretton makes do mean it’s worth a little bit of discussion.

The impact of violent entertainment on mental health and the actions of young people has been an on-again/off-again concern since the dawn of the comic book. It’s most notable occurrence in the UK happening during the video nasty panic. Felt is shown to be a disturbed young man from the offset, using a kill-list he created in school as proof that he should play the killer in the schlockfest.

Gretton goes to great lengths to show that the film has little to do with Felts’s own violent urges, but the climactic scenes verge on the tactless, even for a film paying tribute to the video nasties.

If you can stomach that, however, this is a well-done effort. Gretton does a great job on the edit, snapping back and forth between reality, and the characters’ own view on events, and working with Julia Zieba to create some excellent practical effects. The performances are also good, relishing the over-the-top characters.

Gretton closes out the film with a sharp little jab at critics who constantly reassess films that were previously dismissed outright, retrospectively finding masterpieces in the some of the dross that was deservedly put straight to video. But he does this while retaining a clear love for horror, and the videotapes that caused so much furore.

★★★

3 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Midlands Movies finds footage down at Derby Quad for POV

Wed, 26 Nov 2025 18:27:17 GMT

Continuing the cinema’s excellent reputation for themed events – such as Paracinema and the folk horror day Darkness in the Fields – the Derby Quad put together a programme of local and international found footage films.

It kicked off with the shorts Exhibit B and Royston Vale Road , with Q&As with directors David Gregory and Chris Annable. The first film of the day was Beyond the Witching Hour , John Williams terrifying ghost hunting film ( reviewed in full here ). This was paired with the short film Arrival (Dir: Rob Ullitski), said to be the start of a multi-format franchise based around the fictional village of Egglemore. Think a Midlands-based Welcome to Night Vale.

At a brisk five minutes, it does a good job of building some lore around the locale, with ‘visitors’ being integrated into the population. It’s a popular concept at the moment, both in films and in video games, and while Arrival doesn’t add anything new to the mythos, it does create an unsettling visual representation of these uncanny valley monsters – one that owes as much to 28 Days Later. It’s an exciting start to a new world; one that fans of the ‘visitor’ sub-genre should keep an eye on. 3/5

Hi! You Are Currently Being Recorded (Dir: Kyle Garrett Greenberg and Anna Maguire)/ In Our Blood (Dir: Pedro Kos)

The US short, Hi! You Are Currently Being Recorded suffered from being a little dated. The idea of constant surveillance was nothing new a decade ago, so in a film made in 2024, it feels less like a dystopian nightmare and more like a day-to-day annoyance.

Co-director Anna Maguire steps in front of the camera to play a woman lost in a Los Angeles suburb; caught in the constant gaze of the various video doorbells and security cameras. A wrinkle of intrigue is added by the fact that the character is stoned, posing the question of whether she’s paranoid from the drugs, or justly paranoid due to the surveillance. Unfortunately, at just 8min in length, it doesn’t have enough time to build on that. 2/5

It was paired with the feature In Our Blood , a real slow burn film that follows Emily Wyland (Brittany O’Grady), a filmmaker who heads out with cameraman Danny (E. J. Bonilla) to document a reunion with her mother (Alanna Ubach). This is no family drama; after Emily’s mother goes missing it becomes a mystery that builds to a twist about the two-thirds mark which is subtly hinted at throughout. The performances are excellent throughout, especially Bonilla, who adds real depth to what, in lesser hands, would have been some light relief or expendable. It’s also conscious about integrating its more fantastical elements into the real world, tackling the hardships of immigrants in the United States, as well as racial profiling and the way in which people of colour are seemingly pushed towards drug addiction and violence.

In fact, the film excels at this social commentary, leaving the late-stage horror aspects feeling unimportant, and the final stinger falls completely flat, undoing a lot of what the previous 90min had built up. Horror can be an excellent medium for discussing real-world issues, but Pedro Kos, working with writers Steven Klein, Aaron Kogan, Clay Tweel and Mallory Westfall, doesn’t give the final twists enough time to make those connections. 3/5

Beholder (Dir: Evan Churchill and Thomas Pardo)/It Doesn’t Get Any Better Than This (Dir: Rachel Kempf and Nick Toti)

We got two winners from the Unnamed Footage Festival next, starting with the analogue horror short, Beholder . Starring the directors, it is a montage of heavily distorted video tape, showcasing shadow men and other dimensions that gradually drive the characters to madness and murder. Purposefully obtuse, it never spoon feeds the audience, switching timelines and assaulting the viewer with sudden bursts of static. It’s well done, and some of the visuals are truly unsettling, but your mileage will vary drastically. Those who have embraced the ARG community will relish the chance to dive in and piece the background clues together, where others will dismiss it outright. It’s sure to provoke conversation amongst those who get the chance to see it. 3/5

The same is true for It Doesn’t Get Any Better Than This ; a film you’ll have few chances to see as the creators have promised to never release it on streaming platforms or physical media. The cinema screen is the only place to see it, and it demands your attention. The basic set-up of two horror fanatic filmmakers buying a haunted duplex becomes a meditation on obsession, as the bizarre happenings both in and out of the house start to affect them. From people staring at the house, to an altar – complete with burning candle – in the attic, the film takes tropes and puts two very real characters in the centre of it.

It doesn’t use jump scares, instead our dread builds with the characters, as does our complicated feelings towards them – especially after one sequence which highlights a darker, more malicious side to them. It also showcases the utterly terrifying effect that sound design can have in two key moments. It's a film that everyone should seek out, not just because of the unique way in which it is being distributed, but in the way it will provoke genuine conversation between those who see it. Had it made its way to streaming, this could have been the new Skinamarink, splitting the audience in two. Instead, it will be a very exclusive group that get to whisper about this strange, unsettling film. 4/5

The Tunnel (Dir: Brendan Cleaves)/REC (Jamie Balageuro and Paco Plaza)

The final short of the day was The Tunnel , directed by Brendan Cleaves and following a group of friends who find themselves trapped in a canal tunnel. The performances are excellent, considering the young cast, and there are some brilliant effects work as the group are picked off one by one.

It has one major issue though: our lead decides to film his friends because he knows that they have secrets that need to be brought to life – in his words it will add drama to his final project at film school. However, the reason they are trapped in the tunnel is because they have all lied. Having two plot threads that both rely on the same conceit overcomplicates it, whereas you could have reached the conclusion more naturally by having these secrets slip out due to the tunnel. 2/5

And to close, we have a found footage classic, REC . Bastardised in the American remake Quarantine, this was a brilliant reminder of how brutally efficient the storytelling is in the original. A news crew shadowing the fire department end up barricaded inside an apartment block as a virus runs havoc, turning the residents into bloodthirsty zombies.

It's bloody and still shocking in places, with the jump scares still having a great effect even when you know they are coming. After a full day of seeing the varying ways that found footage is being used to scare audiences in 2024, this was a great reminder of what a simple format it can be when used in a precise, brutal manner. 3.5/5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Midlands Review of Exhibit B

Mon, 24 Nov 2025 09:20:08 GMT

EXHIBIT B

Directed by David Gregory

2025

Kicking off Derby Quad’s POV: The Found Footage Project was a short film from David Gregory, who’s directed a variety of projects including music videos for the metal band Svalbard. During a Q&A after the film, he said that the project originally started as a folk horror film, focusing on a coven around the Peak District, but after deciding to switch to the found footage format, he decided instead to focus on the relationship between the two leads.

Carla and Rob (played by real-life couple, and friends of the director, Carlotta De Gregori and Ross Townsend-Green) are vloggers about to head out on a camping trip. However, in the opening scenes, it’s clear that everything is not happy in their relationship. While not overtly taking cues from some of the true crime cases – such as Chris Watts – where families have projected a very happy image online, while harbouring resentment and suffering abuse, David quickly establishes that Carla is not happy with Rob.

This isn’t done through arguments, or visible signs of abuse, but through the excellent expression work of Carlotta. When Rob isn’t in the room, her smile drops before she forces it back to film an intro or a bit for their vlog. When he pulls her just a little too forcibly into a hug, we can see her recoil, subtly.

David was quick to point out that the pair are still together after this film, so we can assume playing this deeply unhappy couple in a clearly abusive relationship had no lasting effects.

After an uneventful hike to celebrate their anniversary, they arrive at a remote hostel to stay the night. Here, the film does stumble a little bit. From the naked woman seen roaming inside and outside the hostel – David’s wife to whom he is still making it up to – to the spellbound effect the place has on Carla, who very quickly takes to standing and staring for hours at a time, Exhibit B borrows just a little too much from the Paranormal Activity franchise.

It makes the final moments far too predictable, though not so much that it dampens the prospects of a feature around the hostel and the potential coven in charge of it, something David said was being pondered on at the moment.

Despite these misgivings, Exhibit B is a strong found footage short, showcasing a real grasp of character development within its 13min runtime.

★★★½

3.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Midlands Review of Beyond the Witching Hour

Mon, 24 Nov 2025 08:59:59 GMT

Beyond the Witching Hour

Directed by John Williams

2025

Midlands writer/director John Williams has, with no conjecture, put together one of the scariest feature films I’ve seen in the last few years. That’s not one of the scariest with qualifications due to the minimal budget; not, this is a brilliant effort but the effects, or the performances let it down. No, this is a horror effort worthy to sit alongside the best found footage films.

Darren McAree and John Solomonides play Daz and Jon, two vloggers who head to a village outside of Buxton to explore the legend of Molly McRae, a witch who was handed into the authorities by Daz’s ancestors. The first half of the film plays like a buddy comedy.

The chemistry between the two leads gives it a very natural flow, and there’s a lot of humour derived from the differences shown when people are on camera, as in putting together the vlog, and off-camera, communicating as longtime friends.

During the screening at Derby Quad’s POV: The Found Footage Project, John Williams, along with John Solomonides, explained that they didn’t work from a script, instead they had a 25 page outline, with key points to get across. This encouraged a lot of improvisation, and the director noted that a lot of what we see in the film – at least at the start – was the two actors riffing their way into the characters.

After a night camping outside of the village – shot in Cannock Chase – where we get our first indication that something might be very wrong with their plan of action, Daz and Jon check into an AirBnB located on the site of Molly’s old house.

Taking more than a few cues from The Blair Witch Project, they set about interviewing locals about the witch. To get genuine reactions from the various people interviewed for the film, John Williams used the legend of Molly Leigh, said to roam around Cannock Chase, and asked them about ‘Molly the Witch’ instead of trying to script reactions to a fictional haunting.

Despite some scripted ominous responses from the locals, and a failed, drunken Ouija Board session at Molly’s grave, the action doesn’t really start until they get in the house. At which the tension ramps so quickly and so consistently that you barely have chance to take a breath. During the Q&A session, the director mentioned that he was keen to subvert expectations, and he’s successful here. Jump scares come from the left field; parts of the film where you would expect a scare, or a hint of supernatural activity are left unfulfilled – much like the host of YouTube ghost hunting videos.

It gives the big moments genuine power and combined with the psychological breakdown of the main characters, it’s film that wields its scary moments with a precision rarely seen in the genre. There will be some put off by some of the schlockier gory moments at the late stages, but audience members willing to immerse themselves into the characters and the teased-out lore of the film will find a new favourite here.

★★★★½

4.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Midlands Review of Safety Net

Fri, 21 Nov 2025 15:20:07 GMT

Safety Net

Directed by Alfie Beard

2025

Home video footage of a family’s Christmas Day present-opening is the intriguing beginning of a new football-inspired short from the Midlands.

Safety Net sees a young boy called Ali (Sammy Jepson) receive a gift of goalkeeping gloves, which are immediately put on as the excited lad heads to his backyard to try them out. He and his dad have a warm kickabout and we see the child's promising skills before cutting to Ali’s football memorabilia-filled room, as he devotedly watches matches on TV.

The film then jumps to a competitive game on the park as young Ali saves a penalty and he’s lauded for his efforts by his ever-supportive dad. And his good fortune continues as a scout arrives to offer the talented boy a chance of “superstardom”.

Yet despite this opportunity, the father acknowledges the difficulty of the situation as he phones Alex’s estranged mother to sort out childcare arrangements. But luckily, they come to an agreement and Ali arrives at a football ground for his first taste of a training session with the local league club.

Safety Net does well to show us the issues around the exciting prospect of early football fame, versus the expensive reality and day-to-day life struggles of a working class family. The supportive nature of dad comes across appropriately as we see him doing everything in his power to make sure the chance of a lifetime is not lost. With the character played particularly well and with a lot of heart by actor Tim Sparrow.

The short itself then skips ahead in time as an older Ali (now a contemplative Matt Moore) continues to train in the youth team. And he even has time for a kickabout with his dad again, in the same garden from years ago. Back at the ground, Ali again demonstrates his skills on the pitch before a girl on a bench attempts to arrange a meet up, but Ali’s training commitments get in the way.

The story is well told and Safety Net is an adept short with a real flair for editing and composition. You really get a good sense of time and place and the natural camera movement and gritty shot choices make for an involving and relatable story.

What it lacks sadly is a bit of depth and character development as it sometimes has the feel of an elongated John Lewis TV advert given how swiftly it moves. There’s not a lot of time spent in each moment to get to know these people better. There are certainly snippets of chat but few real conversations with one significant one only happening halfway through, which felt a tad late in the proceedings. For me, a truncated version of the young Ali’s story may have allowed a more immersive drama to grow as we spend more time with the older version.

*slight spoiler ahead for Safety Net’s ending*

A final ‘kick in the teeth’ in Safety Net tackles the harsh realities of professional football and the competitive nature of the sports business. We hear so often of the lucky few who manage to make it to the big leagues. But this short very successfully explores the journey that many young boys and girls go through (the majority no doubt), who despite tremendous efforts get left on the sidelines.

A football flick about sacrifice too, it dives into thorny issues around the cruel prospects of youth dreams, and does a terrific job in conveying the arduous devotion it takes to try and “make it”. But with added soul and sensitivity, Safety Net also provides some comfort by demonstrating the importance of parental bonding.

And so Safety Net respectably holds tightly onto these core themes, whilst its first-rate technical elements help save the short from dropping the ball completely. And it's all of this which makes it an impressive short and also a stark reminder of the realities of the tricky relationship between fame, football and families.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Review of Wake Up Dead Man: A Knives Out Mystery

Fri, 21 Nov 2025 13:23:02 GMT

Wake Up Dead Man: A Knives Out Mystery (2025) Dir. Rian Johnson

Benoit Blanc returns for a 3 ^rd murder mystery, but this time it’s an impossible crime. After Monsignor Wicks gains a cult like following in a small town, he is murdered in a sealed concrete box. He has been murdered by one of the members in the congregation, but how can he be killed if everyone is outside the box?

Rian Johnson (Director of the Knives Out Trilogy) has stated that he wants this film to go back to the roots of the Whodunnit genre, using Edgar Alan Poe’s work as a reference. Wake Up Dead Man in this regard is a very different vibe to the previous two knives out films. It places itself in the gothic genre with a darker story set mostly in a church and graveyard. It is a very nice change of pace from its predecessor Glass Onion which went for a campier, sun-drenched, Poirot vibe. It separates itself further by also being a more straight-cut murder mystery.

Knives Out, which could be accredited for revitalising the whodunnit genre, is much more of a "howcatchem", by telling the audience exactly who did the murder, and spends most of the time being a cat and mouse game. Glass Onion on the other hand also subverts the genre by killing in plain sight and playing with the chronology of the movie. Wake Up Dead Man does subvert the genre in many ways too, as you would expect from a film like this, but it’s whodunnit structure is also much simpler this time around. The murder happens, and we watch as Blanc unravels the mystery. Which does make for a nice return to form.

Would it really be a Benoit Blanc mystery if this film didn’t have an insane cast of characters? Like Ana de Armas and Janelle Monae, Josh O’Conner takes on the role of this film's emotional core. O’Conner has been on my radar since Guadagnino’s Challengers, and I am delighted to say that he is absolutely superb once again here. He plays the role of Jud with a lot of regret and guilt, as well as being so charismatic and earnest that at times he steals scenes from the energetic Benoit.

And once again Daniel Craig as Benoit Blanc is amazing. He provides such an energy that you can’t help but love the character. He delivers light-hearted relief to an otherwise dark story and is exactly what you need to remind the audience that this takes place in a heightened reality.

With all that being said, this film spends a lot of time with the duo that it sacrifices some of the intimacies with the rest of the characters. In the previous films it felt like I really knew every character - with their personalities and motivations very obvious. But in this film, I feel like I don’t know the characters all that well, which does ultimately lead to the reveals feeling less impactful than they should be. The overall mystery is still good but could have been executed better.

The film's shining light however is its cinematography. It's easily the most stylish Knives Out film so far. Johnson plays with colours in such an interesting way, they really pop and make for some amazing looking shots. Furthermore, there are so many interesting angles and kinetic movements that visually this film looks uniquely different than its predecessors and is better for it.

As so often, this film may not be everyone's cup of tea, especially if you are ready for more of what you have come to expect with a Knives Out mystery. But for me, this was a real blast. Its slower pace makes for a more sombre and melancholic film, just perfect for the winter.

★★★★½

4.5 / 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Review of MaXXXine (4k release)

Sat, 15 Nov 2025 09:23:06 GMT

MaXXXine (2024) DIr. Ti West

Following off the back of surprise horror hit X ( review ) and its even more surprising prequel follow up Pearl ( review ), director Ti West finished his trilogy with an 80s-inspired slasher flick with Mia Goth returning as Maxine Minx.

After surviving the farmhouse slaughter in X, we catch up with Maxine as a struggling starlet in the adult movie business who wants to break through to mainstream films. With the secret of her past and seedy lifestyle, she doesn’t seem the obvious choice but a fantastic audition sees her gain a part in Puritan II, an upcoming horror.

Elizabeth Debicki stars as the film’s director Elizabeth Bender, who advises Maxine that this is her big shot and she shouldn’t waste it. However, Maxine is dealing with bigger problems as a mysterious stranger appears to be stalking/blackmailing her with incriminating VHS footage of the farmhouse film in X, proving she was involved in the unsolved crime.

A great Kevin Bacon as a sleazy private investigator shows up on the scene as a representative of the blackmailer, and all this ties together in a cat and mouse chase of murders and exploitation set amongst the obsessive movie-making machine.

MaXXXine’s best attribute is its sense of time. Capturing a skeezy and sordid 80s rather than day-glo positivity, the grime of Hollywood is physically visible in every frame with the streets as unclean as those participating in the motion picture industry. The Walk of Fame has never been so filthy.

Intersecting with this is the film’s nods to horror (and Hollywood in general) history. Easter eggs come quick and fast, from the obvious - a fantastic chase sequence on the Psycho set and the meta satire of Scream - to more obscure nods to Kevin Bacon’s Jake Gittes suit as seen in Chinatown. And the film neatly ties iconography from both X and Pearl too.

The acting and actors are fantastic. Goth is obviously the star throughout, being almost in every scene and stretching her acting chops once more, whilst also developing the character's persona even further. And Kevin Bacon, Elizabeth Debicki, Moses Sumney, Halsey and Lily Collins all provide more than satisfying support turns.

Sadly, Michelle Monaghan and Bobby Cannavale as detectives investigating all the strange threads are really rather wasted and are involved in my biggest personal flaw which is the flat final act.

As the tale comes to its conclusion, the final scenes are strangely lacklustre and a huge anti-climax. Something about it feels off and doesn’t stand up to the quality - both in the technical elements and character behaviour - the earlier parts of the film explore and establish so well.

And although a well-thought out coda links all three films, that last lacklustre sequence in the Hollywood hills just doesn’t work, being wholly disappointing, whilst a few people get a bum deal in their arc too.

That said, there’s far more to like than to dislike. Goth and West have created one of the most interesting trilogies - and not just horror - in recent years. Whilst franchise fodder and asinine reboots fill film company slates, this low-key, well thought-out and hugely entertaining set of films cram more ideas and cinematic touches than a whole Summer of boring blockbusters. And even though MaXXXine doesn’t quite hit the heights of the previous 2 films, it’s still a thrilling and entertaining watch as it digs deep into the nightmares and terror of Tinseltown.

Special Features Review:

Like Pearl, Second Sight have added another set of smashing extras for this new release. Behind the scenes and audio commentaries sit alongside a crystal clear image - although with added 80s grain - from the 4k transfer. Interviews and a Q&A with Ti West himself explores the full gamult of MaXXXine's creation whilst snippets with the producer, cinematographer and production designer provide fascinating insights into specific aspects of the filmmaking process. And for those getting the full Special Edition, there's a 120-page book, collectors' art cards and new film artwork as well!

★★★½

3.5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Aim Publicity presents MaXXXine Limited Edition 4K UHD Box Set is set to arrive on 17th November alongside a Standard Edition, both from Second Sight Films

Midlands Review of The Pause

Fri, 14 Nov 2025 13:39:59 GMT

The Pause

Directed by Sam Grierson

2025

So Crocodile Ltd.

The Pause sees the return of local writer-director, and Midlands Movies Awards nominee, Sam Grierson, whose new short tackles tangible mid-life anxieties using the often anxiety-filled genre of horror.

A funky and freaky soundtrack opens the film as we are introduced to Charlie (Suzy Bloom) a lady with a set of growing fears stemming from a recent redundancy.

As she analyses herself in a bathroom reflection, a voiceover describes some of her concerns, but it is joined by a diabolical double – a sort of secondary and sinister inner-voice conscious who undermines her daily routine with disparaging comments.

Interestingly, what on the surface appears to be a wholly introspective domestic drama soon morphs into a horror-hopping set of sequences where dread is manifested in tropes from the genre.

A black cat called Mr. Puddle (perhaps a “missed the puddle” analogy - a conscious being that’s more like a puddle adapting to its environment) is one of many macabre elements we see that heightens our attention towards panic and fear.

An early dream-like sequence sees Charlie lose her teeth into a sink (which reminded me of Seth Brundle in The Fly), and as she feels trapped, a shower curtain moment is filmed like Psycho and this pastiche style continues as we go along. We are shown basement scares, a man looking for help and our protagonist being followed at night later on.

Yet these are extremely "meta" as the two voices break the fourth wall and refer to the fact these are well-known stereotypical scenes. In fact it reminded me of the similar self-referential tone seen in Scream and Cabin in the Woods. Unlike those films' satirical swipes however, here they provide a sense of someone failing to understand the world as things change around them. With the expected horrors never arriving.

The technical elements of the short are good and cinematographer Gary Rogers does a great job capturing Charlie as she heads to a graveyard. With her jacket hood masking her face, we get a host of well-shot Dutch angles and smoky silhouettes harking to the frights of Hammer horror.

Constantly turning the tables on expectations, it repeatedly teases with frights but 'rug-pulls' these throughout. Will this sequence be the really horrific one? Yet it does a good job of exploring transformation, as well as mirroring the uneasiness of lifestyle and age-related changes along the way.

The second half sees Charlie meet with her friend Sammi (an excellent Louise Osbourne) for an extended conversation at a bar. Unfortunately, I felt that during their chat the short's themes are spelled out far too overtly, which is a bit of a – pardon the horror cliché myself – hammer over the head really.

To be fair though, the dialogue itself references whether the horror elements are still relevant but even with that, it still had a feeling of a short of two contending halves.

Coming off the back of The Programme ( our review here ), the director is once again exploring issues close to their own heart. With some Charlie Kaufman flourishes and a strong knowledge of film history also added to the mix, the short certainly takes some well-calculated risks to illuminate its ideas.

For me, a tighter second-half away from its explanations would have had a greater impact, but despite this small reservation, The Pause is as a very intriguing production that tackles topics around identity and mid-life relevance.

And it successfully exploits the horror genre to make its point about how to come to terms with, and face up to, a host of scary issues ending as a first-rate journey that uses fictional dread to delve into truthful angst.

★★★★

4 / 5

Michael Sales

@midlandsmovies

Review of Pearl (4k release)

Fri, 14 Nov 2025 11:32:30 GMT

Pearl (2023) Dir. Ti West

It’s increasingly rare a horror franchise springs up in this day and age that isn’t a reboot or based on an existing and well-known property. But Ti West not only delivered a great film in his 70s-tinged fright flick X, he secretly shot his own prequel back-to-back whilst making it.

In X, Mia Goth starred as scream queen Maxine who wanted to make it in porno but was stalked and attacked by the violent geriatric antagonist Pearl (also played by Goth). And here she reprises her role but as a younger-aged Pearl in the past.

Set in 1918, Pearl lives on a farm whilst her husband is away at war. She is obsessed by the world of cinema and dreams of becoming famous, much to the chagrin of her paralysed father and domineering mother.

As in X, Ti West pays homage to cinema but this time with somewhat on-the-nose allusions to classic Hollywood. A raunchy onanism scene sees Pearl do the dirty with a filthy scarecrow (welcome to Oz, folks) and the chorus sequences harks to Busby Berkley musicals. And Goth’s over-the-top delivery of lines, the Technicolor visual grading and its soaring score all add to this golden age feel too.

But despite the influences, the film couldn’t be further from that genre’s mostly wholesome tone. Pearl shows disturbing signs by killing farm animals without a care and later abusing her parents before heading to a picture house where everything from violent war footage to upbeat dance numbers play.

Here she builds a relationship with a projectionist, but her lustful thoughts and jealousy soon get the better of her. And although she sees a way out of her unsatisfying rural life via an audition for a chorus line, her dark persona that will do anything to escape, results in Pearl enacting horrors on everyone around her.

She also clashes with her prim and proper friend Mitsy and the familiar themes (and locations) from X, such as the obsessions with fame and the moving image, as well as sex and violence going hand in hand, all return here.

In my X review , I mentioned how that film explores tragic themes of lost youth and remorse and it’s brilliantly weaved in again, which helps give context to the former film. Prequels have a tendency to over-explain or demystify characters and their motivations. But Pearl actually develops these by taking a different angle. It certainly doesn’t do any harm that the films were released relatively close to each other before any fan-base started obsessing over its expanded universe details.

And this long-form story doesn’t end here either. Ti West completed a third instalment in the form of MaXXXine, which sees Goth’s survivor in X heading to 1980s Los Angeles.

Pearl’s increasingly erratic mood swings and subsequent outbursts of violence see the film edge towards a dark conclusion that leads well into the world we pick up in X. And with compelling drama, a tour-de-force Goth performance and impressively stylised design, it ends as another fantastic achievement.

Pearl accomplishes this by lifting the look, sound and visuals from a Hollywood era separate from X’s sleazy b-movie origins but uses this new genre’s aspects to expand upon its dissection of generational aspiration and disillusionment. Once again, West has brilliantly weaved how Americans see childhood dreams clashing with old-age realities in another terrific, and horrific, love/hate letter to the movies.

Special Features Review:

Second Sight have done a tremendous job with the extra material on this new 4k disc. As well as the fantastic 4k transfer of the film, we get a host of behind the scenes footage, interviews and more. Highlights include a chat with the director Ti West himself who eXplores how the restrictions of the pandemic (and a tight budget) actually became an opportunity as one film became two as he didn't want to leave the location and head straight into lockdown. The Spanish Flu theme of Pearl came from similar global concerns at the time and he worked on the script whilst quarantined for 2 weeks in New Zealand. Other interviews look at Mia Goth's involvement in character development and as Pearl's co-writer. And the team delve into how the unique colourful cinematography came about owing to a decision (forced upon them) to move away from their original plans for a black and white movie. A right pearler!

★★★★½

4.5 / 5

Michael Sales

Aim Publicity presents Pearl Limited Edition 4K UHD Box Set is set to arrive on 17th November alongside a Standard Edition, both from Second Sight Films

Midlands Movies Awards 2026 jury panel

Thu, 13 Nov 2025 11:41:55 GMT

Midlands Movies Awards 2026 jury panel

Every season the nominations and eventual winners are chosen by an experienced jury made up of a wide-range of industry experts. Previous jury panel members include Richard Armitage (The Hobbit, Marvel's Cpt. America), Parminder Nagra (Bend It Like Beckham, DI Ray), Shane Meadows (This Is England), Debbie Isitt (BAFTA-award winning director), Steve Oram (actor/writer), Richard Billingham (Turner prize nominee & director of Ray & Liz), James Luxford (Radio Times film critic), Becky Adams (CEO Screen Northants), Dharmesh Rajput (Head of Birmingham Indian Film Festival) and Pin Cushion director Deborah Haywood.

Enter your films via FilmFreeway now!

www.filmfreeway.com/MidlandsMoviesAwards

VIP Jury Panel Member RACHEL SHENTON

Academy Award winner Rachel Shenton is a writer, actress and co-owner of Slick Films and earned her Oscar for best live-action short film for The Silent Child in 2018, which she wrote & starred in. Her film helped put the deaf community on the industry's biggest stage when her acceptance speech used British Sign Language. Rachel also founded The Midlands Screen Acting School and co-leads the Slick Films Fund, both dedicated to championing working-class talent. Rachel has starred in all series of acclaimed drama All Creatures Great and Small and also hit BBC/Netflix series White Gold, after beginning her career in Channel 4's Hollyoaks. Her US TV debut had her playing Lily Summers in ABC Family drama Switched at Birth, and on the big screen, she is starring in Lionsgate's The Strangers film trilogy reboot, directed by Renny Harlin. Rachel will be choosing the winner of the Best Short Film category.

Tenisha White (Filmmaker) - Tenisha White is a prominent Midlands-based director & producer recognised for her bold storytelling and cinematic style. She’s led projects for ITV & BBC, and her debut feature film is set for global distribution in February 2026 in the USA blending mainstream and indie cinema. A BAFTA crew member in 21/22 Tenisha is passionate about mentoring emerging filmmakers, helping grow the Midlands film scene. With experience in front of and behind the camera, Tenisha also combines creativity and representation in all her work.

Ellie L. Kilby is a Worcester actor and festival manager at BIFA-qualifying Worcester Film Festival . She heads up the festival's volunteer programme where she supports young people from the Midlands in gaining valuable experience throughout the event and beyond. She is also a member of the selection committee where she strives to champion a distinctive range of storytelling. As an actor, she trained for two years at The Unseen and has worked in film and TV for the last four years.

Hendrik Harms is an optioned writer-director who has won a competition and pitch event at Raindance Film Festival and been nominated for Best Film at BAFTA-qualifying Carmarthen Bay and the Royal Television Society Midlands. Currently working on his first slate of feature films through his company Harms Way. He also co-runs the BIFA-qualifying Worcester Film Festival . Hendrik has also worked as a Development Producer for a UK studio and is a judge for the Royal Television Society Midlands.

Kirstie Gregory is an artist & filmmaker with a passion for visual storytelling & is also the co-director of BIFA-qualifying Worcester Film Festival , where she oversees the selection committee and is dedicated to exhibiting films from all around the world and creating spaces for unique, interesting & diverse storytelling. Kirstie is a judge for Royal Television Society Midlands, a guest lecturer at MetFilm School Birmingham and was a part of Made In Worcester, an initiative to upskill young people into the film industry

Matthew Tilt (Film critic) - Matthew Tilt is a freelance film journalist and co-founder & editor of What’s in a Scene - a weekly newsletter exploring the greatest scenes in cinema history. Matthew has in-depth experience of film history and criticism and uses these powers for good, writing film essays for Blu-ray labels, including Treasured Films. He is committed to raising the profile of regional indie filmmakers through regular reviews, interviews & festival coverage at Midlands Movies, where he shares his passion for the local film community.

Mike Sales (Founder, Midlands Movies) - Mike Sales is the founder and editor of Midlands Movies. Set up in 2013, Midlands Movies is a hub which showcases a wide variety of talent from the region’s film industry. Mike has regularly appeared on BBC Radio Leicester and has provided support for filmmakers with over 1000 reviews of local features, shorts, animations and documentaries on the site. Based in Leicester, Mike is passionate that the Midlands Movies Awards are once again a place to celebrate the best local filmmaking creatives in the region.

Claire Bennett (Writer/filmmaker) - Claire Bennett has been a professional Birmingham-based writer for over thirty years. During those years she has worked in radio, television, film and theatre and has won a range of prestigious awards from The Writers’ Guild of Great Britain, The Royal Television Society and The National Soap Awards. A skilled writer, she has also gained recognition for her writing at The Shrewsbury Literature Festival and is now adapting Andy Dale’s novel “Just 14” for film – which tells of Aston Villa’s football team, four lads from the Midlands and their incredible 80/81 season.

Sophie Black (Filmmaker Triskelle Pictues) - Sophie Black is an award-winning director & writer whose credits include the BFI NETWORK-funded A Different Place (VIFF, BFI Flare, Flatpack), Night Owls, and Lacuna, made through Amazon Prime Video & the National Film & TV School as part of their prestigious Directors Workshop. Sophie has a vast array of industry experience and, as well as founding production company Triskelle Pictures, is also a member of BAFTA Connect, Cinesisters & Directors UK and was accepted into BFI NETWORK x BAFTA Crew in 2018 & 2019.

Ajay Bhadresa (Film editor & MetFilm School Birmingham) - Ajay Bhadresa is a member of MetFilm School Birmingham – a leading film & TV school offering courses across film industry disciplines. Ajay has also been an editor for two decades and worked extensively in the Midlands on programmes including The Gadget Show, Do You Know and Garden Rescue. Always keen to pass on what he's learned via his teaching role, Ajay encourages people from all backgrounds to showcase their talent and abilities. With a passion for storytelling and an eye for detail, he brings along his experience with the BBC, Channel 4, Channel 5, ITV and Discovery to see what the next generation of Midlands filmmakers can do.

Grant Black (Rural Media Creative Director & Deputy CEO ) - Grant is an Executive Producer and Story Consultant who's passionate about creating youth-led and social impact content whilst helping to discover and develop new filmmaking talent. He started out as a staff writer for the BBC and has gone on to write and produce for shows across the BBC, ITV, Channel 4 and SKY. As Creative Director for Rural Media and Rural Studios, Grant has exec produced over 100 short films and oversees the company's broadcast, film, digital and audio slate. His work has been recognised by the Royal Television Society, winning awards for 'Innovation in Cross Platform', 'Excellence in Digital Content' and 'Diversity'.

Midlands Review of Uncanny

Tue, 04 Nov 2025 14:23:31 GMT

UNCANNY

Directed by Liam Banks

2025

Superfreak Media

Liam Banks follows up the excellent Run For Your Life! ( review here ) with a short, sharp horror experience that takes influence from the glut of uncanny, ‘imposter’ horror content across YouTube and gaming currently.

James Podmore plays Jordan, a successful singleton who is looking for love on an online dating platform. After a brief, comical interaction with one lady (played by Run For Your Life! lead Rosie Frost), he connects with Amanda (Rachael Caulton). However, there is something clearly very wrong with Amanda, especially when she finally turns her camera on to reveal a distorted, not quite human façade.

Podmore is great as the confused lead, recognising that something is clearly wrong, but also wanting to give his match the benefit of the doubt. And the script kicks him into action just before he risks becoming a stereotypical horror victim. Similarly, Caulton manages to shine through the layers of special effects and voice manipulation, proving she’s just as effective an antagonist, as she is horror victim.

Banks, who also co-handled script duties with Charlie Brentnall, does an excellent job with the effects here. Playing it safe by keeping Caulton in low light for the most part, the effects on her face look great, even as the film quickly shifts to more of a home invasion style piece.

There are also some neat little ‘did you see that?’ moments, with Amanda placed in the background of scenes; standing out just enough to heighten that uncanny feeling, only occasionally marred by a too-obvious sound design that fills the silence with stingers to make the scares obvious.

Overall, it’s an excellent short. One that continues the streak of high-quality horror productions that Superfreak Media has been delivering. At just 20 minutes, there’s no fat to trim here, delivering a genuinely tense, uncomfortable experience that will keep the Halloween vibes coming.

3.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Watch the full short for free on YouTube below:

Review of Bugonia

Fri, 31 Oct 2025 14:40:22 GMT

Bugonia (2025) Dir. Yorgos Lanthimos

Two conspiracy theory barn pots kidnap a powerful CEO and chain her in their basement. Their goal? To expose her for being an Alien who wants to take over and destroy the world.

Bugonia is an adaptation of a 2003 south Korean film called Save the Green Planet! It’s an adaptation that has been in the works since 2020, but it wasn’t until Yorgos Lanthimos signed onto direct that the ball really started rolling. Lanthimos is a critically acclaimed director who has worked on films such as Poor Things, The Favourite, and The Killing of a Sacred Deer. He is truly one of this generations best and most unique directors. After his success last year on both Poor Things and Kinds of Kindness, I was very excited to see what he would be doing next.

This film is about the dangers of conspiracy; it is very much a commentary on modern society and how people use social media to manipulate the masses, from the people who have had society fail them, to the vulnerable people who think they are doing the right thing.

This movie is thrilling; it’s a very dialogue heavy film filled with tense conversations that continuously reach peaks that will make you squirm in your seat. This is mostly down to the star power of Emma Stone and Jesse Plemons, as well as a really tight script. This is Stone’s 4 ^th film with Lanthimos, in many ways they are like Ying and Yang, a collaborative duo that fit so well together. Whilst I wouldn't say this is her best role to date, I would say that she provides another fantastic performance, which is expected of her. She manages to play this role so well, she brings a powerful, manipulative, and empathetic voice to this character, as well as a little suspicion, which is exactly what you need for something like this.

Plemons is also amazing in this film. When doing a film about conspiracy theory and the effects the internet has on us as a society, it is always a tough line to walk on how to present the people effected. Plemons is terrifying in this role, but there is such a humanist approach to his performance. We as the audience see why he has become the way he is, and how society has failed him and the people around him.

But I want to put a specific highlight on supporting actor Aidan Delbis. Delbis plays the character Don, who is the protagonists cousin. Don in this film is autistic, and they make it very obvious in this film that Don is being actively manipulated by Jesse Plemons's character Teddy. In addition, his character is also the most empathetic out of the three and you get this vibe that he doesn’t really want to be engaging in any of the events that take place. But because he is being manipulated by his close family he must stay.

The reason I want to highlight this performance in particular, is not only because this is Aidan Delbis’s first film, but the actor himself is actually autistic. It is all too common in this day and age to cast neurotypical actors in autistic roles, as well as having cliche’s of those characters being annoying, eccentric, or hard to be around. I am thinking of the likes of Sheldon Cooper in The Big Bang Theory, or Shaun Murphy in The Good Doctor. Especially in horror films such as this, some horror’s also have a tendency to make the autistic/disabled characters the main terrifying villains. But to not only cast an autistic actor in an autistic role, but to also portray this character as someone who is in fact the emotional heart of the film, as well as having a subplot about the fact that vulnerable people are radicalised into being on the wrong side of history, is very powerful and utterly incredible representation.

This film also joins the VistaVision revolution! After the success of The Brutalist (which revived the long dead format) and One Battle After Another. Bugonia is the third film to be shot on VistaVision in recent years. It certainly adds so much to the vibe and atmosphere of this film. It creates this warm, sharp, high contrast feel, that makes the film feel really grounded and gritty. I would even go as far to say that out of the three films that have used VistaVision so far, that this film does it best.

But with all that being said, here comes the real kicker. Bugonia’s ending is awful. It’s undoubtably going to be divisive when it releases to the general public. But to me I simply cannot stand it. It is hard to talk about this film’s ending without spoiling the big twist, so I will keep it as vague as possible. In the final moments of this film, it tries to do one last big shocking twist, and in my opinion this twist throws away the entire point of this film. Everything from conspiracy theory commentary, manipulation, and vulnerability is completely disregarded just for the sake of having a twist.

This twist is also present in the 2003 film, which this film is adapted off, so perhaps a little bit of grace can be given. But for me, I spent the entire film wishing this wouldn’t happen, and when it did, it soured a lot of the film for me. Which is a massive shame, because if this twist hadn’t of happened, not only would I think that this is the best film I saw at the London Film Festival, but also Yorgos Lanthimos’s best film to date. I especially think that in this modern world, this twist is not only stupid, but also dangerous.

★★★★

4 / 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Ghostwatch...in a cave!

Fri, 31 Oct 2025 14:07:26 GMT

In one of the most unique venues I’ve ever seen a film in – the cave under The Whistle and Flute in Nottingham – thirty people came together to see a Halloween screening of one of the most controversial television plays ever screened.

Written by Stephen Volk and directed by Lesley Manning, Ghostwatch was originally screened by the BBC on Halloween, 1992, and blurred the lines between reality and fiction so effectively that it led to thousands of complaints. The furore around the film was so intense that it still has never screened on television since that initial release. In fact, it took a decade for the British Film Institute to release a version of the film, and another twenty years until 101 Films would but out a stunning Blu-ray release.

Before the screening, the audience was treated to a Q&A with Lesley Manning, who was honest about her desire to blur the lines with the production, but modest in her assessment of the film’s initial controversy and legacy.

“I don't focus on the audience response, especially TV, because you can't even feel it or see it,” she said. “When you show something in the cinema, you can sort of feel that response, but on television you just sit on your sit and think ‘well that was that’.”

Looking back at the production, Lesley said that she was given the script by producer Ruth Baumgarten, who described the premise as a bit ‘techy’. “As soon as I read the bit where Michael Parkinson says, ‘I can’t see anything’ and there was something on the screen, I was hooked.”

She added that cast came together relatively easily. The involvement of Sarah Greene led to her husband Mike Smith coming on board – “He read the script and begged to be involved, so Stephen very kindly incorporated him” – and Craig Charles continuously ad-libbed during his performance, providing the right level of humour before the horror really kicked in.

“Where we could we used real people, so the vox pops were people who had experience with paranormal events; the cameramen you see on screen were real cameramen,” Lesley explained.

It was presumed that Michael Parkinson would be difficult to bring on board, and Lesley noted that when the production team and Michael’s team met for lunch, there was a noticeable power imbalance. “There were some long silences, and then they asked how we going to do it, and actually I think he was really intrigued.”

As an aside, one audience member said that his sister feared Michael, assuming that he would smell like cigarettes and old man, whereas he believed Michael would smell of good aftershave. Unfortunately, Lesley was unable to definitively say what the legendary presenter smelt like but confirmed that it was not cigarettes.

The actual production was incredibly complex. There was a divide between the various production teams at the BBC, with drama typically shot on Super 16mm, while studio shows were put to tape. Combining the production facilities of Screen One, with the studio and outside broadcast teams proved difficult, and there were technical issues to overcome.

“Because of the segregation we couldn’t use both departments, so I opted for the studio, but we were given an unmanned, dummy outside broadcast truck which had to completely rewired,” she said. “Then the video wall in the studio was something completely new to them. I can’t tell you how many times I heard, ‘we’ve never done that before.’”

The house sequences were shot first, which meant everything in the studio had to be timed perfectly to what was happening. Lesley said that this presented the biggest challenge, figuring out whether the Ghostwatch logo should be behind the presenters, or footage of Sarah Greene or Craig Charles about to give her lines.

Then, of course, there’s Pipes – the malevolent spirit haunting the house. Played by Keith Ferrari, he appears multiple times in the background, more times than is possible to catch in a first viewing. When asked how many times he appeared, Lesley said that she remembered being very excited about the idea of thirteen, but believes that at least one of these was cut for the final broadcast.

One audience member, rightly, pointed out that the BBC had seemed to shy away from horror since the release of Ghostwatch, with only a few examples (episodes of Inside No. 9 and the return of Ghost Stories for Christmas) in the three decades since. “Traditionally, I don't think BBC is good with horror,” she explained. “I don't think they want the burden of frightening people, actually, because I think they take their role, or did, take their role very seriously as a public broadcaster.”

Before the screening, Lesley noted that she was appreciative of the films that referenced or otherwise being influenced by Ghostwatch. She said he hadn’t seen Inside No.9’s Deadline episode (probably the most blatant tribute to the show) but appreciated creators like Oren Peli, who had been very open about the influence Ghostwatch had on the first Paranormal Activity (2007).

Finally, as the lights went down, she quipped: “For those who haven’t seen the film yet, can I just say that ‘gloryhole’ meant something different back then.”

Ghostwatch – thirty years on

During the screening there was a definite sense that we were all in on the joke. Much of the audience had seen the film before, either traumatised by the initial broadcast, or having hunted it down after hearing so much about this dark little secret at the BBC. As such there were plenty of ‘ohhs’ and ‘ahhs’ whenever Pipes appeared on screen.

There was also a fair amount of laughter, both at the mention of the gloryhole under the stairs, and at Michael Parkinson’s frankly dickish demeanour as it seemingly sets out to singlehandedly take down every one of Dr Lin Pascoe’s (Gillian Bevan) theories. But such is the effectiveness of Ghostwatch’s blurring of fiction and reality that there are still a lot of very unsettling moments. For those who don’t know, it’s a fictional broadcast, with Michael Parkinson and Dr Pascoe in the studio, studying footage from a council house where paranormal activity has been reported. They’re joined by Mike Smith who helps man the phones and keeps a stream of fictional calls coming to point images of Pipes or provide exposition about the house.

At the house, Sarah Greene and Craig Charles, alongside a paranormal research team and camera crew, document the family who live in the house: single mum Pamela Early (Brid Brennan) and her daughters Suzanne (Michelle Wesson) and Kim (Cherise Wesson).

The investigation starts calmly enough. Sarah spends time with the family, and discovers how the hauntings have affected them, while Dr Pascoe goes over her own research into the events at the house. Then we get banging in the walls; scratching noises; and a dark figure appearing in the shots. Michelle Wesson is excellent as the teenage Suzanne, who seems to be the focus of Pipes’ hauntings, and the times when she is seemingly possessed are still creepy.

Credit as well, to the sound design. When the history of Pipes is revealed and the house is filled with a cacophony of cat screeches, the film becomes a hellish experience, with each of the cast genuinely appearing to have no idea how to handle events. The twist harkens back to Nigel Kneale’s The Stone Tape with a mix of paranormal and technology, that still takes you by surprise, even on a rewatch.

It's genuinely innovative piece of television, one that makes you wish broadcasters would take more risks.

Ghostwatch is available from 101 Films: Ghostwatch (1992) (Standard Edition) (Blu-ray) – 101 Films Store

Will Bailey (Boo the Bad Guy) holds regular film events in Nottingham. You can purchase tickets for their upcoming events here: See Tickets - BOO THE BAD GUY Tickets and Dates 2025 & 2026

The Lost Boys at Leicester Guildhall

Thu, 30 Oct 2025 22:58:15 GMT

“What if the reason Peter Pan came out at night and never grew up and could fly was because he was a vampire?”

- The Lost Boys screenwriter James Jeremias.

I’ve always been a big fan of screening films in unique and unusual places. With streaming platforms competing with post-Covid cinema going, the war for viewers has never been hotter. For better or worse, at the click of a button you can sit on the sofa and scroll thousands of movies without so much as standing up.

With that in mind, although films should be able to stand on their own merits, nowadays I think exhibitors should consider diversifying when appropriate to give a good (and modern) offer to get people out of their homes and into their venues.

One way to do this is to create a special group experience that you simply can’t get in your front room. And so we end up here - a screening of The Lost Boys this week at Leicester’s Guildhall - the medieval building that is being used for this Halloween horror showing of the 1980s cult vampire classic.

Directed by Joel Schumacher – who has his own weird local connection with Batman Forever’s premiere in Leicester ( click here for that story ) – The Lost Boys is a supernatural dark comedy starring Corey Haim, Jason Patric, Kiefer Sutherland, Corey Feldman and Dianne Wiest.

The film tells of two brothers who move to California only to discover the town is a haven for vampires, and the title is a reference to the Lost Boys in J. M. Barrie's stories about Peter Pan and Neverland, who, like vampires, never grow up. (A good drinking game is to spot the references - or if you want to get REALLY drunk, take a swig everytime someone says the name "Michael"!)

The movie was both a critical and commercial success, grossing $32 million and even spawning two sequels (let’s not mention those again), and its been credited with bringing a more youthful appeal to the vampire genre, shifting away from its stuffy past. And I guess ending with the Buffys and Twilights we have today.

(continues below...)

Leicester's Guildhall has quite the history. Its Great Hall was built in 1390 and its first role was a meeting place for the Guild of Corpus Christi. It later became a public performance space – where even Shakespeare may have acted – and then a home to one of the oldest public libraries, the town hall and even a police station.

And tonight it's definitely channelling an appropriate supernatural vibe, perhaps owing to the legend of its residents ghosts - a mysterious spirit who may be a traditional white lady spook but who some believe is actually a monk from the nearby Greyfriars! We found hide-and-seek champion Richard III next door so it could be.

But this evening the venue does a monster mash of all these legends, with a screen at one one end of the venue and a packed house sitting in the medieval hall, bathed in a suitable crimson light.

For me, the film itself is a solid teen-vampire story with an ace (certified gold) soundtrack and a talented cast having a lot of fun with the sometimes hammy material. To be honest it’s never been one of my favourites (this is possibly only my second watch) but the film’s dark tone and gothic origins fit perfectly with the Guildhall’s eerie and otherworldly timber-framed structure.

(continues below...)

The night was a resounding success and I highly recommend keeping an eye out on the venue's future events. For those interested there is another vampire-infused screening next week as Nosferatu gets a showing with a new live score . And there have been other film events such as movies by candlelight and the Leicester Horror Con as well.

So whatever your fancy, I hope more local cinemas, venues and film clubs can give movie fans new and creative screening opportunities that bring a fresh perspective and an altogether better alternative, in order to fight those pesky streaming platforms.

Michael "They're only noodles, Michael" Sales

For more info about Leicester Guildhall & it’s latest events head to https://www.leicestermuseums.org/leicester-guildhall/

Leicester Guildhall

Guildhall Lane

Leicester

LE1 5FQ

Telephone: +44 (0)116 253 2569

Opening times: Monday – Sunday (11am - 4.30pm)

Midlands on the Move: Emmeline Hartley interview Part 2

Wed, 29 Oct 2025 17:24:29 GMT

As part of our new Midlands on the Move features, we've spoken to local filmmaker Emmeline Hartley about upcoming film Closedown. Check out part one of our chat by clicking here , and in our continuing conversation, Midlands Movies finds out about Leicester actress Parminder Nagra's involvement as well as the exciting developments for soundmixing. Read on to see insight into Emmeline's latest project, which was filmed away from the Midlands region...

Midlands Movies Mike: Parminder Nagra is quite a big name in the film world - did her involvement open any doors for you?

Emmeline Hartley: I actually don’t think I thought to mention Parminder when booking locations/in-kind support as I’ve never needed to name-drop before when filming regionally. I’m a believer that Midlands filmmakers don’t need a big name to acquire support for a short film - aren’t we one of the friendliest places in the world? We’ve certainly filmed in loads of locations across both East and West Midlands where the people who own/run them went out of their way to accommodate and were just happy to be involved. “How can we help?” “What can we do?” “Do you need any food making?” etc.! I’ve had to work so often without a name attached, and have always been able to rely on my community.

MM: What else did you learn from your travels? Were any other places considered?

EH: The biggest thing for me is that I knew I wanted to give London a wide berth! There’s a lot of bureaucracy and locations are so used to film crews that they charge extortionate fees. Not only that, the expenses matter. Trying to work out travel, parking, permits, and logistics can be a nightmare - it’s like producing a film in a different country. And you can’t help but feel like you’re inconveniencing everyone, whereas in the regions, people want you there and seem to genuinely want to help.

MM: Did you need to find any other crew further afield once you knew you weren't filming locally?

EH: Yes, thanks to some trusty WhatsApp groups I'm in, we found a lovely makeup artist in Kent and a couple of crew from London who were happy to make the commute. We also put the odd tweet out on Michael's twitter as he has a decent following, and through that, we managed to find an amazing 70s TV that we used as a prop, and we also met our amazing supervising sound editors Nina Hartstone and Louise Burton , who were epic to work with and were fans of Michael's work, which was lovely.

MM: Wow. What happened next?

EH: Nina brought in her own all-female team and they were so helpful. Later, myself, Simon (our editor) and Michael were invited to watch the final mix at Pinewood which was quite a thrill. Also, a few of her team and others that came on board throughout the project are from, or have strong ties to, the Midlands, so despite being down south a lot for this project, it was really cool to still be like, “Midlands Represent!"

MM: It’s great to hear you still maintained the flavour, and attitude, of a Midlands production.

EH: Yes, my approach and attitude to making films, like fundraising for example, is to think very outside the box. I think there are some limitations that come with learning or intellectualising everything before getting stuck in, and when I started producing I managed to avoid that by throwing myself in the deep end and figuring it out along the way. That means obviously I’ve had my share of mistakes and difficulties, but I’m good at finding creative solutions, and turning limitations into opportunities. It’s sometimes like playing a game without knowing the rules, because I might ask questions that others might see as an overstep, but that’s what unlocks doors. But, and I think this is in true Midlands style, I make sure to always go above and beyond in what I can give back to others, as I wouldn’t have achieved anything without incredible support from them.

MM: So what’s up next for the film?

EH: We are now approaching film festivals but our funding is tight and they are expensive to submit to. We’ve sent it off to a few though and crossing our fingers that we get a couple of nice selections. I’m sure we’ll eventually look at putting it online. We are very proud of what we’ve made, and hoping we can come together again for another some day!

MM: Thank you so much for speaking to us about your project. Your insight into undertaking production work "on the road" is a huge eye-opener into the world of filmmaking away from the Midlands. And one that fellow local creatives will no doubt learn a lot from. And best of luck with the film for the future!

To find out more about Closedown and the cast and crew check out these links:

https://www.imdb.com/title/tt37728473/

https://www.instagram.com/mrmichaelspicer

https://www.instagram.com/emmelinehartley

PHOTOS BY JAKE MONGEY

Midlands on the Move: Emmeline Hartley interview and upcoming short Closedown

Wed, 29 Oct 2025 17:24:17 GMT

For 15 years we have been championing the films and filmmakers from the Midlands region and have become hoarse as we’ve shouted from the rooftops about the talent based here. And we’ve worked hard in promoting how more productions should come to the area, and utilise everything this film community has to offer.

However, we have to face up to the fact that the Midlands is not the entirety of the UK’s film industry. To help put themselves and the Midlands on the map, filmmakers will of course have to leave the region to create contacts and develop projects further afield. So in this new selection of MIDLANDS ON THE MOVE features, we’ll be taking a look at all the different ways productions can head beyond the regional boundaries and how filmmakers can gain further experience whilst adding their distinctive Midlands energy. What can be learnt? What are pitfalls to avoid? What are the benefits?

Well, we hope to provide some answers to these questions as we speak directly to those Midlands creatives who have grown their skills whilst working away from their home. And we are pleased to begin our conversation with experienced actor, writer and producer Emmeline Hartley. From 48-hour film challenges to viral shorts and award-winning films, Emmeline has been at the centre of a huge range of artistic projects in the region for many years.

And her latest film Closedown has wrapped and stars viral satirist Michael Spicer and Leicester’s very own acting superstar Parminder Nagra (Bend it Like Beckham, Agents of Shield). With a Midlands team and a lot of determination, Emmeline and the dedicated crew left the familiarity of the Midlands with plans to shoot a film away from our glorious pastures….

Midlands Movies Mike: Hi Emmeline. What are the origins of Closedown and how did it come to fruition?

Emmeline Hartley: The film is written and directed by comedian Michael Spicer. It’s his directorial debut and I got involved after seeing a Tweet of his back in 2023 asking producers if they could offer some advice. After speaking online and giving some pointers on funding, we stayed in touch. When other plans didn’t move forward, Michael suggested he might shoot it on his phone and I was like, no! By this point I'd read the script and knew how much potential it had so knew I wanted to step in and produce it properly.

MM: What were the next steps?

EH: I shared the script with my go-to Midlands crew (many of them University of Derby alumni) and they loved it, so once I knew they were on board, I offered to produce. This team make my job feel easy so it was a no-brainer!

MM: And you know their ways of working and their quality as well?

EH: Definitely. It’s an incredible team I’ve been lucky to work with on countless local projects over the years, so I already know the quality we can achieve on a low budget when everyone’s excited about an idea. When I introduced them to Michael, the creative conversations began and we started looking for locations.

MM: Given what you’ve said, was the Midlands the first choice?

EH: Of course, but it was really tricky. Our team is spread across roughly 90 miles of the Midlands, so to actually see any cost benefit with accommodation and travel, we had to narrow our search to just two small areas where a handful of crew were local, and we needed a care home and a garden centre which are hard to sort at the best of times! In most cases, places I contacted were branches of larger companies which creates a bit of a bureaucratic nightmare. Another issue was that all the garden centres opened 7-days a week and we needed at least an entire day to film. The only option for one was Christmas Day! It soon became clear that we needed to film at a particular time of year so that flowers were in bloom too.

MM: Is that when you had to start searching further afield?

EH: Yes, and we found a care home that was part of a much smaller chain, and they couldn’t have been more helpful. Their head office signed off permission and, when we went there, the staff and residents were not just accommodating but seemed genuinely excited as well. People wanted to be involved and one lovely gent called Fred offered us his flat for a day!

MM: It sounds like the filmmaking process itself has value outside the production. I’ve witnessed a few projects helping to enrich others’ lives outside the actual filming, which is an added benefit?

EH: Despite funding being a hurdle we were lucky to have a small budget that covered travel and accommodation. I managed to just about order some pizzas and ice creams though! BUT we also found Pinecove Nursery nearby, a lovely family-run business that isn’t open every day - they all ended up in the film too, and we get to sing and shout about how brilliant they are. They recommended shooting in summer (it was around October when we approached them) so we shifted the schedule to ensure we could capture all its beauty. And when we were recce-ing for that, we happened upon a gorgeous family-run pub (The Doghouse) who happily accommodated us for a restaurant scene and even attended our cast & crew screening. Kent provided what we needed on a budget with minimal travel interruption, and everyone was so lovely.

Click here to continue reading Midlands Movies' interview with Emmeline Hartley , as we go on to discuss how the team put the finishing touches to their production.

PHOTOS BY JAKE MONGEY

To Kill a Mockingbird at Curve Leicester

Wed, 29 Oct 2025 00:14:34 GMT

Screenwriter and filmmaker Aaron Sorkin sure knows how to write a courtroom scene. From the iconic “You can’t handle the truth” in A Few Good Men to his 2020 film The Trial of the Chicago 7, the celebrated writer mixes both memorable dialogue with fascinating legal fighting to perfection.

So he seems an ideal fit for a stage adaptation of Southern Gothic novel To Kill A Mockingbird, itself turned into the award-winning 1962 movie starring Gregory Peck.

And surprise surprise. It works out a dream. This new version comes to Curve Leicester as part of a UK tour and it serves up a brilliant mix of theatrical fun balanced well with the Pulitzer Prize-winning novel’s exploration of race, innocence and injustice.

If you’re new to the book, film or Sorkin’s stage version, To Kill A Mockingbird is a legal drama where lawyer Atticus Finch tries to maintain a sense of fairness as he raises his children against prejudice in the Deep South of the USA. At the same time, he is tasked with defending a black man in court who is accused of raping a white woman. And with this being depression-era Alabama, he has more than an uphill struggle.

Richard Coyle plays Atticus here and gives a phenomenal performance. Displaying dignity and gravitas, Coyle controls the stage. But Sorkin’s adaptation also allows the actor to envelope his vulnerabilities as well, and even admit when he’s wrong.

Anna Munden (Scout), Gabriel Scott (Jem) and Dylan Malyn (Dill) play the three children whose eyes we view the story from. Their purity is put to the test as they are exposed to the institutional racism and oppression in their own community and begin to learn valuable life lessons. As joint narrators, Sorkin’s unique script includes fourth-wall breaking moments and acknowledgement of the story beats we are being presented with.

Speaking of, the play reinterprets the structure as we flashback and forth to various story beats which definitely put an interesting new spin on the well-known material. And was helped by phenomenal stage craft from props, scenery and lighting.

(continues below...)

Oscar Pearce has the unenviable task of playing the main villain but he instils the character with the appropriate foulness given the extreme racism and bigoted views on show.

Up against him is Aaron Shosanya as Tom Robinson, the man on trial for his life. Shosanya’s brilliantly delivered court speech was a powerhouse moment. The auditorium was absolute silent as the actor gave a first-class and emotional performance. Ironically, stepping into Brock Peters’ very big acting shoes with aplomb.

Also of note was Evie Hargreaves as Mayella, the accusing daughter. The actress was astounding playing the damaged girl with a dysfunctional family dynamic, and also added more complex layers to the obvious inherited bigotry of the character.

An interesting spin in this version was Calpurnia, the Finch’s family housemaid. Here, Andrea Davy explores a much more discerning role and she excels by giving the character more depth and agency. There are also additional moments she gets to shine with her astute personal observations as the drama revolves and swirls around her.

There’s not enough time here to compliment everyone but suffice to say the whole supporting cast were exceptional in their varied roles. Some delivered laughter-filled comedy moments, others passionate speeches, whilst some had the difficult task of balancing nasty attributes with poignant reflection.

In the end, To Kill A Mockingbird is a truly magnificent take on the material and buzzed with a stupendous group of actors working in harmony to bring the play and its profound themes alive. You’ll leave the show not just entertained, but you’ll walk out with a heck of a lot to feel in your heart and plenty to think about in your head.

★★★★★

Michael Sales

TO KILL A MOCKINGBIRD AT CURVE LEICESTER

Tue 28 Oct - Sat 1 Nov 2025

Age guidance: 12+. Running time: 2 hours and 47 minutes (including a 20 minute interval)

warnings: This production contains racially explicit language, themes and content and references to sexual abuse and violence. There will be brief gunfire audio in the performance.

https://www.curveonline.co.uk/whats-on/shows/to-kill-a-mockingbird

ACCESS PERFORMANCES

British Sign Language (BSL) Interpreted: Wed 29 Oct, 7.30pm

Captioned: Thu 30 Oct, 7.30pm

Review of Springsteen: Deliver Me from Nowhere

Tue, 28 Oct 2025 10:35:05 GMT

Springsteen: Deliver Me from Nowhere (2025) Dir. Scott Cooper

As Bruce Springsteen rises to fame, he starts making a record that no one expected. A passion project that helps him come to terms with his childhood trauma and the overwhelming nature of it all.

Whenever I think of biopics about musicians, I think of films like Bohemian Rhapsody and Rocketman. These films at the time felt like they were fresh, new, and exciting. But these films also kickstarted a trend of making biopics about old musicians, most of which turn out to be mediocre. Bob Marley: One Love, Back to Black, and A Complete Unknown spring to mind. When it was announced that Bruce Springsteen would be getting a movie of his own, many people including myself were worried. Thankfully this movie proved me very wrong.

Don’t let the marketing for this film fool you, this film is not a rock and roll extravaganza about the rise and fall of Springsteen. But instead, a melancholic somber journey about a specific point in Springsteen’s life. This is the story about the making of the album Nebraska, and like Nebraska this film is a calm meditation about Springsteen as a person. His hardships and failures as a person in his past and present, fuel this film with heart and soul.

Jeremy Allen White, of Shameless and The Bear fame, is absolutely amazing as Bruce Springsteen. He manages to play a tormented soul so well, you really get the vibe that this is someone who is distraught and broken. As well as someone who is trying desperately to heal that part of himself through his music. But whilst everyone around him doesn’t believe in this record, he must stick to his guns and keep going.

You can feel that emotion through White’s performance. The brown eye contact lenses are a bit jarring at first, but you get used to it quite quickly. Not only that but Jeremy Allen White imitates Springsteen’s singing voice incredibly well. The raspy/gritty vocal delivery was surprising. This role should catapult Jeremy Allen White into a nomination for best actor when award season comes around.

A lot of musical biopics fail in the sense that they never give the audience a goal to reach or a moment to build to. They often meander as they tell their stories, which makes for a pretty boring watch. Springsteen: Deliver Me from Nowhere actually feels like it has a purpose. It all builds to a really heartwarming ending scene that has left a long-lasting impression on me, long after I exited the cinema. I really didn’t expect to feel so moved after this film, perhaps it was because I set the bar really low.

For me, this certainly was one of the best surprises at the London Film Festival. Because I didn’t expect much out of this film, I had been burned plenty of times by movies like these. But I am happy to report that Springsteen: Deliver Me from Nowhere, absolutely delivers in plucking at the heart strings.

★★★★

4/ 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Review of Hamnet

Tue, 28 Oct 2025 10:20:01 GMT

Hamnet (2025) Dir. Chloé Zhao

Hamnet is a historical drama, telling the true tale of how the famous Shakespeare play Hamlet came to be. A tragic tale of love, loss, and grief from academy award winning director Chloé Zhao.

Chloé Zhao’s 3 ^rd film Hamnet is a marvellous return to form. The journey of getting to this film is strenuous for Zhao. After winning best picture for her directorial debut for Nomadland in 2021, it seemed Zhao was destined for greatness. Then only a few months later in November, her second film was an entry into the Marvel Cinematic Universe with Eternals. Which at the time was one of the lowest critically rated and lowest grossing films in the MCU. Whilst I've been an Eternals defender since day one, it seemed after that colossal failure that the film community had somewhat abandoned Zhao. But three years later Zhao is back with Hamnet, proving to everyone why she is here to stay as a director, and in my opinion delivers her best film to date.

Zhao is a master of the observational style; we saw this in Nomadland with its mockumentary-Esque film making. Hamnet takes this a step further making the camera feel more like a fly on the wall at times, like we are observing the activities of Shakespeare’s family, then getting up close and personal when needed too in order to deliver full emotional impact. At times this camera made me feel uncomfortable in the best possible way. There is a particular scene near the end of act two that is absolutely horrific and heartbreaking. I feel like only Chloé Zhao would be able to achieve such a scene, in a way that makes you feel this much emotion. There are absolutely embellishments to the real-life story, but Zhao thrives in the grey area between fiction and non-fiction.

In a way the set design and cinematography reminded me a lot of Robert Egger’s Nosferatu. The way the high contrast darkness is utilised, as well as lighting many scenes by candlelight was breathtaking. Even the realistic scratching of the quill on paper was an interesting way of keeping the audience immersed throughout the film.

I struggled to find a standout performance in this film because they are all so blooming brilliant. Jessie Buckley and Paul Mescal are at this point, locked into the best actress and actor categories. Easily. Buckley's portrayal of Agnes Shakespeare feels magically contemporary, truly like Shes a character lost to time and born to soon. But with plenty of sincerity. Paul Mescal plays a grieving father so well, I think he channelled a lot of his thoughts and feelings from his breakout performance in Aftersun for this role. But I have to say the actor that left the biggest impression was child actor Jacobi Jupe. His portrayal as the titular character Hamnet was devastating, he has such an innocence for this role that made the eventual events of the film even more eye watering. He makes the final scene of the film that much more earth shattering. I truly believe out of everyone he deserves the most praise.

Max Richter pulls off a masterful score, truly the perfect mood setter for the entire film, filled with magnificent orchestral symphonies that embody the families' feelings and woes. It just made the sad scenes that much sadder; it was just filled with dream like anguish.

This film will unquestionably be a big awards contender next year, and I for one will love to see it. This movie is amazing, definitely one for the fans of depressing/emotionally moving films.

★★★★½

4.5 / 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

POV - The Found Footage Project arrives at Derby Quad

Wed, 22 Oct 2025 14:49:47 GMT

Found footage is a subgenre of horror that has been growing for quite some time, and is a medium that allows creators to develop their projects on a shoestring budget.

And POV: THE FOUND FOOTAGE PROJECT will be running at Derby’s QUAD venue on the 22nd November , and will be a day-long festival and celebration of the form, with an exciting range of screenings throughout the event. Taking in brand-new movies, a classic to close and a variety of short films along the way, this promises to be a must-attend day for lovers of found footage horror.

Derby QUAD's Alex Davis says, "As well as offering new and exciting creative possibilities, for me its democratisation of making movies is even more striking – we’re hearing so many new voices in the field because you no longer need a sizeable budget and a vast array of filming equipment to bring your idea to life."

"Even the vastly successful Blair Witch Project was developed for the modest sum of $60,000 dollars, and went on to achieve vast success and huge profit with it", adds Alex.

The day kicks off at 1pm with a SHORT FILM SHOWCASE, with two locally-produced shorts in the form of Royston Vale Road and Exhibit B, where directors Chris Annable (of the wonderful Straight to Video) and David Gregory will be present to discuss their work.

Keeping it local with their second feature, BEYOND THE WITCHING HOUR is set in Derbyshire and created by acclaimed director John Williams. This will be one of the first screenings for the movie, which sees two paranormal Youtubers exploring rumours of a witch who used to live in the area – but the real story might just be even worse than the local legends…

Their third selection is IN OUR BLOOD, which had a well-received premiere at Fantasia Film Festival earlier this year. The story follows Emily, who somewhat unwillingly accepts an invitation to reunite with her mother, only to slowly reveal a dark family secret. With excellent characterisation and an intriguing slow-burn plot, the film hopes to hit all the right notes for the found footage genre.

This is followed by IT DOESN’T GET ANY BETTER THAN THIS - which is never going to have any physical or streaming release. Namely, if you want to see it, you have to get along to the cinema – be there or be square say the filmmakers! The plot sees two filmmakers who buy a creepy building to shoot their horror film in, before finding that fiction meets fact in unexpected ways.

The day closes with found footage classic [REC], Spain’s most famous entry into the canon and a highly acclaimed example of the genre. A television reporter’s investigation into an emergency in an apartment building leads to unmitigated terror – and whether you’ve seen this one before or not, experiencing it on the big screen will be something else.

POV 2025 Line-up:

1:00pm – Short Film Showcase (18)

2:15pm – Beyond The Witching Hour (18)

4:30pm – In Our Blood (18)

6:30pm – It Doesn’t Get Any Better Than This (15)

8:30pm – REC (18)

Passes allowing entry to all screenings are £30. Purchase yours as this page. Once you have purchased your pass please choose your seat in each screening by adding a ticket to each film to your basket on this site. When you go to checkout the site will recognise as having purchased the pass and reduce their cost to £0, and you will receive individual event tickets via email.

Tickets to individual screenings can be purchased from their own page: https://www.derbyquad.co.uk/pov

Midlands on the Move: Thomas Lee Rutter distributes film across world

Tue, 21 Oct 2025 15:01:05 GMT

We speak to Midlands director Thomas Lee Rutter about a new release of his last project The Pocket Film of Superstitions. Horror aficionado Thomas tells us about the film, how it came about and the production's continuing progress as its reputation starts to go beyond the Midlands itself.

As part of our Midlands on the Move series, we also ask Thomas how he took the movie on the road around the UK to help garner a wider audience. And with a limited edition BluRay ready for distribution, we find out what he's learnt by utlising old-school classic media and how he hopes this can get the film more recognition even further afield. (And our very own Matt Tilt reviewed the film on its initial release here )

Midlands Movies: Hi Thomas! Can you tell us a bit about The Pocket Film of Superstitions?
Thomas Lee Rutter: Certainly! The Pocket Film of Superstitions is a playful and feverish moving almanac of superstitions through the ages. It blends Python-esque humour with silent cinema and 60's and 70's British horror films and is really an ode to the magic of cinema itself. It is shot on a microbudget, but has a lot of heart and soul.

MM: Did you shoot in the Midlands?

TLR: Yes, most of it was shot all over the Midlands, with occasional excursions down to London, Portsmouth, Cheltenham, etc. We shot at various independent or council-run museums here including the Haunted Museum in Stoke-on-trent,
the Avoncroft museum in Bromsgrove, Selly Manor in Bournville. These locations provided so much production value and enabled us to create period pieces on very little.

MM:Was there a Midlands-centred creative team/crew behind the film ?

TLR: For the most part, yes - but we also had many people travel up from London to us and we'd shoot in the Midlands. In the town of Kidderminster, where i'm based - i'm lucky in that we have a tight knit group of independent film-maker friends and we help each other out. They would form the core crew, but we also had a revolving door of cast and crew, so circumstances would often change according to logistics, availability and requirements.

MM: How did all that affect the logistics of making a low-budget film?
TLR: Well, my crew would often change due to different circumstances, such as shooting in London and Portsmouth - where my crew would be film-maker friends local to that area who would facilitate filming, secure locations and be huge helping hands in getting done what needed doing. Because the film is vignette-based, this also meant the cast would change from sequence-to-sequence too, so it never really meant upheaval in terms of moving production. It was sometimes amusing when I had to take vital props from my home down to the other side of the country, like smuggling a smoke machine and a witches cauldron on to a National express coach.

MM: Ha ha! Moving to the finished film, did you manage to screen the film locally afterwards?
TLR: We've had a local screening at the cinema here in Kidderminster called The Futurist, though it was still known as the Lume when we did it. It is an independently run cinema (a rare beast) and we sold it out. It also played the Paracinema film festival at Derby Quad, We're currently in talks to finally give the film a Birmingham premiere.

Continued after the trailer...

MM: Did you take the film to any UK-wide/global film festivals?
TLR: Yes! My proudest probably being having the film play the Dracula International Film Festival in Braso v, Transylvania where the film was the only British feature entry that year - and one of 8 films nominated for the Dracula Trophy Award (it didn't win, but oh well!) We also took the film to the Netherlands where it played the BUT Film Festival 2024. That was a fantastic time. It has also played some US fests such as Midwest Weirdfest and Amazing Fantasy Fest. It also enjoyed great receptions at Horror-on-sea Film Festival, Dead and Sudburied, Sudbury, HorrHiffic, Romford and The Manchester Festival of Fantastic Films. I've been really pleased with it's run!

MM: What was that like coming in as an “outsider”? What did you learn?
TLR: I've been lucky in that i've been welcomed to many great festivals run by great people and a very friendly like-minded community aspect comes with many of them. There's a lot of fakery and hustling in this sort of game, so always be genuine, be yourself and be true to the work first and foremost. Any self promotion should be for the work, not the self!

MM: How did distribution come about?
TLR: I actually work in distribution with a Boutique blu-ray label Treasured Films. I've always had one eye on physical media and have self-released other films in the past. For Pocket Film I very much wanted to do the same - only this time do it legitimately: BBFC rated and on a factory pressed disc. To achieve that, you have to be realistic about the film's potential and reach. Film's often fall foul of dishonest and two-bit distro deals where everybody will see a penny return, but the film-maker themselves. This is because film-making and distribution are two business models at odds with each other.

MM: And can be expensive?

TLR: Correct. Both are expensive ventures and so it is hard for both parties to really profit from it. It is possible, of course, but in the case of many indie film's it usually isn't the case. This is why distributors will try run away with content and leave the filmmaker in the dark regarding numbers. They will try and fox them with imaginary expenses and know that they wouldn't be able to act legally on it anyway. With Pocket Film I always thought it would do well as a Blu-ray and so I decided to handle it myself and do it properly. Sure enough, pre-sales have been completely amazing and we've been able to make the best release we can, even including my remastered short films Bella in the Wych Elm (2017) and Dr. Balden Cross: Beyond the Void (2018).

MM: And so what were the key factors you focused on in preparation for its release?
TLR: I had to make sure I did the maths first and work out how many units I'd have to pre-sell to make sure the run could be covered. I also had to ensure I worked with somebody who knew what they were doing re. replication, so they could hold my hand throughout the process. You learn as you go in this game and the best way to learn is to throw yourself into the situation. To save on costs I also created the disc menus myself and the cover/ booklet layouts. Physical releases are expensive, so if you can save on as much as possible by keeping it in-house you're on to something! I also had some new cover art made by the fantastic Garreth Gibson of Gibson Graphix and it has gone down really well. You need to ensure you're offering a great package to collectors on physical media that isn't anything near a cynical cash-grab, but a limited edition labour of love. Collectors know which is which!

And you can get your copy at: carniefeatures.bigcartel.com

MM: And finally, any great advice for local filmmakers about spreading their wings beyond the region (filming, production, promotion, festivals etc)?

TLR: We're all different and on our own different journeys, but while self confidence is nice - don't be delusional. Be realistic about where your film fits and who it's aimed at. There is an audience for everything, but always be realistic about the film's prospects. Our work can take us on some amazing adventures up and down the country and around the world, but always think about things from attendees and organiser's perspectives as well as your own. Be true to yourself and your work, even if you're on the hustle. We're going to make mistakes, we're going to gain wisdom. It's all part of the game!

Pre-orders are now live for the limited physical edition of Tom Lee Rutter’s The Pocket Film of Superstitions!

Limited to just 250 copies, it includes a numbered O-ring slipcase with new artwork from Gibson Graphix as well as three double-sided lobby cards, a double-sided inlay and a 16-page booklet with new writing from Darrell Buxton. This will be the only time this film is available in physical formats, and this is a factory-pressed edition of the film rated 15+ by the BBFC. Pre-order a copy here.

Midlands Review of Black Goat

Tue, 21 Oct 2025 13:19:05 GMT

Black Goat

Directed by David Hinds

2025

Writer/director David Hinds pays tribute to a host of folkish (and not so folkish) horror films with Black Goat, set in the fictional Midlands town of Blackwood Falls. We get nods to slasher films with the strange local who tries to warn off our protagonist; there are nods to Evil Dead with the camerawork, following the characters through the forest; and there’s even a touch of Under the Skin during an effective dream sequence.

It’s a film that certainly makes an impression as well, with a cold open that follows Michael Muyunda and Rachael Caulton as hikers who get lost in the woods. Some funny back and forth between the two quickly takes a turn for the horrific, with some seriously impressive practical effects.

We jump ahead to Ben (Benjamin James Hinds), who works for the Forestry Commission and is sent out to find a source of contamination which is killing local wildlife. This takes him into the woods in search of a pond that doesn’t appear to show up on any maps, forcing him to reconnect with his brother Mike (Darren Randall) to try and get to the bottom of the issue.

The cast are all excellent, and Hinds has a knack for tight scripting. There is some waffle there, but the characters always feel realistic (apart from one scene in the Forestry Commission office which could stand to lose a couple of minutes), which helps keep scenes moving on.

The only issues come from a sense that Hind’s wasn’t 100% sure which direction to go for; a gory, balls out horror, or a slow-burn folktale. This means that we get some kill sequences which, while impressive visually, add little to the narrative, and we miss out on some lore around the actual antagonist.

Still, this is an impressive piece of work. One that looks incredible and makes the most out of its single location. A special shoutout to the visual effects artists Matthew Burkey and Nick Willet, who really shine here. This is a great calling card for all involved, and one that is worth seeking out.

★★★★

4 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Midlands Review of Bad Things

Tue, 21 Oct 2025 13:10:43 GMT

Bad Things

Directed by Anthony Thornton-Hopwood

2025

Buffalo 8

What would happen if artificial intelligence was able to jump from person to person as if it were a virus? That’s the key question in this horror comedy from writer/director Anthony Thornton-Hopwood. A group of Duke of Edinburgh students head out into the hills (much of the film was shot on the Malvern Hills) only to find themselves under attack by AI-infected killers.

Thornton-Hopwood is certainly not afraid to wear his influences on his sleeve here, with Edgar Wright’s Cornetto Trilogy looming large. The director gives a direct nod to Shaun of the Dead with the promotion of the film, even though the film’s themes of technology feel closer to The World’s End.

The broad humour is certainly here, and much of the opening third involves the students bickering between themselves. Thornton uses a handy shortcut in these establishing scenes, as many of the characters will meet gruesome ends, he places them into neat Breakfast Club-esque archetypes, with the popular class clown, the mean girls, the nerd and the alternative girl all struggling to work together.

These archetypes are a quick way to draw the audience into the film, but at times they limit how much we connect with the characters. Amey DeSouza is excellent as Amy, who quickly steps into the lead role, backed up by Harry Ball as Tony, who ends up with the most character development, switching from a jock-ish clown into a very likeable character. The rest of the cast, while very good, aren’t given enough to do within the script to leave an impression after their inevitable, gory deaths.

And it’s the death sequences that kick the film into another gear. Thornton-Hopwood understands how to work around budget limitations, keeping things off-camera where possible to give the effects on screen the maximum impact. Once the characters start meeting their ends, the film picks up pace significantly and impresses all the way until its climatic sequence.

The cast have a knack for very physical performances, both DeSouza and Ball put their all into the final scenes as do the antagonistic Tegan Askey and Oliver Asante. There’s also a standout scene starring Mollie Fowler, shot from above the car, which sees her character smashed through every window.

It's just that pacing during the opening parts. Thornton-Hopwood opts for a cold open to explain the threat, which means the pace slows significantly as we’re introduced to the main cast. A little bit of work on the script could have possibly integrated the exposition, and propelled the film on a little bit more.

★★★

3 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

You can watch the full film on Amazon Prime UK here http://bit.ly/46rHIif

Midlands on the Move: More Midlanders Who Made A Move

Sun, 19 Oct 2025 10:31:16 GMT

Building upon our first part looking at famous Midlands folk who have gone on to starry success here , we bring even more local talent who, without forgetting where they've come from, have had very illustrious and recognised careers in the film industry. And we hope, that along with their stories of rising stardom, they will all hopefully inspire future cast and crew along their own journey...

Sophie Turner

The Game of Thrones star was born in Northampton and made her acting debut as Sansa Stark in the HBO series Game of Thrones (2011–2019). Receiving an Emmy Award nomination for Outstanding Supporting Actress in 2019, Turner then leaped from TV to film with a role portraying a young Jean Grey in the X-Men film series.

Growing up, Turner moved to Chesterton, Warwickshire when she was two and attended Warwick Prep School & The King's High School. She then spent time near Leamington Spa and has since said, "My childhood was pretty fun. We had pigsties, barns and a paddock, and used to muck around in the mud." And more recently, she became a patron of Playbox Theatre in Warwick - a place where Turner herself performed when she was younger. Now an established presence around the world, she is soon set to play Lara Croft in the upcoming Prime Video Tomb Raider live-action series. Another Midlands success!

Clint Mansell

The composer of choice for director Darren Aronofsky, Mansell may be best known for his Requiem for a Dream soundtrack, particularly "Lux Aeterna" and its many reiterations which have been featured in multiple adverts, films, trailers, video games and more. Despite being a global star, Mansell actually hails from Coventry and at 19, while living in Stourbridge, he joined Pop Will Eat Itself as vocalist. And this alt-rock career eventually saw him living in a US apartment owned by Trent Reznor (Nine Inch Nails & a film composer himself). He then met Aronofsky and scored his film Pi (which also won him the City of Birmingham award at the Birmingham Film Festival in 2000!)

Now with over 60 scores under his belt, Mansell worked on Stoker (Park Chan-wook), Sahara (hello, Lennie James from Snatch, again) and Loving Vincent (a personal fave) as well as High Rise directed by Ben Wheatley – himself no stranger to the Midlands with Sightseers. Having no formal training in musical notation, Mansell has become a huge name and his score for Black Swan is one of his best, but sadly deemed ineligible for an Academy Award due to some use of Tchaikovsky's Swan Lake. Yet with strong roots in the region, the local lad has never forgotten the area where he made his first start – adding to its already rich history of music.

Check out this amazing 2008 interview by Flatpack when the musician adapted a track for a film telling the story of Coventry’s history.

Felicity Jones

Writing these articles, it’s been fascinating to uncover the many Midlands links between just these few people and another occurs with Felicity Jones - who was selected as the protagonist of Gareth Edwards’ Rogue One. Who knew Star Wars was so Midlands related? Well, whilst on the subject, actor Jeremy Bulloch was born in Market Harborough, Leicestershire and starred as Boba Fett in The Empire Strikes Back (1980) and Return of the Jedi (1983) & even returned to the franchise for a cameo in Revenge of the Sith. And don't forget Leicester's Richard Armitage 's blink-and-you'll-miss-it cameo in The Phantom Menace (1999)!

Anyways, back to Jones. She was born in Birmingham in 1983 and grew up in the ‘centre of chocolate’ Bournville. She attended Kings Norton Girls' School & King Edward VI Handsworth before joining an after-school workshop funded by Central Television in the Midlands. Starring roles in The Amazing Spider-Man 2, A Monster Calls and many others came before Rogue One and she’s also been nominated twice for an Academy Award. One for The Theory of Everything (Best Actress) and her second was for 2024’s The Brutalist (Best Supporting Actress). Never forgetting her home area, Jones even headed to Conan O’Brien’s late-night USA chat show to teach him some Brummie slang ! Bostin’!

As a bonus aside, Dad’s Army actor Ian Lavender also grew up in Bournville too and had an illustrious career on the small screen with Rising Damp, Yes Minister, Keeping Up Appearances and of course EastEnders (240 episodes as Derek).

And with that, we’ve gone full circle back to southeast London where we started in part one! This all-too-brief selection of Midlands talent has demonstrated there exists an accessible career path in the film industry. Stories of creatives rising form their hometown to the heady heights of stardom is one we can hopefully celebrate in, but as we’ve found out, not one of these has forgotten the magnificent Midlands and how it shaped their journey.

Midlands on the Move: Midlanders Who Made The Move

Sun, 19 Oct 2025 09:56:20 GMT

The Midlands is home to a huge pool of talent – both on and off-screen – and although many famous names are synonymous with the region, others, who definitely hail from the area, may be more of a surprise to hear about.

These local creatives moved onwards in their careers, building upon their local upbringing and education in the arts and headed to larger projects and some even delved into the world of glitzy Hollywood.

So, away from the legends such as Lenny Henry (Dudley), Julie Walters (Smethwick), John Hurt (Chesterfield) and director Shane Meadows (Uttoxeter, Staffs) we’re going to look at a few recognisable names who, sadly, don’t always make you think of our marvellous Midlands. Yet you definitely should do!

Jason Statham

The most cockney man of all time, right? The tough, voice-like-grit East Londoner who was Bacon in Lock Stock and then Turkish in Snatch. Pure diamond geezer. Well, he’s a Midlander. Born in Shirebrook, Derbyshire , Statham was raised by his dancer mum and coal miner dad but sadly didn’t stay too long in the area. Later, he began a diving career representing England at the Commonwealth Games, then became a model and bit-parts in music videos came next. ( Check out this a-mazing video from 1993 by The Shamen ).

Eventually he crossed paths with director Guy Ritchie and the rest is wideboy-action history. Derbyshire Times says he’s also worth an estimated £73.4 million making him the richest Derby actor of all time but the actor still has fond memories of the area. In 2012 he spoke to Great British Life saying “I do miss those childhood days - you go for a walk in the Peak District and you realise you’re such a small part of something that is so awesome."

"I can’t imagine what it would be like not to have experienced the kind of childhood I had where you really did explore your surroundings... and in Derbyshire the boundaries were endless. I did a trip up there a year or so ago, however, around the Pennines. We took in Buxton, Glossop, and on to Leek. It was great to lose ourselves totally”.

Lennie James

Speaking of Snatch – the most southern gangster film of all time, of course – another of its alumni is also from the Midlands! Lennie James plays jewellery dealer Sol and was born in Nottingham in 1965 to Afro-Trinidadian parents. And like Statham, James aspired to be a sportsman in his youth (this time rugby) but pivoted to acting after moving to London.

Hollywood was next on the horizon with roles in Lost in Space (1998), Sahara (2005) and Blade Runner 2049 (2017) and he played Morgan Jones in The Walking Dead. Co-star Andrew Lincoln isn’t from his city-namesake though.

But if we return to Snatch, there’s another Midlands actor/musician who appears in the same scene with Lennie. Goldie! Born in Walsall in 1965, the DJ then moved to Wolverhampton and was a member of a breakdance crew based in Whitmore Reans.

Gareth Edwards

Well, here’s a biggie. Can you imagine moving from bedroom editing to a monster-sized summer blockbuster costing $160 million to helming a Star Wars movie in just 2 leaps? Well director Gareth Edwards did just this, as he jumped from the Midlands to Skywalker Ranch across just 6 years. Like many local filmmakers starting out, Edwards had to be a jack of all trades for his debut feature Monsters (2010), where he served as writer, director, cinematographer and VFX artist.

Edwards was born on 1 June 1975 in Nuneaton, Warwickshire and wanted to direct his own films since childhood. He attended Higham Lane School, followed by college at North Warwickshire College of Technology and Art (now NWSLC). And like most filmmakers I know in the region, he was forced to create the effects for Monsters using off-the-shelf equipment and filmed using a small crew of just five people. After that he was chosen to helm Godzilla which made $530million (!) and I remember in 2015 when I approached his agent for an interview. I sadly got no reply and the next day he was announced as the director of Star Wars: Rogue One. Ah, he’s probably *a bit* tied up this week.

And so Edwards is a bit of a poster-boy for the region which gave him a solid footing before (very quickly) helming the biggest franchise in cinema. And he’s not been forgotten either, as he was given the freedom of Nuneaton, saying "I really miss the sarcasm and everyone always insulting each other and so it's nice to come home and be put in my place by my sister. [And] One of the things you learn when you tell stories is that every story in a movie is essentially, in its simplest form, a character leaving home, going on an adventure and then returning back home hopefully better off.” (BBC News, 2024) Well said, Gareth.

Click here to check out even more Midlanders in part 2!

Review of After the Hunt

Sat, 18 Oct 2025 17:39:37 GMT

After The Hunt (2025) Dir. Luca Guadagnino

This slice of life film tells the story of a professor at Yale University, who learns from her star student, that her fellow professor and close friend has crossed the line. As she navigates these feelings, she struggles to keep her own dark past coming to light.

Luca Guadagnino is widely considered one of this generations most interesting directors. His work on Call Me by Your Name and Bones and All did well amongst fans of film, but it wasn't until last year's Challengers and Queer that really boosted Guadagnino into the mainstream limelight. His follow up to these marvellous films was something that should be on everyone's radar. But sadly, it appears that Guadagnino has failed at the first hurdle and delivered his weakest film yet.

Guadagnino is brilliant at achieving greatness in the slice of life genre, he always had this sense of intimacy and world building that made his films so unique. Even the way he styled the camera around the body and with touch made his previous films so personal. But After the Hunt feels starkly artificial. This film has no urgency. It doesn’t unravel or build to any specific moments, the events of the film just happen, with no impact or impression.

What I should say is that the performances in this film are great. Andrew Garfield for me is the standout. Garfield has this nice guy/cozy persona that a lot of people really gravitate towards. But in this film, he is perfectly cast as this, arrogant, egotistical, professor who thinks he is better than everyone. This role brings out the dark side of Garfield's persona that I really appreciate. Whilst the performances are great from the main cast of characters, such as Andrew Garfield, Ayo Adebiri, and the lead Julia Roberts, the script ultimately lets them down. It fails to get the true potential out of these actors, especially Ayo Adebiri who is absolutely incredible, in The Bear and Bottoms, is sidelined for most of the film, even though she is the emotional centre of this movie.

For a movie that is about sexual violence and cancel culture, I find it surprising that this movie isn't really saying anything substantial about the topic. It doesn’t pick a side. Not even in the sense that it’s playing devil's advocate, but that it quite literally says and means nothing.

The cinematography thankfully is the shining light in this film. It’s filled with amazingly personal shots, and Guadagnino’s obsession with body language and physical touch feels even more developed in this film. Especially in its more emotionally charged moments. He always manages to capture the little moments in the actors' performances, that manage to emphasise the subconscious feelings of the characters.

I am aware that this review sounds mostly harsh, I did for the most part enjoy this film, especially seeing as I was attending the uk premiere. But I just expect more out of a Guadagnino film. He is usually so good at these kinds of films. It especially hurts because I saw another film after this one called The World of Love, that has the same themes and genre as After the Hunt, but The World of Love undertakes the themes of sexual violence and genre of slice of life so much better. This was perhaps the biggest disappointment here at the London Film Festival.

★★★

3 / 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Review of Ballad of a Small Player

Sat, 18 Oct 2025 17:33:48 GMT

Ballad of a Small Player (2025) Dir. Edward Berger

A conman addicted to high stakes gambling takes refuge in Macau, China, after his debts catch up with him. As he tries to make enough money to pay back his mountain of debt, he starts getting premonitions of ghostly beings as he sinks deeper and deeper into his addiction.

When I heard the latest Edward Berger film would be playing at the London Film Festival this year, I was ecstatic. I thought his remake of All Quiet on The Western Front was great, but I absolutely adore last year's Conclave. Knowing that this movie was another adaptation of a Lawrence Osborn novel and had Colin Farrel as the lead, needless to say I was hooked. Furthermore, both All Quiet and Conclave won best film at the Bafta’s. My expectations were high. But sadly, this film is a bit mediocre by Berger’s standards.

Edward Berger undoubtably has a strong visual style. The dazzling of the Chinese neon aesthetics mixed with the theatrical flair of high stakes gambling made for absolutely phenomenal visuals. There is this overwhelming feel of grandeur throughout most of this film, mixed with the stress of a forever indebted main character. The gambling scenes are truly fantastic.

Berger's frequent collaborator Volker Bertelmann returns to do the score of this film. As much as I love the Conclave score, this is easily the best score of the three movies. Its bombastic and epic and really filled me with a sense of extravagance. The visuals paired with this score is one of my favourite cinematic experiences of the year. Even the ending music is fantastic. It is absolutely one of my favourite scores of the year.

Collin Farrel is incredibly superb in the leading role, slipping into the many personas of the main character with ease, and really embodying the stress and thrill of trying to win back as much money as possible, as well as getting away with morally grey activities.

Regrettably, this film does fail in its fundamentals. Whilst all which I have spoken about is amazing, possibly due to Berger’s involvement, none of that saves this film from the fact that it’s just not that interesting. In Berger’s previous films it really felt like he had a foot on the neck of the topics they are trying to discuss. Conclave specifically felt so culturally relevant to now and what’s going on with the world, whilst in comparison Ballad of a Small Player feels hollow and without any relevant central themes to keep me engaged. There is no drive or goal to achieve for most of this film, with the main character jumping from place to place, trying to complete side missions.

The paranormal aspect of this film also feels underdeveloped, there are a couple nods here and there, but when the big twist is revealed towards the end, to me it felt like it came out of nowhere. I wouldn't have expected something like that to happen if I didn’t already know information from trailers or the marketing. In a way I felt blindsided.

I am grateful that I got to watch this in a cinema because I feel like most of the positives, I have for this film would not be able to be replicated at home on a streaming service. I could not imagine hearing this score and seeing the visuals on a tv. Putting this film straight onto Netflix does it a massive disservice.

Whilst there is great potential here, I think Ballad of a Small Player is Edward Berger’s first misfire, and it seems he will miss out on the Bafta this time around.

★★★½

3.5 / 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Review of Frankenstein

Sat, 18 Oct 2025 17:30:08 GMT

Frankenstein (2025) Dir. Guillermo del Toro

Only Monsters play God. The oldest science fiction story in the world, is a tale about an egotistical mad scientist trying to conquer death, by reanimating a monster made of various body parts. What will Victor Frankenstein do when he creates life? How will the world react to something so grotesque? But most importantly, what will the Monster do when its creator abandons him?

Guillermo del Toro’s latest adaptation of Frankenstein is a passion project decades in the making. Del Toro has been wanting to do this movie for his entire career, and it really does feel like it. This film feels like a culmination of not only del Toro’s professional career but also his personal life. His very soul emanates throughout this entire film, from his strict catholic background to his many reflections and philosophies on his own life. The eccentricities of del Toro’s signature style radiates throughout Frankenstein, from its gothic architecture to its sweeping grand camera movements. There is so much beauty in the grotesque. Any Guillermo del Toro fan will be massively pleased and vindicated with this film.

This film is split into two parts, the first being the story of Victor, why he becomes so obsessed with death and his journey towards making the Monster. The 2 ^nd part telling the story of the creature after the aftermath of the first half. The second half provides so much emotional heart to the monster, fully explaining his growth towards the climactic end of this movie. Guillermo del Toro does deviate from the source material; this was mostly expected.

But he deviates in a way that expresses what he wants to say, he has said plenty of times that this movie is a way of expressing how he feels about his own father and son relationship, and with that in mind you can really feel that deep emotion behind all the dialogue between Frankenstein and the creature. Working through all the guilt and eventual reconciliation, is a way of deviating from the source material whilst also respecting and enhancing the key themes of the original Mary Shelly book.

This film is undoubtably visually breathtaking. It’s set and costume design are easily one of the best highlights throughout this film, stunningly gothic sets with various catholic imagery layered throughout for its eagle-eyed viewers. With the costume designers behind Crimson Peak (One of del Toro’s most underrated films) coming back for this film, their stunning garments feel so ethereal on the actors, especially on the likes of the enchanting Mia Goth. Guillermo del Toro has always had preferences towards practical filmmaking, but this mind set easily feels the most present here.

The cast are nothing but sublime. Oscar Issac as Victor Frankenstein adds this feeling of self-absorption to the role. Channelling the energies of modern-day tech bros and 80’s rock stars, to get across the overall narrative that this is a mad man who can’t deal with what he has created. He has his cake but refuses to eat it. The real standout here is jacob Elordi as the creature. I loved him in many of his past projects like Euphoria and Saltburn, but I and many people were sceptical about this casting. But this film thankfully skyrockets Elordi to A tier actor for me. He stepped into the role with 3 weeks until filming, had to endure practical prosthetics, and then delivered a hauntingly beautiful performance, filled with innocence, revenge, and a deep fascination with the world around him. Some may not like this performance because of their preconceived notions about who this monster is, but rest assured that this version of the creature is perhaps the most faithful to the source material.

This film does truly feel like a cinematic experience, the score of this film is filled with so much heartbreak and whimsy, the majesty of the framing and blocking on screen, and the deep bassy roars of the monster, makes seeing this film in cinema so worthwhile. It is a shame that this film will be forever shackled to Netflix and the majority of people who watch it won't be able to get the most out of it. Thankfully it is getting a small theatrical release, so make the time and see this movie whilst you can. It is totally worth it, and easily the best film I have seen at the London Film Festival.

★★★★½

4.5 / 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Midlands Review of Alleged

Fri, 10 Oct 2025 15:02:32 GMT

Alleged

Directed by Joe Foster

2025

Two conspiracy theorists walk into a shop. You can’t tell me that’s just a coincidence.

If you’re not in “the know”, the concept of a crisis actor is a person who is an actor, role player, volunteer, or other person who is portraying a disaster victim to help with emergency service training.

However, more recently the term has been hijacked for more nefarious means whereby certain corners of the internet believe these people are used for political ends. World events are curated and played-out by shady powers-that-be, creating “fake” global conspiracies and insinuating an undercurrent of deception and foul-play.

Shot in Long Eaton, Nottinghamshire, Alleged attempts to explore the themes around this concept in a film that tackles obsession and ‘false flag’ situations head on.

Ayo (Oré Sanderson) and Chris (Mark Wisdom) arrive at their work at a Motorcycle Clothing factory, and we discover Ayo has been injured in an accident - “ a stadium bombing” - yet Chris’ over-protectiveness smothers her as she tries to return to a semblance of normality.

But normality is not what she’s gonna get. A customer who wanders around the shop floor seems unnervingly intrigued by Ayo as he pretends to browse rows of motorcycle gloves. And as Chris leaves, and Ayo’s offer to help the customer is spurned, he too is confronted by a secondary man (Matt Barron as the creepy Ben ) who enters and, scarily, turns the shop sign to “Closed”.

After claiming to be interested in helmets, Ben begins angrily questioning Ayo on the bombing incident, her background and the injury she sustained. Yet her answers fall on deaf ears as we see him intent on getting to a “truth” that only he appears to know about. Ben ouitright states he “knows” there wasn’t an explosion and the incident was a hoax and Ayo is faking what happened to her.

Alleged sets up its characters convincingly and efficiently before exploring the issues it wishes to address. A seemingly mundane situation turns nasty quickly and the filmmaker brings attention to the obsessive nature of those fantasising about “cover-ups” with some quick dialogue and adversarial drama.

Recording this threatening behaviour is the first man we saw in the shop and the film explores concepts on online clout chasers acting as “justice-seeking” detectives and fixated on a worldview often created in their own minds.

Unbelievably, just last year I saw this concept play out in the reality as a very talented and kind local actor/filmmaker was accused of being a “plant” on BBC’s Question Time. The (anonymous of course) online account slinging the accusation, implied that the audience question he asked on the show must have been staged as the man had once won a film award. To prove it, a photo from our very own Midlands Movies Awards no less! Utter cretins.

More seriously though, we’ve seen over time - and very much this year - how the terminally online create wilder and wilder fictions. And like all good (unprovable) conspiracy theories nothing the victim can do or say will be accepted. Everything they do is a lie and must be exposed.

Matt Barron is excellent as the unhinged Ben, instilling the character with real menace. Oré Sanderson gives an equally impressive performance as someone aghast at the bullying behaviour. Her logic to defend herself is honourable, but her snarky comebacks undermine the accusations in an even better way, and shows the ludicrousness of the man’s theory.

But there’s a seriousness to the film that creates tension that will keep a viewer on the edge. The imprisoned location is a white knuckle ride of confined horror, and the verbal sparring later turns into a much more physical altercation involving all parties we’ve seen so far. And it’s rounded off by mobile phone footage of the aftermath and the continuing cycle of conspiratorial evil, turning people into morons who hate others.

Mixing contemporary concerns with cinematic flourishes, Alleged is a superbly made and impressive short film. It provides a more than decent expiration of legitimate concerns around the online/real-world consequences of conspiracy-theory. But it isn’t a sermon by any means. It roundly delivers thrilling moments, emotional engagement and captivating performances alongside its deeper themes, making it a not-to-be missed look into the dark obsessions of tin-foil fools.

★★★★½

4.5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Midlands Review of The Catfish

Fri, 10 Oct 2025 08:38:17 GMT

The Catfish

Directed by Nisaro Karim

2025

Five Pence Productions

The Catfish is a new 10-minute short from writer-filmmaker-actor Nisaro Karim who, with production company Five Pence Productions, has consistently created a multitude of short films over the years in the Midlands.

This particular film opens with a dark and ominous glowing red light, no doubt symbolising the passions and anger we’re about to experience along the way. That’s owing to a man (King Davies Dogbe) bound by cable ties in a room, bloodied and beaten with little idea of how he got there.

We subsequently cut back to a regular suburban home where a woman (Anita Kayani) sends ‘loving’ voice messages to her partner across a tablet and phone.

However, this seemingly normal behaviour between two people meeting up is undercut as we are shown the woman exiting her bathroom donning a hazmat suit. I’m certain this isn’t going to be your normal catch-up at Nando’s. Although the outfit would prevent Piri-Piri from getting everywhere.

Nevermind.

You won’t be shocked to find that all is not well in this relationship. Anyone who has seen Netflix documentaries with Catfish in the title knows that the term often leads to horrific consequences. But rather than a financial scam, the woman enacts much more physical revenge on the man.

We’ve checked out a number of Nisaro Karim’s films over the years. Each one having a very dark tone and even people captured against their will, with masks and two-sided personalities at the forefront of his imagery.

A woman in suburbia and an intruder is the subject matter of Karim’s short The Heath ( review ) , whilst a blindfolded man tied to a chair opens another of his films called The Game ( review ). Maybe these comprise an unofficial trilogy of sorts but it does have the feel of something we’ve sort of seen before.

A bit more variation to the themes he often incorporates wouldn’t go amiss, but true to their genre, this “trapped victim” situation can be regularly seen in many horror flicks. But perhaps too regularly.

From a sharp axe to a twisted teeth pulling sequence, the short doesn’t scrimp on the nastiness though. Your enjoyment however may be related to how much of a fan you are of the torture-horror seen in the Saw films or Hostel. It also had echoes of 2022’s Fresh ( our review ) where a similar happy relationship-turned captive narrative is played out.

To be fair, the back and forth non-linear narrative is a good way to reveal different aspects of the story and the performances are overall well done for the roles. But there’s not a great deal more here than what’s on the surface. You could guess every beat. And the music stings are loud and a bit of the nose, creating a confusing tone.

Yet there are some interesting and intriguing technical choices. The well handled red lighting provides an oppressing atmosphere as needed. And the shot selections are varied which is a huge bonus in shorts given their limited runtime.

The short therefore ends as a solid if a bit of a forgettable slice of horror-drama which provides little in the way of scares but a fair chunk of sleazy torment and gore. If that sounds your bag, then feel free to go on a date with The Catfish, just be wary of the warning signs beforehand.

★★★

3 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Matlock horror short Dead on Distribution gets premiere in November

Wed, 08 Oct 2025 11:11:58 GMT

Matlock Bath Pavilion in Derbyshire is the location of a screening premiere for a new horror film shot in the area by director Alasdair Gretton.

On 15 ^th November, the production team promise a night of film, music and culture for their new production filmed around Matlock itself, the 80s Video Store in Alfreton and at Derby Conference Centre.

Starring Brain Clarke, Jacob Poole, Kathryn Gergiohu, Callum Gascoyne and Gillian Shimwell the film is set in Summer 1980 before the video store boom and follows a film producer as he struggles to get his sleazy pictures on the big screen.

Desperate for a distribution deal and with terrible critic reviews, he encourages an unhinged lead actor to come up with an unorthodox idea to promote the film. But little does he know about the actor’s idea which may take self-promotion a bit too far.

The filmmakers are promising a “bold, fast-paced short with stylish, experimental editing”, with plans to “shock audiences, just like a good video nasty should”.

Alasdair Gretton’s work has been previously screened at festivals in Britain and America and he was a young ambassador for the Japanese Foundation Touring Film Programme in 2024.

Winner of both best editing and best comedy at the Newcastle Student film festival 2020 and 2021, the director’s style cross genres with strong B-movie influences taking inspiration from directors such as Shinya Tsukamoto and Sam Raimi.

“I am really excited to work on this new project. What makes it special is that we made it as a group of friends, some of which have known each other since primary school,” says Gretton

He goes on to add, “Filmmaking is something my crew and I are very passionate about, especially from a community perspective. It means a lot that we have been able to continue making films in our local area with local people while still being able to have these films shown at festivals overseas.”

On the day of the premiere, there will be an exhibition about the video nasties at the venue, spotlighting the seventy-two films which were banned in the UK in the 1970s and 1980s. The team will also showcase props and information about the new film, Dead on Distribution.

In addition, the filmmaker’s previous film Masked Conspiracy will get a screening and after the main event there’s a Q & A followed by an after party of live music.

The host venue is increasingly becoming a cultural landmark in the Midlands. Built in 1910, The Grand Pavilion in Matlock Bath is reclaiming its picture house history and with a growing programme of screenings, filmmaker collaborations and industry events, it’s one of the region’s hidden gems. And plans are underway to establish a bi-monthly film club and an annual celebration of local films.

To support the project and grab tickets, check out the full details and link below:

https://www.ticketsource.co.uk/thegrandpavilion/t-vvlgnrn

Dead on Distribution screens 15 ^th November 2025 (12PM till late) at Matlock Bath Pavilion, S Parade, Matlock Bath, DE4 3NR

Derbyshire's Wicker Film Production seeking support for new film

Fri, 03 Oct 2025 09:10:32 GMT

A Bergman-inspired Short Film Launches Crowdfunding Campaign

A haunting new short film, The Last Visit, is now crowdfunding on Indiegogo with a project that hopes to channel the challenging films of Ingmar Bergman (The Seventh Seal, Winter Light).

The filmmaker's other influences include Robert Bresson and Carl Theodor Dreyer in their plans to create a folk horror utilising the region's rural andscapes to explore "the shadow of mortality to give the film an unsettling edge".

Set in the rural Derbyshire countryside and within the converted walls of a former pub, The Last Visit is a 20–25 minute short that follows a mysterious black-clad stranger played by Ray Raymond who visits an old man (Nigel Barber) in his flat.

Over the course of a single evening, the two men share stories of faith, memory, and the meaning of endings. But as silence deepens and the clock ticks on, a final revelation blurs the line between visitor and host, life and death.

A Film About Silence, Memory, and Mortality

Drawing inspiration from Bergman’s The Seventh Seal and Winter Light, as well as the spiritual minimalism of Bresson and Dreyer, The Last Visit places two characters in an intimate setting, confronting existential questions against the stark beauty of the English landscape.

The filmmakers state that, “This is not a film of spectacle, but of silence and weight,” says the filmmaker. “We want to create a space where audiences pause, reflect, and face the questions that so often go unspoken: What is life? What is death? And what remains when silence falls?”

Why Crowdfunding Matters

The production is raising funds via Indiegogo to cover:

Actors’ Expenses – travel, accommodation, and performance fees
Production Costs – location, props, and minimal equipment
Post-Production – editing, sound, and finishing
Festival Submissions – so the film can reach audiences worldwide

And supporters can claim various rewards including digital access to the finished film, behind-the-scenes material, and on-screen credits.

About the Filmmakers

The team behind The Last Visit are independent filmmakers with a background in documentary, folk horror, and experimental storytelling. Their previous projects have explored folklore, memory, and psychological themes, with work shown at independent film festivals.

With The Last Visit, they aim to bring the spirit of European arthouse cinema into an English rural context, creating a deeply contemplative and unsettling meditation on mortality.

Find out more and show support on their IndieGoGo page: https://www.indiegogo.com/projects/the-last-visit-short-film#/

New campaign launched for Birmingham teen horror documentary

Sat, 27 Sep 2025 12:05:03 GMT

Teenage Screams is a planned experimental documentary following a 16-year-old British girl as she directs her first ballet horror short, The Final Variation.

The project is a directorial thesis exploring how young people interact with the genre of horror and the filmmakers recently launched a GoFundMe campaign to directly support their principal photography.

The documentary director, Xanthe Pajarillo, is a PhD candidate at the University of Birmingham, known for her indie horror films and directing the Fangoria Chainsaw Awards, hosted by David Dastmalchian (The Suicide Squad, The Dark Knight, Murderbot). Her passion for amplifying young voices and their love for horror films began when she co-hosted the Kindergeist Podcast with her 12-year-old niece.

The interviews with children revealed the majority preferred horror movies intended for adults, and found age-appropriate horror to be “too simple” or “not scary enough.” Xanthe’s own directing and writing manifests as horror with heightened visuals and slices of humour with a strong focus on underrepresented narratives and her latest horror rom-com shorts, An Officer and an Airman and Rosebud, are in their festival run.

Committed to supporting children as producers of horror, Xanthe aims to gain deeper insight into what the children’s horror genre means to children on their terms.

The filmmakers hope the style of the documentary will be authentic and hands-off, with the creative process fully led by teens and young people, from writing the short through to final edit. They are also drawing inspiration from trailblazing filmmakers such as Emily Hagins and Alice Maio Mackay who both directed their first zombie and vampire features at ages 12 and 15.

Any adults involved in this project are in purely supportive roles. The project is not only about producing a horror film, but also about amplifying young voices in the genre.

The short film director, Nia Matthews, is a 16-year-old first-time director determined to do justice to her debut. A dedicated dancer since the age of three, Nia’s lifelong passion for dance is a driving force behind her project, The Final Variation. Beyond the arts, she is an active anti-bullying advocate and has served on the National Diana Award Youth Board for two years.

Their young cast and crew are being brought together from a variety of West-Midlands UK based youth groups and film industry networks. And you can help support this exciting project with their new crowdfunding campaign. They hope supporters will not only help a new generation of creators bring fresh fear and inspiration to the screen, but create buzz for an underrepresented area in the film industry.

Head to their official GoFund me campaign page to find out more, see the production's progress and to donate:

https://gofund.me/ff85e41de

Midlands Review of If This Is It

Sat, 27 Sep 2025 08:56:26 GMT

If This Is It

Directed by AJ Chohan

2025

Ambition 45 Films

With a host of 80s-inspired TV shows and films being released over the last few years - and even a number of local shorts inspired by the decade - you can now add new Midlands film If This Is It to this ever-expanding list of retro-infused stories.

If This Is It is also a proof of concept for a feature, similar to the recent Midlands short Arcade 1987 ( our review ). And I’ve said before, it's a great way of trying to secure funding, whilst also completing a film for the competitive short film festival circuit.

It tells the story of couple; Ash (Midlands Movies Awards-winner Adam Horvath) and Diane (Ella Starbuck - great name btw!), who despite having strong feelings for each other, break-up to explore new aspects in their world. Yet a heartbroken Ash seeks solace from his friends, specifically lead singer Lina (Lina Lane) to try and move forward with his life and passion for music.

Off the bat, the main influences are clearly the teen drama-comedies of 80s legend John Hughes - with shades of Sixteen Candles (1984) and Ferris Bueller’s Day Off (1986) being the most recognisable.

And the narrative is straight from the time too. A glamourous airhead cheerleader-type who is yearned for, despite the obvious real love-interest being the overlooked alternative girl once considered only a friend, can be seen similarly in Teen Wolf (1985), Weird Science (1985) and many more.

From a Miami Vice white suit jacket to the synth music and even text font, the film successfully apes 80s style and movie tropes as well. The US-aesthetic is slightly at odds with the local Derby locations however. The ever-so-luxurious clothing is straight from California rather than the UK.

As someone who grew up in the 80s, the decade in the UK was a much more eclectic and slightly embarrassing mix of gaudy fashions, brown corduroy and nasty tracksuits rather than Hollywood mullets and Hawaiian shirts.

I did enjoy the “cameo” from the 80s Video Shop based in Alfreton, Derbyshire . It provides a very suitable store that harks back to the long-lost act of browsing VHS-filled shelves trying to find a Friday night movie. (Far away from doom-scrolling Netflix).

And the original music from star Lina Lane and her band Lina and The Lions, as well as tracks from songwriter Freddie Scott, is also a great touch that showcases UK acts who clearly know the sounds from the era.

The film definitely knows its source material and inspirations from the past. But the short is a little, well, short of story. Half the runtime is a simple break-up story, but the nods to the 80s can only get you so far before further character development and drama need to be the focus to stay engaged. A lot of phone calls aren’t the most visual way of getting over story beats either. But this could be the result of it being part of a larger feature script. A difficult tightrope to walk.

That said, the technical elements are strong and actors do well with the material as it is. Star-crossed lovers were a staple of the decade’s films - especially Hughes’ output - and they often showcased young peoples’ frustrations growing up. Cinephiles (of a certain age) will also have lots of fun spotting all the well-worn chestnuts from the era’s films, and the original music adds a lot of all-important atmosphere to this solid short.

Although the script could do with a few tweaks to add weight to its slightly hokey and brief narrative, If This Is It wears its 80s cinematic influences on its rolled-up sleeves well. And viewers will find lots of enjoyment in a most triumphant Midlands-infused homage to jocks, nerds and valley girls.

★★★½

3.5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Midlands Review of The Correction Unit

Tue, 23 Sep 2025 16:20:15 GMT

The Correction Unit

Directed by Derry Shillitto

2025

Foyle Films

The Correction Unit asks what kind of world would it be if we could predict and control impulses using technology, but rather than just an intriguing sci-fi theory, it asks an audience to consider the ramifications these ideas have in today's culture. Especially with young people who are still trying to find their place in the world.

Throwing us directly into the story, a tense opening sees a couple of friends assaulted in the street, but the confrontation ends with a ferocious blow that leaves one of the attackers injured on the ground.

Jumping forward 8 weeks to a young offenders institution, we discover Shawn O’ Connor (Sonny Middleton) has now been locked up despite seemingly acting in self defense. But he and his friend Tish (Elleese Bradshaw), along with an array of other young inmates from the area, are gathered and transported to a new experimental facility.

The group are told they are handpicked for their “potential” by two wardens - played very mysteriously by Kirsty Smedley and Ziad Abaza - despite some advanced security wristbands reminding them all they are very much detainees. And they are encouraged to channel these latent emotions, all on the promise of early release from their sentences.

Each ‘resident’ is introduced to a computer AI called nTrac (voiced by The Last of Us and Game of Thrones star Bella Ramsey), whose scarily friendly soft voice asks seemingly innocent questions of the youngsters. But they are soon forced to undertake team challenges, leading to the AI interpreting and analysing the results, as well as the personality of the people involved.

The film has a riveting first third, moving swiftly through each sequence with various intellectual ideas presented in an understandable way. Character motivations are slowly revealed with minimal expositional dialogue and there’s strong craftsmanship in the camerawork and lighting. The technical elements are terrific too with the integration of an array of special effects, cyber components and virtual reality elements.

Its story continues with the ever-distrusting Shawn creeping around the facility to investigate its strange atmosphere. And he’s also frustrated to hear about a shootout on the urban streets outside, with his own mother in danger. Yet the AI provides “evidence” of his and others’ non-compliance, rendering a scary amount of control and psychological anguish.

The Correction Unit successfully adds a few VFX shots too, in an attempt to take us to a near-future world with video signs, face-scanning lazers and digital security footage. On a personal note, there appears to be some real-life AI generated art sequences in the film which I could do without, but overall there’s enough effective post-production work to allude to a tech-filled dystopian society.

A bit of Minority Report and The Island, plus a lot of A Clockwork Orange and THX 1138 are included and appear to be the main influences - but it's very much a Midlands production with its own voice too. And as we barrel towards its conclusion, the antagonism between an oppressive regime (and its unwieldy use of technology) and a society’s freedom is explored candidly without ever becoming too hamfisted. And although there's a simplicity to its themes, nothing is ever at the expense of entertainment either.

A very impressive feature with a great pace, the tremendous filmmaking skills on display are anchored by wonderful performances from the large ensemble cast. The Correction Unit is as good as any local low-budget feature film you’re likely to see from the Midlands, and its energetic and expansive - and not overlong - runtime of 93 minutes results in a lot to enjoy throughout.

Yet, it also provides an array of first-class action sequences that mix well with engrossing dark drama - and it's all wrapped up in a neat sci-fi setup that will have your heart-thumping and your brain thinking long after the credits.

★★★★★

5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Review of Americana

Fri, 19 Sep 2025 07:58:27 GMT

Americana (2025) Dir. Tony Tost

A dollop of crime and American iconography permeate the first feature from poet Tony Tost who writes and directs this tale of Dixie-infused characters embroiled in a twisty plot of violence and theft.

In the dusty desert, Gavin Maddox Bergman stars as Cal Starr, a young boy who wouldn’t be out of place in a Wes Anderson movie given his precociousness. He’s obsessed with Native American history and thinks he’s the reincarnation of Chief Sitting Bull. As his “sister” tries to leave her abusive partner he refuses to depart “his people’s land” and she drives away to save herself.

Shockingly, with his historical headdress and his accuracy with a bow and arrow we see him finish off the disrespectful man before letting out a primal scream. Drinking a Coca Cola he then throws it on the ground, an irony not lost if you’ve ever seen “The Crying Indian” anti-litter advert of the 70s .

It’s this juxtaposition of modern America and indigenous culture that fills the film with culturally relevant topics but it’s not a heavy sermon. In fact, most of it is a straightforward crime drama that sees double-crossing dudes and dudettes get into a farcical sequence of confusion and money-grabbing situations.

Sydney Sweeney also stars, playing a waitress (and singer-songwriter) with a stammer. Paul Walter Hauser as a loser-in-love cowboy teams up with her after they hear about an opportunity to get their hands on a “Ghost Shirt”, an ancient spiritual garment that happens to be worth hundreds of thousands of dollars.

The film has a non-linear narrative where the situations are subsequently explained later in the tale and along with this Tarantino-style set up, we get chapter breaks and fast-talking criminals to boot.

However, despite some dark but gentle humour it's quite earnest and could do with a dollop of tongue in cheek b-movie nastiness or a hip soundtrack to add some energy. The second half picks up for sure but it can be as dry as tumbleweed at times.

The obvious slide guitar, ‘69 Dodge Charger (nodding to The Dukes of Hazard) and desolate landscapes are all great ways to explore its subject matter. The director has a background in poetry and his attempts to visually represent a mythical America is admirable if a little on the nose.

It also takes a pop at high society with an obnoxious dinner host man-splaining the Ghost Shirt before two burglars enter to steal the item.

Sweeney, who seems to have been in more movies than Pedro Pascal in the last few years, adds to her diverse filmography here. One which almost entirely avoids her famous “bombshell” reputation. And Hauser is as great as ever as the bumbling side-kick with a heart, the type he’s nailed down perfectly in his career.

Zahn McClarnon (seen in Fargo) plays a crime leader who also wants to get his hands on the expensive item. But he is mostly dismissive of his Native American culture in order to make a profit with his gang.

Speaking of Fargo, there are echoes of the Coens’ work with stories and characters eventually colliding, all infused with a comedic streak and sly comments throughout. I did laugh a number of times, yet the jokes are ditched towards the end as we get a big violent climax with standoffs, shootouts and deals to be done as everyone demands their cut.

The surprise of the film is Halsey, the superstar real-life singer who I have to admit I’ve never heard of until now (showing my age). Her resourceful rocker chick, with a secretive religious sect background, steals every scene she’s in and I hope she continues her acting career with interesting roles like this.

Americana ends as a bit of a messy Coens/Tarantino mash-up that wants its cake (apple pie) and eat it. It never really commits to a serious or comedy tone and doesn't quite stick it in a way that Coens would. BUT as a debut film, Tost clearly shows a talent for the genre whilst adding themes of appropriation and the darkness behind the American dream into the mix.

Those looking for a no-nonsense thriller with a smattering of outlandish humour should check this multi-character crime caper out for an entertaining journey into U.S.A. immorality.

★★★½

3.5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Hard-hitting sci-fi The Correction Unit set for release this Autumn

Wed, 17 Sep 2025 13:47:08 GMT

The Correction Unit is a new science-fiction thriller that is set in a near-future Britain where artificial intelligence, state control, and youth incarceration collide. 

And the filmmakers will be premiering their production on Tuesday 23 ^rd September 2025 at Nottingham's independent Broadway Cinema.

The film promises to offer “a chilling exploration of justice and resistance in an age of automation”. Set inside an AI-run rehabilitation facility, it follows a group of young people forced into a brutal correctional system. But when one teen dares to question the institution's motives, a rebellion begins to form, which raises urgent questions about control, empathy and human rights.

"It asks hard questions about the future we're building," says writer/director Derry Shillitto. "It's not just about punishment and control - it's about what happens to the most vulnerable in society when the most powerful embrace AI. It's a dystopian tale set in Nottingham, but the themes are global."

The cast includes Ziad Abaza (Spectre), Jonny Phillips (Titanic), Kirsty Smedley (The Devil Outside) and a breakout ensemble of local talent, including Sonny Middleton and Elleese Bradshaw as leads Shawn and Tish.

Newcomers Zak Hopkinson and Sonny Lake - known in the Midlands music scene as Slendz - deliver supporting turns, shaped by personal experiences echoing the film's themes.

Award-winning actor and Nottingham native Bella Ramsey voices the facility's calculating AI, nTrac - a role that hopes to adds psychological depth to the film.

An alumni of Nottingham's Television Workshop, Ramsey's involvement highlights the city's creative talent and brings global attention to the project, as well as giving The Last of Us star an opportunity to provide support and guidance to some of the film's younger actors.

The director adds, “We're so delighted and proud they chose to support a grassroots Nottingham production, and give some of the city's brightest young acting talents the opportunity to appear in a film alongside, as well as receive priceless advice from, one of the best acting talents Nottingham has produced."

Shot on location in Nottingham, The Correction Unit is a fully homegrown production and has been picked up for worldwide distribution by Vision Films.

Grab tickets for the premiere in Nottingham here: https://www.broadway.org.uk/whats-on/correction-unit-introduction

And for more information check out the productions website and socials:

Instagram: @foyleriverfilms

Tiktok @thecorrectionunit

Website: thecorrectionunit.com

Midlands Review of 507

Wed, 17 Sep 2025 08:11:26 GMT

507

Made by Isabella Odendaal, Laura Hardy, Ringo Chu and Tegan Page

2025

MetFilm Summer School Production

There are some great film education establishments around the Midlands including the Pauline Quirke Academy and the Midlands Screen Acting School and another one to add to the ever growing list is the MetFilm Summer School.

And it’s during one of their programmes that a new film called 507 was created. The 18-minute short opens with a woman lying face down on a plain white background. This is Eve (played by Sharni Tapako-Brown) who awakes dazed and confused from her coma wearing what looks like hospital clothing. Unsure where this “purgatory” is, she glances around at her predicament and runs into the void yet the white continues to envelope her.

But arriving suddenly is a well-dressed man (Stefan Davis as Adam) and I got echoes of the ‘construct’ area where Neo and Morpheus converse in The Matrix (1999) - including a couple of chairs too!

The man explains she is experiencing “Test 507”, the outcome of a global pandemic that saw a virus mutate to ‘become’ human and this experiment needs to access memory in order to prove she is uninfected. Failing to do so will result in her termination.

Using a nearby diary, Eve begins to read and experience flashbacks about a baby and a hospital which then makes her faint in confusion. Subsequently Adam is told by his superiors that this testing method is nearing the end of its lifespan and will come to a conclusion after this final examination.

The film has an interesting backstory given it was created during the summer school programme at MetFilm School in Birmingham. It involved four overseas exchange students (aged 15–17) who had never worked with a camera before and received a crash course in technical and creative aspects of filmmaking.

Within days, the four developed the story and script and by the end had learnt the ropes, shot the film and even completed post-production - with only just a little final help from a course tutor on colour grading. An ambitious fortnight for sure!

And so the film has to be viewed within this context. BUT in spite of that seeming limitation, the filmmaking is solid, script is good - basic for sure but very clear to understand - and the young filmmakers coax some great performances from the two leads.

With some sci-fi nods to THX 1138 and Total Recall’s memory-confusing plot, the main influence visually is clearly from The Matrix - the limbo land, religious symbolism, the green computer text and use of mobile phones. But the pupils have chosen well by borrowing iconography from such influential sci-fi movie to help them learn filmmaking ropes of editing, dialogue, plot and lighting.

The film does have some limitations though. Whilst the dialogue is filmed in an interesting manner, most of the film is two people talking and may not stretch their filmmaking learning with an absence of landscape/external shooting and more varied locations.

That said, we pick up the story with an exciting running scene and then our leads traverse a corridor of doorways leading to the patient’s memories. And credit where credit is due - the students Isabella Odendaal, Laura Hardy, Ringo Chu and Tegan Page do a tremendous job utilising their new skills during the short course.

Without spoilers, the film has an emotional reveal that discloses a more intimate relationship between Adam and Eve, which finally tugs on the heartstrings after a short mostly filled with rigid and stony sci-fi concepts.

In the end, if this is a first attempt at filmmaking - albeit with serious support and access to great equipment no doubt - then it’s very impressive. It’s simple (and should thank The Matrix in the credits) but you’ve got to learn somewhere. And filmmakers need to learn these basic principles to get a good grounding in filmmaking. And here in 507, with decent writing, a knowledge of the genre tropes and a sure footing in the fundamentals, they’ve created a superb sci-fi film of which they should be extremely proud of.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Review of Spinal Tap II: The End Continues

Sat, 13 Sep 2025 09:20:14 GMT

Spinal Tap II: The End Continues (2025) Dir. Rob Reiner

“These go up to 11”. Who would have thought that from a humble 1984 mock/rock-umentary - itself spun off from a 1978 sketch show - this quote from a dumb guitarist would become part of our global lexicon and beloved by millions. Even if you don’t know its origins, you know the phrase and it’s that impact that demonstrates Spinal Tap’s importance in comedy film history.

For those uninitiated, Spinal Tap is a faux (now real?) band comprising of Christopher Guest (as Nigel Tufnell), Michael McKean (as David St. Hubbins) and Harry Shearer (as Derek Smalls). The comedians and (very good) musicians play as an English heavy metal band whose self-important songs, calamitous tours and angry rehearsals were so recognisable by musicians it quickly became a cult favourite.

But like UK institution that is Alan Partridge, what started as a one-off fictional comic creation has moved into real-life interviews, live shows at Glastonbury and the Royal Albert Hall and follow up appearances across multiple media AND in multiple decades - all expanding upon the film’s regard over the years.

Spinal Tap II catches up with the band after a falling out 15 years previously. And each member now indulges in their suitably comedic new careers - phone hold-music composer, guitar/cheese salesman and glue museum owner (!) But an unfulfilled contract pushes them together for a final/comeback show to try and recreate their musical magic one more time.

The film’s structure mostly apes the style of the original with clips from the past (essentially the previous film), talking head interviews, fly on the wall studio, tour and rehearsal time and a smattering of silly songs from the band.

Off the bat, the film’s nostalgia is pushed pretty much to the forefront. The nods to previous events bring a warm sense of recognition and I can’t deny I loved spending time again with the band themselves. The actors are so good at their roles - and brilliant improvisers - that finding out about their new relationships and dynamics was a huge joy.

Yet, the film isn’t without its drawbacks. No, it’s nowhere near as funny as the original. Some scenes drag despite its short runtime and the celebrity cameos (Paul McCartney & Elton John in the main) raised a smile rather than huge chuckles. The handheld style has been toned down too with Reiner using a much more formal documentary tone which takes away some of the “reality”, but does fit with more modern fare.

But Spinal Tap 2 doesn’t shy from the passing of time and its relevance. Not just on the actors’ worn faces, but their careers, past glories and their place in a contemporary music industry. How they deal with podcasting, Zoom calls and staying in shape with studio exercise questions their significance today, but also play out as funny sequences in themselves.

However, it’s certainly not a serious comment on society by any means . Whilst some jokes are mild and a bit anachronistic, there are visual jokes, witty word-play, surreal situations and hilarious one-liners that kept the joke-count pretty high throughout.

Overall though, and I think this can be true of many films, I don’t think it will convert or even impress anyone that isn’t already a fan. The references to the past and ongoing career, means you have to watch (and probably be a big fan of) the original for a lot to make sense. And owing to an additional 40-year history on top of that, the film is self-referential and possibly impenatrable to newcomers.

But luckily I am a fan. A super fan. This Is Spinal Tap is one of my favourite films of all time. Definitely helped by my experience in a rock band throughout the 2000s. And this was definitely noticeable in my screening which was mostly 40+ male rockers.

So, love Tap? Go and see it. It’s not brilliant BUT most importantly, it isn’t a disappointing delayed legacy sequel. It’s not a Crystal Skull, Zoolander 2 or Matrix Resurrections (All terrible). That recommendation may not be enough for some but I breathed a huge sigh of relief when my first laughs came during the opening few minutes.

Spinal Tap 2 is a solid entertaining rock n roll creation that although doesn’t hit the lofty heights of the original comedy classic, is a fan-focused continuation of their musical odyssey. And contains enough familiarity and heavy duty humour to satisfy many of us older (and big-bottomed) groupies.

4 / 5

★★★★

Michael Sales

X @midlandsmovies

Midlands Review of To Be Frank

Fri, 12 Sep 2025 07:20:26 GMT

To Be Frank

Directed by Steve Baker

2025

Benbini Baker Productions

Leicester native, singer and multi-instrumentalist Frank Benbini is a busy man, and Steve Baker’s documentary, To Be Frank, is quick to highlight this. From Uncle Frank, his collaboration with his younger brother, Darryl, and Niam Cortazzi; to drumming duties with Fun Lovin’ Criminals; touring with Deborah Bonham, sister of the legendary Led Zepplin drummer; playing with UB40; and putting out a series of reggae Prince remixes under the name Radio Riddler.

The first half of the film, which was ten years in the making, in part due to the Covid pandemic, spends a lot of time on this. Quickly jumping from Frank’s early life in Leicester to joining Fun Lovin’ Criminals. Frank is an affable subject, with an easy-going demeanour and he rattles through his influences, and his very accepting parents who nurtured his early drumming skills.

But for a film that claims to go in-depth on the highs and lows of a career in music – the opening monologue highlights the fact that musicians, and anyone in the creative world, has to continuously give everything they have to it – there’s little substance to the first half.

It jumps too quickly. One minute Frank is a teenager starting to play bands; the next he’s recording an album in America with Babygenius; then tracking drums with Fun Lovin’ Criminals and departing on a world tour. This latter event didn’t happen until Frank was nearly 27 and means we’re missing nearly a decade of his music career. Arguably the decade that would be the most informative for those trying to break into the industry.

Perhaps due to the break caused by the pandemic, there’s some pacing issues at the start. These changes are through no fault of the filmmakers, but the added scenes feel squeezed in amongst a more cohesive narrative. Another run through the editing suite could have helped fix this, as well possibly cutting a few minutes off the runtime which is filled with montages often from the same music videos and tours.

However, in the second half, there is more substance. Frank, as well as his friends and family, talk openly about the impact of Covid on the independent music scene and the closure of venues across the country. He also discusses his struggles with anxiety and is frank about his previous drug use and how this may have exasperated his mental health issues.

It's a saving grace for the film, not because we want to hear about someone suffering, but because it provides more than a simple rundown of Frank’s career. It highlights the toll that the constant high of touring and playing music, followed by the lull in-between, can have on a person.

In the end, To Be Frank, is entertaining but ultimately falls a little short. There are mentions of Frank’s harder personal qualities, such as a fiery temperament, but these are set aside. This is a film that carefully walks a middle line; there’s a lot of information on Uncle Frank – his most personal project – and Radio Riddler, but little on the other bands he’s played with.

If this is a look at breaking into the music business and carving a sustainable career, then it sadly overlooks some those vital early moments in Frank’s life. Someone with his level of industry experience would be a big font of knowledge for adapting to a world of streaming, for organising tours and recording sessions, for getting your foot in the door. Here, we just take a look behind the curtain at someone who has already done it.

★★½

2.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Midlands Review of Arcade 1987

Wed, 10 Sep 2025 09:10:23 GMT

Arcade 1987

Directed by Lee Dilley

2025

Klas Act Productions

A suitably pixelated retro computer font opens Arcade 1987, a new 10-minute short from writer-director Lee Dilley which takes us back to the long lost days of 80s video game arcades.

Complemented by an equally suitable synth score, we get to see two youngsters who sneak their way into an arcade filled with the most famous coin-ops from the era. Sherry (Jemima Newman) and Goggs (Leo Harris) wander past the legendary Paperboy, Pac-Man, Space Invaders and many more game machines before we find out the young boy is going to teach the girl to become a 'games master’ to win a video game competition. He’s unable to compete owing to a broken arm but hopes to help Sherry win an upcoming battle.

As a child of the 80s (I’m showing my years now) the production has brilliantly, and accurately, recreated the vibe of the decade with great props, design and wardrobe. BMXs, film posters and the 8-bit electronica music filling in the background help create a world of recognition and nostalgia for us fogies. Whilst it also serves visually to help to bring a younger audience into this fun world of the past.

The two actors do really well with a script that is a little on the nose with exposition coming through the simple, yet admittedly unfussy, dialogue. Given it’s a short film, there’s a fine balance to get the info over quickly yet not outright state the plot, motivations and plans directly to the audience through a conversation.

But with echoes of The Last Starfighter (1984), modern retro-infused shows like Stranger Things and perhaps most of all The Wizard (1989), the love for all things 1980s is on display throughout. Further references to Thundercats and the use of 80s-track Push It to the Limit during a montage again successfully reference the style and music of the time.

Even though the song is a perfect accompaniment - Wikipedia shows it’s been used as a montage soundtrack across dozens of media titles - a little reminder to local productions about copyright usage here. Ditto the use of The Pixies song. Granted it's a difficult balance here given the need for song recognition from the era but feel a local composer or band could ape the style relatively easy. �� Even Rocky had a montage ��

The filmmaker has intentionally created the film as a proof-of-concept for a longer feature which is a great idea to attract support, market test the industry waters and also get filmmaking experience with a fully-fledged and completed short into the bargain.

Will J. Carman’s stunning cinematography is as good as any local short you’re gonna see and the story develops with the arrival of a couple of trad-bullies who provide a villainous counterpoint before the whole thing leaves us on a Yes/No arcade game continue screen.

Despite some areas for improvement, the short is a gorgeous-looking film whose drawbacks are mainly due to it’s nature being a scene from the middle of a longer feature movie concept. And because of this, sometimes its context is a little strained given that it has to do so many things at once.

However, Arcade 1987 does provide a satisfying and lovely walk down retro-alley with its warm throwback nods to images, sounds and vibes from a dayglo decade remembered fondly by many. And hopefully it’s not game over either for the filmmakers in their goal to level-up and complete the full feature they plan to. I'll be the first to insert extra coins if they do.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Upcoming short Personal Growth launches trailer and crowdfunder

Fri, 29 Aug 2025 13:39:03 GMT

Something Is Growing... And It Needs You.

A new Midlands short film Personal Growth aims to explore the lingering effects of grief and how not processing these feelings can lead to complications further down the line, asking what does this grief manifest into?

Writer-director Andrew Rutter grew up in the Black Country and is already on the Midlands radar with a string of award-winning short films including Peter the Penguin and 2021's The Front Door ( our review ).

And this new film from the filmmakers follows a man named Paul, who after suffering a recent bereavement discovers a human growth poking halfway out of the grass in his garden.

After calling a specialist for it to be removed, Paul is left with a dark empty hole that threatens to confront him with the things he'd prefer to keep buried. A cautionary tale of not tending to your garden.

Supporting Andrew and the project is Lauren Parker - a Nottingham based producer with her company Kato Pictures whose recent shorts include the Creative England/ BFI NETWORK supported Wash Club which premiered online with Short of the Week and received a Vimeo Staff Pick.

As part of their Kickstarter, the project is looking for support with all aspects of production but especially practical effects. From strange growths to a living and talking tree, the team promise "plenty of ooze and blood alongside some haunting imagery and even puppetry that will stay with you long after you leave the cinema".

The team are also delving into VFX to push their effects even further and will even be using virtual production for our grand finale which is the technology made famous in Disney's The Mandorlian.

"We’re really pushing the scale of the effects on this project and want to show the industry that large scale projects can come from the Midlands", adds Lauren.

In the past, the team behind the film have been commissioned by Disney and the BFI and their films have played at top film festivals around the world from BFI London Film Festival to LA's Palm Springs Short Fest.

Lauren adds, "Our work has also been screened on BBC 2 and the Horror Channel and we hope this project will see the same success if not more".

And you can check out Personal Growth's early trailer above and you can help support the production via their Kickstarter right here

Collective Acting Studio opens part-time school at Midlands Arts Centre

Fri, 29 Aug 2025 10:49:37 GMT

A new leading actor-training provider for underrepresented groups is expanding to Birmingham and is currently recruiting for September 2025 cohort.

Collective Acting Studio is the UK's leading provider of actor-training for students from underrepresented groups and has announced the opening of its highly successful Part-Time School in Birmingham this September.

The new programme will be based at the Midlands Arts Centre and is currently recruiting talented actors to join its inaugural Birmingham cohort.

Founded on the belief that artists have the power to change the world, Collective Acting Studio's mission is to help amplify fresh, new voices to help rebalance our society. And tThe Studio champions actors from traditionally underrepresented groups, providing access to the highest-quality training regardless of financial background.

A Proven Track Record of Success

Actors who are part of the Collective have gone on to work in Hollywood films, on Broadway, for the National Theatre, in the West End and in series for Netflix, Apple TV, HBO, BBC, ITV and Channel 4. The Studio's comprehensive approach combines rigorous stage training with a strong emphasis on screen acting, preparing students for the modern entertainment industry.

"We believe that society is fundamentally unfair," said Paul Harvard, Founder of Collective Acting Studio. "Our mission is to empower actors from underrepresented groups because we know that storytellers have the power to change our world. We're excited to bring this transformative training to Birmingham and become a force for good within the city's amazing existing artistic community."

And the collective has a strong commitment to making high-quality training accessible across the UK.

How can I sign up and find out more?

Collective Acting Studio is actively seeking passionate, talented actors to join their first Birmingham cohort. The Studio welcomes applications from actors of all experience levels, focusing on raw ability, potential, and commitment to community building.

Prospective students have three pathways to join:

Apply directly through the studio's website
Attend a £5 taster session on Monday 8th September, 6:30-8:30pm at Midlands Arts Centre
Schedule a personal consultation with founder Paul Harvard

Financial Support Available

True to its mission of opportunity based on talent rather than income, Collective offers comprehensive financial support including scholarships, bursaries, fee reductions, and flexible payment plans to ensure no student misses out due to financial constraints.

About Collective Acting Studio

Founded by Paul in 2022 to make our society and industry a fairer place, Collective Acting Studio provides access to the highest-quality training for actors from underrepresented groups. Based in London's Finsbury Park, the Studio has quickly established itself as a leading voice in inclusive actor training, with graduates working across theatre, television, and film.

For more information about Collective Acting Studio's Birmingham Part-Time School:

Website: collectiveactingstudio.co.uk
Email: paul.harvard@collectivestudio.co.uk
For taster session - book here .

Midlands Review of Derelict

Thu, 28 Aug 2025 08:08:59 GMT

Derelict

Directed by Jonathan Zaurin

2024

Opening with heartwarming family home movie footage, the goal to return to such a happy, and colourful, place of comfort is the main driving force of new Midlands-made thriller Derelict.

Yet the film soon switches to compelling black and white cinematography, portraying the far more dark and lonely world of Abigail (Suzanne Fulton), a woman who is mourning the loss of her father.

One night stands fail to fulfil the wounds she’s suffering and the stress of living on a gang-filled estate add to her burdens. Compounding her woes is the discovery that she and her sister have to face the news that the man possibly related to her father’s death is soon to be released from prison.

Derelict opens with a good mystery premise. A death, and possible murder, is set up efficiently at the start and characters’ motivations established well but with room for the hidden aspects of their personalities to be uncovered as we go along.

Away from Abigail’s tale, Ewan (Pete Bird) is the man exiting prison and is a firecracker of cockiness, whilst we find his sibling Matt (Michael Coombes) is much more reserved and timid. Despite Matt attempting to avoid the criminal life, he is drawn back into a shady world on the return of his brother who also shames and belittles him.

The three main characters’ lives are edited well together with flashbacks and scenes coming out of order. But these are also clearly signposted as we switch from black and white to colour. This helps establish both time and place, but also represents the characters’ emotions and states of mind.

As Abigail gets accosted by thugs on the estate, we intercut to see Ewan and his crime buddies throwing homophobic slurs and accusations (and later far more serious assaults) at his brother and his friend in toxic displays of bullying.

These hard-to-watch scenes are one of the less engaging parts of Derelict, especially as we spend extended periods with wholly unlikeable characters, with much of their screen-time shown tormenting others. This negatively stretches out the film’s length and we see these character traits and motivations reestablished again and again which often felt like treading narrative water.

And Zack Snyder would be impressed by the extensive slow motion. Some of it used well to create intense focus, while other sequences feel sadly more like filler.

But as Abigail continues her destructive actions, she also attempts to seek revenge for her father’s death. And at the same time we find increasing sympathy for Matt, who is shown helping his ill mother, but can any of these people turn their lives around?

Shot around Hereford, the cinematography is the stand out aspect. The fantastic camera movement is exciting and visceral, shadows and silhouettes give it an engaging visual style and the colour (and lack of it) provides a strong visual (and narrative) metaphor.

The film explores a host of uncompromising themes too. Does violence beget violence? How do we deal with guilt, revenge and redemption? And the director also shows the effects of drug use and violence throughout. Abigail attempts to secure a gun and we see what she is willing to do to get it. The depths people will go to in desperation is a robust idea but there’s an argument that the endless grotesque darkness is excessive and overdone.

Whilst Abigail is shown out of her element in this tough world, the film hints upon some positive actions with a helpful neighbour and a variety of characters trying to encourage those involved to avoid this seedy life.

As we hit the third act, we finally get a flashback that fills in many of the narrative mysteries established, and one which provides a mostly satisfying conclusion with hints at the possible alternative paths characters could have walked down.

For me somewhere in here is a 1 hour 35 minute tighter cut that has a bit more impact and pace as there was a middle-act lull, some repetition of already established aspects and scenes were often lengthened to their absolute breaking point.

However, Derelict uses the extensive creativity and depth of its amazingly talented cast - who all deliver intense and believable performances throughout - to examine a host of thought-out themes. And Derelict is never short of subjects to explore, which helps make it a rich and exceptionally well-shot drama showing how people search for place and meaning in an unpleasant world often outside their control.

★★★★

4 / 5

Michael Sales

Derelict is set to arrive on digital 1st September 2025 from Miracle Media and Blu-ray 22nd September 2025 from 101 Films.

Midlands Review of All Eyes on You

Tue, 19 Aug 2025 15:22:09 GMT

All Eyes on You

Directed by Ted Clarke

2025

Apollo Productions

Can you ever really shake the prying eyes and demons of your past? Well, this fascinating question is posed by a new drama from Ted Clarke in the form of his 20-minute short All Eyes on You.

We follow couple Adam (Callum Richard Parker) and Claire (Laura Nock) who drive up to a suburban home that Adam has inherited from his family to start a new life together.

Settling into their new abode, they are welcomed by the Hawthornes - an exuberant couple from next door who have an air of creepiness behind their uber-friendly greeting. And here we get the first glance that all is not well in this close knit community, as later the couple face a possible intruder before a walk in the park leads to Adam accusing a photographer on a bench of taking photos of them.

Why the paranoia? What’s going on? The film sets up this mystery well and with the addition of some nighttime flashbacks, the strange circumstances leading to this situation begin to be more heavily hinted upon.

With their paranoia (or is it?) rising, they continue to witness strange occurrences with a suspicious car and people standing at the end of their driveway in the dark. With these sightings stacking up, the couple confront “the driver” who turns out to be blind.

All Eyes on You certainly has an intriguing premise and the technical elements are also superb. There’s a great piano score from (2025 Midlands Movies Awards nominee) Thomas Pearce whose work we’ve enjoyed before in local short Suspect ( our review ).

In addition to the sound, the visuals are also top-notch with very well composed shots by cinematographer Ollie Killip. The images are varied and keep your eyes darting around the screen to spot various “watchers”. Even background characters turn their head to glance at the couple, which is a great addition. It creates a very unsettling vibe and means it’s perfect for a rewatch too, as you’ll no doubt notice even more on a second viewing.

The script is sadly a little on the nose. Lots of information is shared via expository dialogue. We get told of a tight-knit community, an inherited home, and the line "who could that be?" when there's a knock at the door. It’s not needed as all of this is well established using the visuals and storytelling. So it’s very much redundant. But the two excellent leads do well with the material nonetheless, infusing their characters with believability despite the peculiar circumstances.

And it’s a minor quibble, but I do think the horror-infused poster of the film does a bit of a disservice to the short’s in-depth and interesting themes, looking rather like something from a 70s low-budget slasher.

That said, the story continues to captivate the attention with the teasing of a dark secret in the couple’s own relationship. Claire’s ex Jack is portrayed as a nasty individual, but the film constantly obscures what any real revelation may be. I have my ideas but I wouldn’t want to spoil it here as it's best going in "blind" if you plan to watch it.

There’s further cinematic touches with the appearance of moths - which gave it big “Buffalo Bill” vibes. Whilst the animal often symbolises change, it can also represent a warning against being consumed by something potentially harmful. Hmmmm...

Another well-framed shot implies the couple are caught in a “prison” and there also seemed to be influences from a number of voyeuristic and strange neighbourhood films including Hot Fuzz (2007) and The Burbs (1989). It also reminded me of Alex Garland’s Men (2022), Watcher (2022) and most of all, Vivarium (2019). The latter three all making my top 20 so the film’s themes were certainly (pardon the pun) up my street.

The film comes to a (somewhat ambiguous) ending that allows the audience to draw many of their own conclusions about the community and its voyeuristic symbolism. The couple’s past even leads us to question what may be real or imagined - perhaps stemming from a sense of guilt given their previous life choices.

When released, I'd encourage everyone to go out and “take a peek” at this first-rate and very gripping paranoid-infused short film. And from an oppressive sense of paranoia to exploring hidden mysteries, the unsettling nature of a seemingly idyllic town means All Eyes on You will keep you engaged from the start as it slowly reveals its own dark secrets.

★★★★½

4.5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

New Birmingham Action Film to Kick Off Midlands Cinematic Universe

Tue, 12 Aug 2025 19:17:28 GMT

If you search for Venomous Viper on social media, you’ll find a 1min 50sec teaser that has accrued over two million views. Starring Mandi Sidhu, a London-born actress who has starred in several Bollywood productions including Love Aaj Kal and Zindagi Na Milegi Dobara, the short teaser shows the titular assassin prepare for her latest target.

It's a combination of creator Baz Kannan’s British and Asian heritages. The music, put together by Tharun Musicals, takes influence from Bollywood soundtracks, while the visuals, handled by Baz himself in a director, producer and VFX role, invoke the bright, superhero franchises that have dominated the big screen in recent years.

This is no accident. Speaking to Baz, he says that this is the start of his own Kannan Cinematic Universe (KCU). Having worked in post-production, both as an editor and a VFX artist – Baz handled effects work for Rory Rawson’s Letters From Space, nominated at the 2025 Midlands Movies Awards – he tried his hand at producing and directing his own work, starting with fan-films based within the Marvel Universe.

“I love Marvel, so wanted to try and see how far I can go with visual effects,” he says. “Then, I wanted to try and build a franchise of my own.”

While Marvel was the initial inspiration for Baz starting the journey, the ideas for Venomous Viper came from closer to home. “The first idea came from a series of personal experiences I had during the pandemic,” he explains. “We couldn’t go out and I ended up getting involved with online ‘self-improvement’ groups.”

He says that he realised quickly that these weren’t altruistic schemes, but a way for so-called life coaches to financially exploit people.

“They were exploiting the insecurities of men and perpetuating, toxic masculinity, ideas which contributed to issues like misogyny. It made me wonder, what if there was a story about someone who had been negatively affected by these ideologies. Someone who had been hurt by these Andrew Tate-style influencers, and who then fights back against that movement.”

To this dark, very real scenario, Baz explains that he added inspiration from video games, such as Hitman and Watch Dogs, to provide the action orientated story and the hacking elements. “It was pairing this idea of a female hitwoman, an Asian Agent 47, and putting them against that movement. A fight for justice.”

The teaser was shot in Birmingham and Baz hopes it will drive interest in funding the subsequent short and feature length versions of the story, with a view to start filming these in 2026 when funding is secured.

Baz says that having Mandi on-board and enthusiastic about the project is helping to drive conversations around the film, as will the focus on Asian culture, Birmingham and West Midlands in general. “I feel like the Midlands is underrepresented in mainstream films, and it would be great to pull together a local crew to make this happen. With a project this ambitious, any help is always appreciated!”

Watch the teaser trailer above and follow the progress of the film on social media at https://www.instagram.com/VenomousViperOfficial

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90

Midlands Review of Nothing's Impossible

Sun, 10 Aug 2025 18:02:05 GMT

Nothing's Impossible

Directed by Jacob T McClean

2025

As someone with epilepsy - yup, that’s a fact - I was intrigued to watch Nothing’s Impossible - a new documentary that provides a portrait of people who have epilepsy with a particular emphasis on friends and family members who are around those with the condition.

To add a personal touch to such a broad condition we are introduced to the Wilson family and each family member. And amazingly these are all in fact the assistant director’s very own family, mainly focusing on Ashley Wilson, a heroic father who sets out to prove that he won’t let the disability define him.

From a young age, the children witness their dad have regular seizures but the family do their best to protect each other. They share their past stories including how the condition was explained to the young children (“gremlins” mucking about with wires - oh how true!) as well as the more serious accidents and falls that often injure epileptics.

And for me, that includes cuts and bruises, muscle pulls, stitches in my eyebrow and root canal work on front teeth. Oh it’s fun :D

But this leads to a refreshing angle it takes - and one that hits very much home for myself - which is the positivity around the family. Not just supporting each other but allowing themselves to laugh even when times are tough.

However, it’s certainly not all smiles. The documentary also has very emotional and sad moments. It’s not easy to cope seeing your loved ones in so much pain and this story will bring tears to your eyes as the family shares their most intimate history together.

As someone who was diagnosed quite late in my 30s, it was eye-opening to see the childhood effects which the documentary is very open and honest about. It doesn’t shy from the struggles faced by the kids from such a young age.

Described as “his midlife crisis”, the thrust of the story then moves from the family’s life to Ashley’s plan to to row 3,600 miles across the Indian Ocean. From Australia to Mauritius, the ginormous task was also helping raise money for charity Young Epilepsy. However, that too had its own setbacks with storms, SOSs and an ocean rescue and the family are still grappling with the ongoing issues to this day.

The documentary itself is a mix of talking head interviews, news footage and family photos - and at 45 minutes is the perfect length to get into the issues. It goes into some depth but it's also incredibly accessible and relatable for those with less knowledge or experience with epilepsy.

The documentary has been made with good intentions too. The music licensing being all free of charge courtesy of ‘VC Pines’ - an epileptic singer whose music is inspired by his own experience with epilepsy and it's a fantastic addition.

In the end, for a “local” film, the production’s quality means it could easily be a special on television, such is the professionalism in the filmmaking. But what really stands out is the Wilson family themselves. Whether Ashley’s own strifes with epilepsy, or the rest of the family’s strength to withstand everything the condition throws at them.

Nothing’s Impossible ends as an inspiring, candid, informative and of course very sad documentary at times. But, it also hints at a lot of joy too. It makes a more than dignified case to make the most of our limited time, value our loved ones and don’t let anyone or anything constrain your life goals. An absolute must-see.

★★★★★

5 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Review of Weapons

Sat, 09 Aug 2025 11:31:55 GMT

Weapons (2025) Dir. Zach Cregger

Like many others the first time I heard of Weapons was from the public fallout of its bidding war which resulted in horror maestro Jordan Peele parting with his mangers. With such tensions brewing and the prior success of Cregger’s Barbarian, the narrative was set in place; Weapons was going to be a monumental entry into the horror canon of the 2020s.

And now that the day has come what’s the verdict? It’s incredible albeit difficult to praise too in depth without spoilers. Weapons wears its influences on it sleeves without ever feeling like a pale imitation but rather becomes a fresh thrilling couple of hours in a genre founded upon such anxiety. Citing Creeger’s own comments, Weapons can best be summarised as what if Magnolia was a fairy tale with a sprinkling of The Shining for good measure. As much as it pains me to not be able to divulge further in, I’ll vaguely remark that the film would make a perfect ironic double bill with a certain children’s horror film classic – those who have seen it will know exactly what I’m on about.

It feels fitting to first address the voiceover narration that bookend the film, immediately evoking the fairytale nature I mentioned. What I think is great about this narrative choice for audiences is that it gives audiences an immediate discomfort and overarching unease. Exposition is fleetingly brief as we are thrown into this sudden crisis with this Pennsylvanian town while immediately alerting us of an incoming dread; after all, all fairy tales must encounter some threat to overcome.

It’s Hitchcock’s classic suspense-bomb analogy; by framing the mystery within this context the horror can prey more on this growing paranoia over an unpredictable yet inevitable metaphorical explosion. The Magnolia influences at work in Cregger’s screenplay solidify this emphasis on suspense. Like how PTA used multiple perspectives to build towards a grand emotional catharsis, Cregger is able to use multiple perspectives to gradually drip-feed revelations that unveil the truth behind the central mystery. Each perspective recontextualises past questions and as the “bomb” becomes less abstract our sense of dread only thickens.

While so many weaker horror films would place emphasis on the shock of its scariest moments, Weapons is more concerned about the gaps in-between that allow its characters to be fleshed out, for the agony to linger rather than immediately dissipate, to allow the themes to influence the action and not the other way around.

Returning to Magnolia for a final time, the film similarly ties the epic approach with a palpably personal story. Following the unexpected death of Cregger’s comedic partner Trevor Moore, he said in interviews that he felt compelled to write the film and I think these overarching themes of grief and delirium strengthen the ensemble narrative and vice versa.

While like PTA, I can imagine Creeger getting criticised as being “too self-aggrandising” and so forth I think that in the case of Weapons this structure allows the film to pursue its subject matter to otherwise unfathomable heights. These themes I briefly mentioned manifest differently in everyone and broad tragic events are never just a single person’s story. Multiple narratives serve to elevate the suspense but also the complexity of such an issue when people are going to clash either indefinitely or until as satisfying a conclusion as possible can be reached.

The entire cast are perfectly balanced – no main performance distracts from another and instead exist in harmony allowing the necessary angles of each character to be highlighted. Further elements of film form like cinematography and sound are also impeccably balanced. They both consistently elevate the eeriness without becoming excessive while similarly the mise-en-scene does an incredible job at putting the audience into a position of weakness. Some of the most effective shots in the film can be locked off ones that render us incapable of escape.

While the ambition and expectations may not work for everyone, I think with enough time Weapons is going to be fondly remembered as a classic horror epic. The film goes beyond the typical modern horror movie with a greater substance that never comes at the detriment of strong scares.

With the news of Cregger working on a new Resident Evil film already promising new opportunities for one of horror’s current biggest names, I hope Weapons is successful enough to prove original ideas within its budget can keep a home on the silver screen. It’s been a good while since a horror left me on the edge of my seat like this, a sentiment I’m certain will be shared.

★★★★½

4.5 / 5

Will Knowles

X @WillKWriter

https://letterboxd.com/WillKWriter

Review of When Evil Lurks

Wed, 06 Aug 2025 11:31:20 GMT

When Evil Lurks (2023) Dir. Demián Rugna

Demián Rugna’s follow up to his cult classic Terrified (2017) gets the special edition treatment from Second Sight. When Evil Lurks was originally released in 2023 and showcased that Rugna had lost none of his ability to create shocking, uncomfortable horror sequences.

Rather than a series of vignettes like in Terrified, he weaves some of the most disturbing sequences in recent memory into a 100min narrative, that subverts a lot of possession tropes and brings with it paranoia, fear of infection and a genuinely grotesque villain.

All these points about the various genre beats are nicely covered in a brief video essay on the disc, presented by Mike Muncer (perhaps best known for his podcast The Evolution of Horror) so I won’t linger on this too much.

Brothers Pedro and Jimi (Ezequiel Rodríguez and Demián Salomon) come across the brutalised corpse on the boundary of their farmland and their neighbour’s. The body is that of a cleaner; someone capable of destroying a rotten, a person possessed by an unborn demon.

There’s very little context other than this, but we quickly understand why these rotten are so dangerous. The practical effects on the possessed man are incredible, but also stomach churning, and after a gradual build up in tension for the first 20min, all hell breaks loose. Rugna is willing to throw everything at the audience, including incredibly realistic animal attacks and multiple children getting mauled, or doing the mauling.

The middle section of this film is near unmatched with its ability to surprise and disgust, with the writer/director leaving little to imagination, and leaving utterly no doubt about the threat that the rotten pose. It slows down significantly for the final half hour, when Pedro and Jimi, along with their mother (Paula Rubinsztein) and Pedro’s children, Santino (Marcelo Michinaux) and Jair (Emilio Vodanovich) find themselves hiding out at the home of Mirta (Silvina Sabater). She is a cleaner as well, and says she will help the pair find the original rotten and destroy it before the unborn demon can be brought into the world.

The sudden shift in pace isn’t a bad thing, although some of the long exposition could have been trimmed slightly. Details of Mirta’s past erase some of the mystery that added a lot of tension to the start of the film. There’s also the very uncomfortable link that Rugna makes between severe, non-verbal autism and possession – something that smacks of when every schizophrenic character had to be possessed, or evil. You have to hope that neurodivergence doesn’t become a shorthand for horror in the same way that mental illness often has been.

Still Rugna does just about pull off the ending, resulting in a seriously bleak conclusion that leaves little hope for the inhabitants of this universe. This is a film that carries itself with aplomb, drawing the audience in so completely that they never stop to question the events, and presenting horror images that will no doubt become iconic.

Second Sight have done a good job here with this edition, though as the film is only two years old there was no work to do with the transfer as such. Still, it looks and sounds incredible. The fact that When Evil Lurks is such a modern edition to the label’s collection also means that it is a little lighter on special features than some might hope. Alongside the aforementioned video essay, there are the typical interviews with cast and crew, and a new audio commentary from academic Gabriel Eljaiek-Rodriguez.

The limited edition gets photocards and a 120-page booklet with new essays about the film, along with Second Sight’s typically high-quality slipcases.

★★★½☆

3.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Second Sight Films presents When Evil Lurks - released on Dual Limited Edition and Standard Editions 4K/UHD and Blu-ray on 28 July 2025

Midlands Review of Fanmail

Tue, 05 Aug 2025 09:17:26 GMT

Fanmail

Directed by Sean Fisher

2025

Opening with a guitarist head-banging on stage as he solos on his "axe", Fanmail tells us of a young rocker called Eric who hopes to make it big in the music biz.

An interview with a local radio station frames the story as we flash to a moment when Eric runs into one of his heroes (Archie) in the street and we find out the “stadium rock” event was at a local community centre.

As Eric jams at home, he becomes increasingly frustrated as he sees his big-haired persona constrained by the small town he lives in.

Checking his post each day he eventually receives a letter from Archie - whose earlier encouragement on the street seems to have changed to a harshly-worded take-down of Eric’s dreams.

These letters continue from his idol whose insults get worse and worse but there are hints that maybe these things aren’t as true as Eric’s view is making out. And after a barrage of similar correspondence, this constant mockery leads to a violent outburst and we realise the true predicament Eric’s got himself in.

Style wise, Fanmail seems a good template for the handheld style seen in other fly-on-the-wall music docs - both real-life and parody. However, there’s a fair few bits of static camera work which is detriment to the film’s energy.

And surprisingly, there’s also quite an absence of sound for something so music focused. There’s hardly any background tunes (or the radio) within scenes - and Eric doesn’t have music playing in his rock-poster covered room which seemed a little odd.

It would be easy to convey some of his frustrations with a couple of audio tracks that match his state of mind. This could replace many of the things we get told by him via dialogue as he speaks to himself. Alternatively, a background score could add a bit of atmosphere too.

Ryan Thomson does well with the material but this could be heightened with some of the technical tweaks mentioned above. But overall, with some of the areas smoothed off, there’s plenty of promise here for future projects from the actors and crew.

That said, the film moves from a musical parody of sorts into a much more serious place with later revelations recontextualising the events we’ve seen unfold. Without giving away too much, the radio interview is more of an interrogation and even Eric’s hair now seems to less represent a rocker than it does a person rocking back-and forth now dealing with inner demons.

With the long-awaited Spinal Tap sequel finally arriving this year in cinemas, there’s probably no better time to release something similarly rock themed. However, Fanmail takes a far more serious look at the price of fame with its good central idea and its well-intentioned disturbing tone slightly undermined by a rough and ready production.

★★★

3 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Midlands Review of Bovine Comedy

Tue, 05 Aug 2025 08:24:20 GMT

Bovine Comedy

Directed by Nicholas Tuck

2025

A new comedy film comes from the Midlands this month courtesy of filmmaker Nicholas Tuck who has used the region’s farming history as the basis of his latest short.

Despite Bovine Comedy starting off by explaining the toil farmers go through to undertake their work, its solemn opening contrasts with its main premise which spins off into surrealistic territory quickly.

Here we are introduced to William (Hugh Blackwood), who plays one such put-upon farmer from Small Heath in Birmingham, who tries to dispel some of the myths around the trade. His goal? Well, he aims to make a cow laugh. Well, quite.

His research kicks off with reading Commedia Del Arte, but he goes on to tell us how the cow wasn’t into Italian humour. Surprisingly, the language being the main barrier to their enjoyment.

The cow itself is played by Molly Wood in essentially what is a fancy dress - albeit well-designed - cow outfit. Think pantomime horse but for a single person with the ramshackle costume playing into the short’s surreal style.

With observational humour, vaudeville, physical comedy and many other attempts sadly not hitting their mark for the intended chuckles, William continues his efforts and tells us of his funny father who emphasises the difficulty of getting a cow to laugh. And yet despite these constant challenges, William keeps track of his funny ideas in his notebook with a determined optimism to achieve his goal.

The film itself is shot with glorious black and white visuals and with the ropey animal costume, it definitely had an air of the recent, and excellent, Hundreds of Beavers movie.

Tonally though, it’s very different as it avoids that film’s pratfalling silent comedy for a more deadpan tragicomedy style. With the humour deriving from the sincerity of the farmer’s quest. And the voiceover style adds a quasi-documentary feel, which heightens the short’s ludicrousness with a straight-laced approach.

A quintessential Midlands film, the humour feels local with Blackwood’s warm Brummie accent shining through. It’s also surprisingly beautifully shot with Connor Wells’ photography capturing some fantastic rural landscapes and a host of well-composed shadows amongst the bizarre premise.

With a unique perspective, the short will definitely stand out on the festival circuit with its irreverent and unusual humour, and even if a cow can't raise a smile then this film will still provide plenty of livestock laughs for a real-life comedy audience.

★★★★

4 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

Review of Bring Her Back

Mon, 04 Aug 2025 11:40:51 GMT

Bring Her Back (2025) Dir. Danny and Michael Philippou

If their stunning debut, Talk to Me (2022), used possessions and hauntings as representations for substance abuse and grief, in Bring Her Back Danny and Michael Philippou double down on the generational trauma that can be caused through grief. The result is a thoroughly disturbing horror film that never resorts to jump scares and instead releases tension through a series of horrifying body-horror moments.

Andy (Billy Barratt) and his partially sighted stepsister Piper (Sora Wong) are sent to live with Laura (Sally Hawkins) after the death of their father. Very quickly, their grief goes head-to-head with Laura’s, whose blind daughter Cathy drowned in the pool. Andy also clashes with Laura over Oliver (Jonah Wren Phillips), another foster child in the house, who Laura says is selectively mute.

This initial tension does a good job of hiding some of the hints of what’s to come. We’re aware, due to conversations with Andy and Piper’s social worker (Sally-Anne Upton), that Laura only wanted Piper in the house. It’s also revealed that Andy has previously lashed out and is considered a troubled teen. The clashes, therefore, do not seem out of the ordinary but it isn’t long before things take a much darker turn.

Without spoiling too much, Laura is not interested in raising foster children; instead, she needs hosts for the spirit of her daughter. Oliver is currently possessed by a demon which will enable this, and Piper is set to be sacrificed as the final part. Her run-ins with Andy are designed to undermine his own abilities as a guardian to Piper, and to remove him from the house so that her plans can go off without a hitch.

Hawkins in incredible as Laura. Her grief is palpable, always bubbling just under the surface, and provides enough motivation to keep the audience from fully turning against her. It’s hard to fully grasp how difficult losing a child must be – especially in circumstances where it would be easy to blame yourself – and so even as Laura actions become more extreme, the film never villainises her.

This is helped by the fact that Andy isn’t a run of the mill teen protagonist. He has done bad things in his past; things stemming from his own complex relationship with his abusive father. Barratt is excellent as well, holding his own on screen with Hawkins, as the character tries to do what is best for his stepsister and break the generational trauma he has suffered.

Then there’s Phillips, who makes his film debut at just 12 years old. Similarly to Joe Bird in Talk to Me, the youngest cast member is really put through the ringer in this film. Whereas Bird had the horrifying, physical possession scenes, Phillips is given some of the grossest, squirm-inducing body horror sequences in recent memory. Combined with a horribly visceral sound design, it will have people watching through their fingers.

Bring Her Back is one of the best horror films of this decade; far from a difficult second feature, it cements the talent of the Philippous. Stripping away the side plots from Talk to Me to focus on the core themes, they have created something that doesn’t scare so much as disturb, and asks how far you would go to bring someone back.

★★★★½

4.5 / 5

★★★★½☆

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

The Ultimate Resource for Making Films in the Midlands

midlandsmovies@yahoo.com — Mon, 04 Aug 2025 10:55:12 GMT

The Ultimate Resource for Making Films in the Midlands

We’ve created the ultimate resource for Midlands filmmakers and film fans. Want to know how to get your film funded? Want to show your film at Midlands Film Festivals? Want to network with others?

Well, we’ve got you covered! Whether you’re a young filmmaker or a seasoned professional then our guide for Midlands film support will get your creative projects off to a flying start with resources, networking opportunities and much more.

Links are embedded in each section and if you need specific signposting then please do get in touch and we’ll do our best to help!

Where to start?

One of the best areas of general support comes from the fantastic Film Hub Midlands who are a driving force behind film culture in the Midlands. Covering the entire region they can help provide funding and training and have a variety of inclusive programmes for all. They also work closely with the BFI network who support, develop and champion new filmmakers looking to kick-start their career with funding workshops and more.

In addition you can find extra support and a list of useful networks and film links at the excellent Create Central - an org dedicated to supporting and promoting film and TV in the area.

How can a young filmmaker get support?

We recommend the Pauline Quirke Academy (PQA) which has performing arts schools around the region and offers opportunities for young people aged 4-18 years in musical theatre, comedy & drama and filmmaking. In the West Midlands specifically is the Birmingham Young Filmmakers Network (BYFN) who focus on building a community to work collaboratively in film (16-21 year olds). Screen Northants in Northamptonshire helps create new educational pathways and curriculum enrichment schemes, which develop the next generation of film industry professionals.

You can also check out the BFI Film Academy for young people looking for opportunities which is part of Film Hub Midlands. You can sign up to their newsletter to get all the very latest news to your inbox right here .

And Into Film Midlands puts film at the heart of children & young people’s learning. Supported by the BFI it gives every child and young person aged 5 to 19 in the UK the chance to experience film creatively.

How can I find cast and other acting resources?

Do check our website by using our search facility and key words to find specific cast, crew and more. In addition, a number of Facebook groups such as Midlands Actors and Extras and Midlands Actors & Film Network host a pool of local on-screen talent.

The Midlands Screen Acting School helps youngsters of all ages with acting skills, classes and training and The Acting Studio is based at Broadway Cinema in Nottingham. The Open Space offers a range of workshops, classes and short courses to help enable actors to work at their best at the centre of the ever-growing acting community in Birmingham.

The Actors Workshop Nottingham provide members with professional quality vocational actor training and performance skills development. And Monoreels specialise in creating cinematic monologue and duologue reels to showcase your talent for casting directors andauditions.

I’m not based in a big city so how do I find support?

Definitely check out Rural Media , a charity who work with communities, schools, groups and individuals to create issue-driven films, heritage and digital arts projects that raise awareness, influence change and celebrate rural life.

Worcestershire Film Office is a comprehensive one-stop shop, connecting filmmakers with diverse locations, talented crews, cast members, industry suppliers and other resources.

What about scriptwriters?

If you have a script you want to hear out loud or just want to meet and mix with other writers, join the free, independent, writer-led group Scriptwriting East Midlands who meet every third Tuesday of the month. The BBC Open Call is an avenue for upcoming scriptwriters and gives opportunities to new voices.

Can I get my film online?

Once you have uploaded your films to YouTube, Vimeo and other video streaming sites, we recommend sharing your production with the Midlands Film Archive . They showcase films made by filmmakers living or originating from the Midlands, and state, "With so many great examples of storytelling available, we decided to help celebrate that talent by putting the best of them in one place for you to enjoy". We couldn't agree more. And also send them to us! We can host on our front page, add them to Spotlight features and share on our socials! Send your press releases and links to midlandsmovies@yahoo.com

Where can I find out about the region’s film festivals?

Midlands Movies has a huge list of ongoing film festivals in the region at this link which highlights a wide variety of events from county-wide local festivals, to genre specific horror and documentary showcases. Also check out Flatpack which is a mobile arts organisation which exists to show amazing work, bring people together and develop new ideas. Every May they take over venues across Birmingham for "magnificently eclectic" Flatpack Festival.

How can I network with others in the film industry?

A major focal point for networking in the area is at NEXUS Cast and Crew Network . With 2000 members and events, talks and showcases taking place regularly, their support over the last 5 years has been invaluable to the film community and tp those in front of and behind the camera.

Short Stack is a bi-monthly short film showcase based in Nottingham and their regular screening events mean you can share your work, see others' projects and network in a relaxed and supportive atmosphere with fellow creatives from the region's film community. The Film Forum West Midlands is an online group for all aspects of filmmaking in and around the Birmingham area and beyond.

Another part of Film Hub Midlands work is their Network Film Hub Midlands which supports filmmakers as part of BFI Network, Broadway Cinema in Nottingham and Flatpack. And finally Reel Brum host monthly events for Birmingham's film & tv community as well as linking West Midlands creatives with funding opportunities.

What other film groups can I be involved in?

Script Sirens is a new powerful collective of female and non-binary screen and script writers situated in the West Midlands and Journey Film Club Birmingham is a local non-profit LGBT community pop-up cinema film club that prides itself on delivering the very best in different varied themed films.

Reaching further afield the Lincoln Film Society organises a programme of the best of contemporary world cinema. Their patron is the award-winning actor Jim Broadbent and they are a voluntarily run, not-for-profit organisation and a member of the British Federation of Film Societies (BFFS), and The British Film Institute.

How can I get my film featured and reviewed in media outlets?

We’ll do it of course! But also, from our experience we have developed two quick-start guides about writing and creating engaging press releases and how to apply and position your marketing for film festivals and more. (Download the documents below).

For aspiring writers and more info on the region, Birmingham-based Film Stories is an online platform run by Simon Brew which has expanded to include a monthly film magazine (Film Stories), live events at MAC Birmingham, and most recently, Film Stories Junior magazine.

Where can I screen or premiere my movie in the region?

As well the Midlands film festivals link listed above, check our list of independent cinemas in the Midlands at this link (scroll to bottom of page). We heartily recommend you help support them through this tough period and we hope filmmakers can soon get in touch with these awesome venues for their premieres and film groups.

How do I get permission to film in a location in the Midlands?

There are a whole host of useful documents and downloadable templates at Film Sourcing . Here you can get a location release form template to adapt as well as music release forms, location scouting documents and call sheet templates. And if you’re based in the area, Film Birmingham is Birmingham Council’s Film & TV office who are committed to making filming as easy as possible. They work closely with productions to help find locations and crew across the West Midlands.

What's new in the region?

S ome new organisations have popped up in the last few years which will help filmmakers of all experience levels including Film Leicester (city & county support and info), Five Lamps Films (bi-monthly short film screenings in Derby), Birmingham Film & TV Market (West Midlands networking and development events) and Loft Movie Theatre (cult/classic movie nights).

And of course, please continue to check out and search our website. Contact us for the latest news, reviews and updates about the Midlands film community. Share, like, follow on social media and add our new site to your favourites and we can help provide continuous updates regarding the amazing and diverse film community in the region .

Michael Sales (Founder/editor, Midlands Movies)

Web: www.midlandsmovies.com

Email: midlandsmovies@yahoo.com

Follow us at:

Facebook: https://www.facebook.com/midlandsmovies

X (Twitter): https://x.com/midlandsmovies

Instagram: https://www.instagram.com/midlandsmovies

YouTube: https://www.youtube.com/c/midlandsmovies

Please help spread the word of our resources by checking out our What You Can Do to Help page here

Review of The Naked Gun

Sun, 03 Aug 2025 08:28:52 GMT

The Naked Gun (2025) Dir. Akiva Schaffer

31 years after Naked Gun 33 1/3: The Final Insult, a reboot sees the infamous Lt. Frank Drebin Junior and the police squad, uncovering the mystery behind a suspicious death in Miami. Going from one disaster to another, Frank takes on electric cars, a love interest, and an evil CEO.

When a reboot to The Naked Gun franchise was announced it was safe to say that there were many sceptics. We’ve seen this sort of thing happen many times in Hollywood in the past couple years. A sacred and beloved comedy franchise gets brought back many years later to divisive reviews. In recent memory we have seen this happen to Bill and Ted, Beverley Hills Cop, and most recently Happy Gilmore.

But The Naked Gun (2025) manages to pull off what the other comedy film reboots couldn’t. The Naked Gun (2025) manages to carve its own identity as well as staying true to what the core of the franchise is. In addition, it is also really funny. A true laugh a minute comedy, full of visual and spoken word gags that are very memorable.

This film is a different vibe to the rest of the movies in the franchise. Instead of being a wacky slapstick comedy, I feel this movie tries to be more of a homage to early 2000’s action films and opting for more deadpan humour instead of slapstick. I certainly expected something much different going into this film. But that’s not necessarily a bad thing. Even though I would have liked a more slapstick approach, that humour is still in there on occasion, and the avenue they go down is still very effective. Just don’t go into this film expecting another Naked Gun film with the same vibes as the originals.

Liam Neeson shines as the leading man in this comedy. He really nails the tone that the film is going for. Theres definitely a sense of intertextuality with this role and why Neeson was perfectly casted. Previously his most iconic roles stem from films like Taken, where he plays a grizzled grounded action star. Taking those ideas a placing him in a Naked Gun comedy is genius. Whilst he doesn’t have as much comical prowess as the late great Leslie Nielsen, Liam Neeson still gives a superb comical performance that could be described as a career best.

Pamala Anderson fresh off the heels of a best actress nomination at the golden globes for her role in The Last Showgirl, provides what I think is the highlight performance. I would even go as far as to say she was better than her predecessor Priscilla Presley. Anderson manages to simultaneously be serious and other worldly, really taking advantage of working inside a comedy and showing off her acting skills. On top of all of that the two leads also have fantastic chemistry together. Which is probably down to recent reports of the two dating, as a result of filming together on set.

This film also has a really fast runtime of just 85 minutes, making it one of the shortest mainstream films released this year. But they use this to its advantage allowing the film to have no dull moments, maximising entertainment and hilarity. Some of the jokes in this film are guaranteed to make most people in the cinema laugh out loud.

I’ll end my review by saying this. Comedy films such as this are really struggling. Less and less comedy films are releasing every year post covid and most of these kinds of films are getting chucked onto streaming services. It’s great that big blockbusters such as Superman and The Fantastic Four: First Steps are thriving, but comedies such as The Naked Gun (2025) are also vital in bringing back casual audiences to the cinema. If you care about films or the cinema experience, then go and see this film. Show the big studios that the cinema experience matters for all genres, not just the big franchises.

★★★½

3.5 / 5

Jacob Holmes

Instagram: https://www.instagram.com/_jacob.holmes/

Letterboxd: https://boxd.it/2vL6V

Review of The Fantastic Four

Fri, 25 Jul 2025 07:42:06 GMT

Fantastic Four (2025) Dir. Matt Shakman

Marvel’s post-Endgame output has been rather patchy and I had all but given up on the whole thing by avoiding all their films and TV shows for the last 2 years. Thor: Love and Thunder was the breaking point for me.

However, after catching 2025’s Thunderbolts* just a few weeks ago, which I rather enjoyed, there may be a glimmer of hope after all. And with The Fantastic Four, Disney’s acquisition of 20th Century Fox means they can have a go at adapting the comic which started in 1961.

Off the bat, the 60s (and 50s) provides a great backdrop of production design for this version as the superhero quartet exist in a retro future akin to The Jetsons. This combined with their origin story being told in flashback means there’s an efficiency to throwing us into an already established alternative world.

A great cast sees Pedro Pascal as Reed Richards (Mister Fantastic), the genius leader of the group whose stretching ability doesn’t always help him with the stresses with his wife. His partner is Vanessa Kirby as Sue Storm (Invisible Woman) who learns in the first scene she is pregnant and has to balance impending motherhood with her super powers. Ebon Moss-Bachrach stars as Ben Grimm - the rockman known as The Thing and Joseph Quinn rounds off the team as as Johnny Storm, the fiery Human Torch.

The story sees the team face off against Galactus, a huge space being whose arrival towards earth is heralded by the Silver Surfer, and it is she who lets the team (and the rest of the globe) know that he’s coming to devour the planet.

The film makes clear early on that the foursome are already known and respected by the public and so they head off to bargain with the evil giant but all doesn’t go to plan. This is especially dangerous given that Sue is due to give birth to her baby any day now.

After the unsuccessful encounter, the team return to earth with Galactus’ unpalatable offer and a globe divided by the options left on the table to defend themselves.

Filmmaker Shakman was the director of Marvel’s Wandavision which for me was the best of the TV series they’ve made. And he’s used that show’s great dive into old TV shows as a template here as well. It’s easily the best version of the comic characters to date, and seeing Galactus on a BFI IMAX screen was a sight to behold. Definitely go and see this on the biggest cinema screen you can! And Ralph Ineson’s bassy baritone voice added gravitas, making him one of the better, if slightly underdeveloped, villains that Marvel has featured in a very long while.

Despite the positives, there is quite a lot included here that we've seen elsewhere in the MCU. Outside of the other F4 films there’s also a huge dose of The Incredibles - granted, itself originally inspired by the team. A couple of cosmic clashes, planet destroying giants and some sky beam antics (teleports) have an air of boring familiarity.

The cast do well and have palpable chemistry on screen, but the standout for me was Vanessa Kirby's Sue Storm. Mother and master of invisibility, she maintained a great balance of strength and compassion. The Thing felt a bit underused, with his catchphrase providing a number of comedy moments but some threads were left unresolved and, surprisingly, a little more action wouldn’t have gone amiss.

For me, the brightest spot is the excellent production design. Inspired by both comics and cartoons it uses 50s and 60s iconography, filmstock and TV to hark to a “golden age” given it a unique aesthetic in comparison to the bland Marvel visuals we often see. LP records, tape machines and UFO-space skyscrapers created a unique feel - with the added flying cars, robotic servants and interstellar travel all adding to “fantastic” world building.

Michael Giacchino (whose breakthrough film score was *looks down* The Incredibles, natch) has composed a brilliant retro score which is another highlight. Its mix of choir-focused vocals and epic fanfares create an emotional and optimistic score linking the retro visuals and music together well.

Its central motif of the 'world as a family' gives the film a heartwarming theme to hang its plot around and the film avoids the same old same old bland visual and jokey style the MCU is known for. It at least attempts new things and Marvel should 100% focus on that uniqueness as it moves forwards.

The Fantastic Four doesn’t all work. It plods at times and doesn’t completely reinvent the franchise formula but by taking an imaginative retro world and fusing it with a solid cast and central theme, it harks back to the best of Phase 1’s variety before the staleness of recent MCU fare set it.

★★★½

3.5 / 5

Michael Sales

Review of Superman

Mon, 21 Jul 2025 09:01:19 GMT

Superman (2025) Dir. James Gunn

I can remember it vividly, the excitement, the spectacle and the long drive home afterwards. Needless to say, the last son of Krypton’s previous titular outing, Batman V Superman: Dawn of Justice (2016), with its convoluted exposition and overall drabness isn’t a film I hold in high regard against its peers. This fandom discourse around the legacy of Snyder’s Superman, as anyone unfortunate enough to browse the internet knows, has arguably shaped the public perception for Gunn’s reboot just as much as the actual director’s own style.

With this schism over how the character should be represented the question arises; what makes Superman, well Superman?

That’s arguably the thematic crux of Gunn’s first instalment to the new DC Universe. Refreshingly, Superman (2025) is neither a typical retreading of the hero’s origin story nor another superhero movie requiring audiences to have done extensive homework. Set a few years after Daily Planet journalist Clark Kent has donned the iconic red and blue suit, the film follows Superman’s exploration of his identity and responsibilities after his interference in a foreign conflict attracts the ire of billionaire Lex Luthor.

While Gunn as writer/director makes sense on paper given his co-CEO status at DC studios, for those familiar with Gunn’s filmography a character like Superman seems as far removed from the typical Gunn protagonist you can get. From Super (2010) to the Guardians of the Galaxy trilogy (2014 – 2023) and The Suicide Squad (2021), audiences have grown to associate the name James Gunn with ragtag anti-heroes often from Marvel and DC’s C-lists who take glee in violence, hedonism and general wrongdoing but remain humanised oftentimes as characters not beyond redemption.

Their juvenile behaviour and criminal choices stem from tragic backstories and coping mechanisms in worlds that deem them as undesirable. Someone like Rocket Racoon while technically a superhero is about as far from the gold standard of heroism in mainstream superhero movies you can get. Gunn himself in interviews has even acknowledged this major difference, initially declining a directorial offer and calling Superman “his first superhero movie”.

Yet for many including myself, it’s the characterisation of Superman and the questioning of his identity in the modern age that is the film’s greatest strength. Shifting away from the Snyder-Gunn binary plaguing Superman discussion, the character has naturally been reinterpreted and evolved numerous times over his almost eighty years of publication. Some writers interpret the character with a theological twist, positing the Man of Steel as allegories for figures like Moses and Jesus, some treat the character like a power fantasy for audiences while the character has also been subject of parody, pastiche and pop culture nomenclature (for a while there my brain could only link him to Seinfeld).

Chief of all these characterisations in the modern media can be seen directly through video games like the Injustice series and indirectly through non-DC antagonists on the silver screen like Homelander and Omni-Man; the question of what if Superman was evil. Perhaps it is symptomatic of our irony-drenched media landscape, but it has felt like for the last decade no one has been interested in an overtly earnest and heroic Superman and thus the character suffered a crisis of identity.

What is so excellent about Gunn’s vision of the character is this subtext within the screenplay that avoids becoming obnoxiously self-referential while grounding Superman within an emotionally identifiable modern context. Nostalgic nods to past movies and comics are still as present as ever but there are no intellectually insulting winks and cameos like in The Flash (2023), instead Gunn with a fantastic performance from David Corenswet argues Superman is best understood not as some abstract idea of physical power but rather as an innate emotional strength in humans to in the simplest terms treat each other with dignity and uphold virtues of tolerance, kindness and bravery.

Gunn has made many remarks about Superman being an immigrant story, adding a far greater emotional and political gravitas to these themes in a genre criticised for increasingly being devoid of purpose and earnestness. Although the film may not be the deepest exploration of such experiences in the contemporary climate it still highlights the significance of at least addressing ongoing real-world issues and potential solutions in a Hollywood era characterised by a distinct lack of courage.

Beyond an excellent Superman, the entire cast deserve praise with Nicholas Hoult and Rachel Brosnahan bringing considerable improvements to Lex Luthor and Lois Lane from the characters’ 2010s iterations. Compliments must go to Hoult who is able to imbue such sheer hatred and ego into Lex that he is the perfect thematic opposition in a film that champions compassion in dark times, particularly with the social commentary. Beyond the Superman regulars, newcomers to the cinematic space Mister Terrific, Guy Gardner, Hawkgirl and Metamorpho all provide an organic blueprint for future DC Universe projects without hindering Gunn’s messaging. While audiences will all gravitate to a select favourite, I must confess Fillion’s Gardner has me eager for his future.

Yet Superman does suffer in a few departments. Its script while praiseworthy for subtext is a considerable stepdown in the comedic department garnering only occasional smirks for its two- and half-hour runtime, when Gunn has ridden the line between jokes and sincerity so effectively in the past. The films closing action set-pieces also felt far more artificial than the emotional highs the film had built up; the cluttered CG fights feel rather unsatisfactory yielding a singular memorable monologue amidst a climax that feels copy and pasted from any other superhero film in recent memory.

Regardless, Superman has made me optimistic for the DC Universe. With the superhero fatigue debate seemingly having no end in sight, for those hoping for at least some greater creative diversity in such a commercialised subgenre it’ll be worth following DC’s future.

★★★½

3.5 / 5

Will Knowles

X @WillKWriter

https://letterboxd.com/WillKWriter

Midlands Review of Smile, Smile, Smile!

Sat, 19 Jul 2025 08:04:12 GMT

Smile, Smile, Smile!

Directed by Oliver Griffiths

2025

OGK Pictures

A seemingly injured man being dragged away by uniformed men is the rather unconventional intro to new dark comedy short “Smile, Smile, Smile!” from Oliver Griffiths.

Quickly followed by some marching jackboots and a suitably militarily snare drum beat, we end up inside an ominous facility where two young soldiers salute their senior commander before the hooded detainee is taken away.

This intense and earnest beginning pulls us into a grievous scenario but the short subsequently follows the two men standing guard outside the torture chamber itself.

Jacob Kay and Aiden Clark play the two unnamed soldiers tasked with guarding the area. And whilst odious acts are going on behind a closed door, the film focuses on the inane banter of this bored security detail.

From their perceived lack of respect to messing about on their mobile phones, the two’s banal chat clashes with the sound of suffering and screaming coming from off screen.

The comedy duo are played well by the two main actors who deliver dopey dialogue well, as they focus on the minutiae of their jobs and various inconsequential topics unrelated to their predicament.

And the short subverts the tropes of army life. But yet again, talking about restaurants whilst someone gets beaten up in the background and an alarm going off as a prisoner escapes creates a comedic counterpoint as it successfully tackles the balance of humour and horror.

Although being what looks like a Black Ops off-the-book site, if I’m being picky then I have to ask why the soldiers have long dishevelled hair and unkempt beards (sorry lads). Despite showing their ramshackle characters, an alternative could have been a formal army setting or barracks to possibly create a bigger comedy clash for the informal jokey dialogue to sit against.

With the old-timey song on the outro credits then maybe the vibe of, dare I even say it, a sort of dark Dad's Army could have been an idea to explore a little.

The technical side is mostly solid although the lighting a little bit shadowy. Dark clothing on dark-haired men on a dark background in a dark room was hard to differentiate.. But again the choice to make the light dialogue stand out against what we're seeing may have been the intention here, but on pure visuals alone it felt less than stimulating to watch.

Sadly though, despite a mirthful few moments, for me the one-joke set up didn’t quite warrant the 14-minute run time. If the dialogue was a bit more polished or the soldiers told a story rather than giving random thoughts on life, then I may have been more engaged. It leaves on a high though as a bloody, hazmat-wearing "torturer" arrives to discuss the tea order.

Griffiths has been bold to try a new genre outside of his previous efforts A Personal Errand (period drama) and Scavengers (horror) to take go over the top into comedy combat territory. As is, the set up is a great idea and our leads deliver the dialogue with gusto but I reckon another pass on a tighter script and a speedier story would perhaps make audiences smile, smile, smile a bit more.

★★★

3 / 5

Michael Sales

X @midlandsmovies

Midlands Review of Run For Your Life!

Wed, 16 Jul 2025 08:37:34 GMT

Run For Your Life!

Directed by Liam Banks

2025

Superfreak Media

There’s no hiding the influence of Evil Dead on Liam Banks’ Run For Your Life. The woodland setting, the Eldritch horrors and esoteric texts, even certain shots of the protagonist being dragged away from the camera.

Hell, you could go as far as to say that the crunch of someone biting into an apple – cranked way up on the sound mix – is a reference to the way the fruit was used in Evil Dead to simulate the sound of a pencil being jammed into someone’s ankle.

No, there is absolutely no doubt that Sam Raimi’s 1981 classic looms large over this short. But Banks doesn’t simply copy the formula; chuck some fake blood around and call it a day. Run For Your Life manages to stand on its own feet and provide a short, breakneck horror experience.

Rosie Frost plays Eleanor Dunn, a journalist investigating a series of occult murders in the Blackwoods Forest. In no time at all, she finds herself accosted by cult members as they try to summon their god to wreak havoc on the earth. Plot wise, it’s about as streamlined as you can get, giving the crew plenty of opportunities to cover a willing Frost in gore as she fights off the killers and this is where the real fun lies.

The practical effects are excellent, as are the physical performances from the killers who switched from a dazed, almost hypnotic state to unrelentingly fast. In fact, only one scare in the film doesn’t work – doesn’t quite feel earned – and that’s the bloody ghost face that appears in the first few minutes. It’s overdone and feels out of place with the rest of the film.

An excellent throwback to the slasher horrors from the 70s and 80s, with a strong lead performance and a nice little twist at the end. It’s brash, silly and wonderfully gory. A real treat for gorehounds.

But Banks hasn’t just tipped his hat to Raimi and other directors of the time; embracing the marketing schemes behind The Blair Witch Project, and even last year’s Longlegs, he’s created www.ormoncultmurders.net , with background lore, additional video footage and clippings from the fictional murders that kick off the plot.

It’s not quite as in-depth as some ARG-style lore dumps, but it’s a neat touch for a short horror and one that adds a little extra meat to the bones of an already excellent Midlands horror.

★★★★

4 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

The Addams Family at Curve Leicester

Wed, 16 Jul 2025 08:16:04 GMT

Curve Leicester's The Addams Family stage show is a scream!

The notorious ghoulish and gothic The Addams Family has been given a musical theatre makeover in a new production at Curve Leicester which sees all the usual odd behaviour and kooky shenanigans you would expect from the deathly household.

The story sees daughter Wednesday Addams falling in love with an everyday teen jock called Lucas and together they want their parents to meet and accept their relationship of difference. After telling her dad Gomez to keep it secret from her mother Morticia, it begins an energetic show of misunderstandings, private moments and comedy mishaps.

The night kicks off with a huge bang involving the entire cast as we are dragged into their world during “When You’re an Addams” and the songs continue as the Lucas family show up and clash with the Addams’ strange lifestyle.

The show is punctuated throughout with floating ghosts from the past ensuring you never forget the haunted nature of the residence and the stage design is suitably spooky with crashing thunder and lightning and an omni-present moon adding to the creepy atmosphere.

For people my age (*cough* 40-something *cough*) The Addams Family TV show of the 60s was often repeated on TV but it soon became a successful film in 1991. And helped kick off the 90s craze for adapting old shows into movies. Sadly, most were awful.

But this one was not. The Addams Family - and its 1993 sequel Addams Family Values – together made over $300 million at the box office and were surprise successes. After that, further animated series, video games and films were released before Netflix recently debuted “Wednesday”, a spin-off with Jenna Ortega as the gothic teen.

Yet aside from its iconic theme tune and rapper MC Hammer’s tie-in song for the 1991 movie, who would have thought this eight decades-long pop culture staple would suit the musical theatre treatment.

But tonight we found out why. And it’s almost entirely down to the great ensemble as the whole cast get their chance to shine. Morticia (Alexandra Burke) is a bastion of matriarchal power, Uncle Fester (Clive Rowe) has excellent comedy vim and an hilarious voice and son Pugsley (Nicholas McLean) gives a mischievous performance to try and breakup the young couple. Also, Lesley Joseph as Grandma and Dickon Gough as Lurch provide even more comedy chops in chucklesome support roles.

Yet the standouts for me were Ricardo Afonso and Lauren Jones. Afonso holds the whole show together as Gomez Addams, trying to find a balance between supporting his daughter’s choices and his wife’s demands. He delivers plenty of laughs with a Hispanic twist and has passionate flamenco-style moves in an entertaining dance number with Morticia (and some apt ghosts).

Lauren Jones as Wednesday provides a barnstorming soaring voice to the proceedings and her exquisite performance of “Pulled” had the audience erupting. A note-perfect rendition, she controlled the stage and made this a true magical musical achievement.

The only drawback was a slightly lacklustre second act which didn’t quite have the pull of the first. In fairness I chalk this up to the huge expectations the cast and production set in the first.

By the end though, with its talented cast, catchy tunes and some of the best singing and voices I’ve ever heard at Curve Leicester, the frightfully funny The Addams Family stage show really is a scream!

★★★★½

Michael Sales

For more information & tickets check out the details at Curve online

https://www.curveonline.co.uk/whats-on/shows/the-addams-family/

Review of The Banished

Tue, 15 Jul 2025 13:58:54 GMT

The Banished (2025) Dir. Joseph Sims-Dennett

This twisted Australian horror tale stars Meg Clarke as Grace Jennings who unfortunately gets lost whilst injured and alone in a forest - of course she does - during a mission to look for her brother who is missing.

With the eerie sounds of the night coming through her tent, Grace struggles to maintain composure but a crackle on her radio leads to her interacting with the voice of a hiker on the other end. But is this person who they claim to be? Will they help or hinder?

Well, the film sets up its mystery and along the way we get hints to an abusive past and a town which has long become derelict as it tries to tie the story to a few more meaningful themes.

However, the problem for me at least is the genre of folk horror seems to be mostly getting lost in the woods, eerie sounds of pipes and a cult or two whose masks are usually made of bark or somesuch.

I'm simplifying of course and there's an acknowledgement that the woods are often a place for low budget filmmakers to make their productions without complex shooting permits. And that's of course an honourable effort when budgets are tight or non-existent. Despite that though, at least a slasher set in the woods is punctuated with a killing spree every now and again.

Folk horror tries to build suspense and tension but forests simply don't instill fear in me in and of themselves.. Whether "high-brow" fare like The Witch (2015) or Midsommar (2019), or low-budget flicks such as Kill List (2011) or A Field in England (2013) the foreboding they try to generate using folklore myths has never really resonated. And sadly The Banished doesn't do anything to buck this trend and at times compounds its worst tropes.

It's not only full of the cliches of the folk horror genre but fright flicks in general. "Hello, who's there?" our protagonist asks as she shines her torch inbetween dark trees outside her tent. Sharing past traumas around a campfire and the search for a missing relative all provide a been-here and done-that vibe.

Granted, with a predisposition to mostly avoiding the genre, it had an uphill struggle from the start. So in fairness, Meg Clarke does a good job with the material given. She is believable and her changes from strong to vulnerable are deftly played. The camera work is pretty good too. It mixes a cinematic sheen with a handheld style that successfully never falls into "mobile-phone footage" territory.

The editing between current and past events is also a nice idea. But the sequences clash and begin to stifle the story rather than add a unique narrative structure. And as such, nothing really gets momentum going as we pause once more for another dry conversation.

Although I mostly enjoyed the director's previous effort Observance, sadly - and no matter how hard I tried - it's unfortunate that The Banished really didn't work for me. I feel that unless you're a HUGE fan of this particular genre, you are really not missing much. And I would say regular horror enthusiasts will be disappointed with this meandering tale, despite many admirable intentions given its low-budget origins.

★★

2 / 5

Michael Sales

Instagram / Facebook / X @midlandsmovies

The Banished is available on digital platforms 28 July

Review of Women In Love

Mon, 14 Jul 2025 08:12:03 GMT

Women in Love (1969) Dir. Ken Russell

It could be argued that Ken Russell found his perfect combination of themes with his adaptation of D. H. Lawrence’s Women in Love, initially released in 1969 and starring Oliver Reed, Alan Bates, Glenda Jackson and Jennie Linden.

When you look at Russell’s early film work, including the feature length pieces for the BBC and his documentaries, he showed an affinity for high art. His previous features included biopics on Dante Gabriel Rossetti, Claude Debussy and Henri Rousseau, so approaching one of the greatest novels from one of the Midlands’ most famous literary figures seemed like a natural fit.

Primarily shot around Derbyshire, the film looks stunning, making the most of the scenic backdrops and manor houses that are dotted throughout the county. And Russell, working with cinematographer Billy Williams, captures a changing Britain. Occurring in the wake of World War 1, Women in Love sees a cultural shift, with a new middle class coming through; greater mechanisation simultaneously making working class jobs such as mining safer, while also taking roles from some; and values shifting.

Jackson and Linden play Gudrun and Ursula Brangwen, an artist and schoolteacher respectively, who are part of this new class of Briton, who find themselves in relationships with the upper-class Gerald Crich (Reed) and Rupert Birkin (Alan Bates). The performances are incredible. Reed plays the repressed Crich with the same reserved, pent-up rage that he would perfect over his career, matched wonderfully with the self-assured Jackson.

In contrast, Bates is flighty and idealistic as Birkin, and threatens to steal the film at multiple points. He’s funny and thoughtful, pushing against the traditional values and possessing a deep, passionate love for not only his wife but for Crich.

And here is the crux of the film. Perfectly timed with the sexual revolution that was occurring in America and the UK at the time, the film questions traditional masculinity and the things we repress to fit into a certain mould. It also questions our idea of relationships, and whether everyone is built for monogamy.

It's an incredible achievement, funny and heartwarming at times, then heartbreaking. The script from Larry Kramer cuts much of the verbose style of Lawrence to cut to the core of the novel, with every actor putting their all into the roles.

The BFI have done an incredible job with this release, bringing it up to a stunning 4K resolution without losing some of that tactile grain. It looks and sounds amazing. Then there’s a full suite of extras, including Russell’s own documentary about his career and interviews with the key cast members. There’s also a series of essays within the booklet, including a wonderful piece by Michael Brooke, which includes some funny anecdotes about how censors across the world handled that famous wrestling scene.

★★★★½

4.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90

Women in Love 4K restoration Blu-ray releases 14 July 2025. Special features include:

Human Relations: Alexander Verney-Elliott Discusses Women in Love : Newly recorded interview (17 mins, 2025)
A British Picture: Portrait of an Enfant Terrible : Ken Russell documentary (49 mins, 1989)
ATV Today (1968) : Interviews on the set (10 mins)
Billy Williams OBE BSC in conversation with Phil Méheux BSC (49 mins, 2015)
Audio commentary with Ken Russell
Audio commentary with Larry Kramer
Second Best (1972) : Alan Bates film based on D H Lawrence's short story (27 mins)
The Guardian Lecture: Glenda Jackson (77 mins, audio only, 1982)
The Pacemakers: Glenda Jackson : Documentary profile (14 mins, 1971)
Stills and collections gallery
Original theatrical trailer
Optional English SDH subtitles
Illustrated booklet (first pressing only)

Midlands Review of No Worries If Not!

Sun, 13 Jul 2025 16:51:54 GMT

No Worries If Not!

Directed by Emma Hodgkinson

2025

Nominated across multiple categories at the Midlands Movies Awards and winning both Best Sound and Best Director, Emma Hodgkinson’s breakneck comedy, No Worries if Not!, follows Grace Scrivener (Poppy Abbott) as she struggles to balance her people-pleasing ways with a far more honest inner monologue that screams (sometimes literally) for her to set boundaries.

She wakes up on her day off with a work report to finish; a man-child of a boyfriend expecting her to find birthday cards for his mother and send nudes; friends who put pressure on her to go out; and a boss that doesn’t believe in a work/life balance (unless of course it’s the balance of her own life).

While the story itself is primarily aimed at millennial women who are expected to balance all of this, while being undermined at work, judged on their look and attitude, and expected to mother their partners; there is still plenty here to enjoy for all viewers. The disparity between Grace’s inner monologue and her actual responses to those around her make for the biggest laughs and Abbot puts her all into a role that becomes increasingly physical as the day progresses into chaos.

Hodgkinson’s script is whip-smart and is paired well with a kinetic editing style that zips back and forth between locations and adds the overlaid text messages to show how all encompassing our digital connection to work, friends and family have become.

There’s also a sadness behind the whole thing. While Grace is a people-pleaser, so we wouldn’t expect her to do anything for herself during the brief runtime, it’s telling that none of the requests come from her own family, but for work, her partner’s family and her friends. She’s also rarely shown in the same room as the people she’s communicating with; an indication of how physically isolated we’ve become as we’ve become more digitally connected than ever.

A few moments in the film don’t land. This is essentially a one-woman show, brilliantly acted out by Abbott, so when the character is pushed into scenes with other characters, the film ties itself into knots to not only keep Grace’s inner monologue the focus, but to also set up the next calamity that occurs. The club sequence is probably the most egregious here, even if it does lead to a few of the funniest lines.

Minor quibbles aside, this is a frenetic, often hilarious short with a lot to say about gig culture, work/life balance and the expectations we place on ourselves for success. It’s a true calling card for the people involved.

★★★★½

4.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90

Midlands Review of Homunculus

Sat, 12 Jul 2025 17:42:11 GMT

Homunculus

Directed by Ayesha Walker

2025

A jaunty upbeat keyboard riff opens Homunculus, a new short from Ayesha Walker that imagines an intriguing world of model dioramas.

For those not in the know, a diorama is usually a small 3-d scene made with models, and here the filmmakers have used toy figurines to represent a number of surreal environments.

Rather than create a smaller-scale environment of our world, the miniature models of people are cleverly arranged with larger real-life items to create warped dreamlike images.

A man climbs a ladder up to a chess piece, making the Rook model look huge whilst a model of a ‘sweet’ couple on a bench appropriately sits atop a tasty-looking glazed doughnut, and another shows a scooter riding down a guitar fretboard.

But the whimsical little compositions are suddenly interrupted with a flash of blood - looking like jam given some of the food-oriented connections made so far. Yet we just as quick return to a genteel moment where a few figurines watch a film at the “cinema”.

One of the highlights of the short is definitely the sound. The film was nominated for Best Sound at the Midlands Movies Awards 2025 for Josh King, Ayesha Walker and Luke Brightmore. And together they edit in real-life sounds like crowds, birds, engine sounds and much more to add realism to these bizarre arrangements.

Sometimes the sound is of the “fake” scenario and other times includes audio of an actual dice or clinking ice cubes we see in the shot. It excellently mixes the diegetic and non-diegetic sound with an appropriate music soundtrack that changes tone in a heartbeat.

And oh boy does the tone sure shift. Away from these model-village moments, the music glitches and we see what looks like real handheld footage of someone stalking a woman at a window before the model scenes themselves break down as little people burn - and, of course, with added screams.

As we head to its (intense) finale in just two and a half minutes, the film pulls a LEGO Movie twist revealing a real-world outside of the model illusions. Is this a dream? Who is creating these twisted little creations?

Well, The LEGO Movie this isn’t and a far more horrific and frightful premise is hinted upon - possibly involving an abductor who enjoys both chaos and control. But I won;t spoil any more here.

There’s also an influence of French film A Town Called Panic (2009) too. And although that movie uses stop-motion animation to make its tiny models move, the same dark undercurrent of black humour is present in Homunculus.

With dramatic switches in direction, Homunculus may be quite experimental for some as it takes a few huge swings, moving from a jolly picnic tone to hints of homicidal manipulation. Oh yes.

But its messed up horrors contain more themes, ideas and great sound in its limited runtime than many longer films, making it a very curious but satisfying slice of model mayhem.

★★★★

4 / 5

Michael Sales

X @midlandsmovies

Midlands Review of Couple Goals

Fri, 04 Jul 2025 10:29:16 GMT

Couple Goals

Directed by Tom Bridger & Jonny Gillard

2025

A woman with an electronic ab stimulator plus other assorted exercise bands, and a man in a white vest clapping is the quirky beginning of a new comedy short from Tom Bridger and Jonny Gillard.

Bridger himself plays Dean, one half of a couple with Bethany Slater as Carol, both obsessed with self-improvement from their morning routines to the correct diet. Along for the journey is host Alayla (Della Theilamay), who guides the audience through this slice-of-life mock-umentary.

The presenter explains how she is going to explore their life and relationships as well as their jobs and online presence. Many of the aspects of lifestyle shows seen on daytime TV can be seen and the short uses sight and dialogue gags as well as slapstick and even some comedic wardrobe choices.

Della Theilamay (nominated for Best Supporting Actress at the Midlands Movies Awards 2025) is a highlight. Her dead-pan delivery emphasises her role as the straight-person to this unusual couple, but with her added comments and surreptitious looks to the camera, she contributes to the comedy incredibly well in her side role.

A “couple” of improvements that could help audiences engage with the short better would be to push the techniques, and its cliches, of the fly-on-the wall documentary genre a little further. The addition of on-screen text, a TV-style intro sequence and perhaps more narration would go a long way.

Some more ambient music or even little musical stings would give the whole thing a further professional sheen. Especially as this is a format that is so familiar to many TV audiences. Think The Office or a real-life Homes Under The Hammer TV programme.

As it is, we get an insight into the private world of this (dys)functional couple with their strange habits and even psychopathic traits using a well thought-out satirical tone. A tightening up of the film’s technical aspects would definitely be something to focus on in the next short, but some dark ideas are delivered well using the style often known for its entertaining lightheartedness.

Couple Goals ends as a playful short, and is successful at poking fun at the often condescending and glib lifestyle vox-pops. And with an emphasis on absurd humour, it uses a deconstruction of a couple’s home-life to highlight the silliness of “that couple” we all know in our neighbourhood. The ones who (annoyingly) promote their weird personal development above all else. And aren't shy in sharing about it!

★★★

3 / 5

Michael Sales

X @midlandsmovies

Midlands Review of The Wirksworth UFO Incident

Thu, 03 Jul 2025 07:30:33 GMT

The Wirksworth UFO Incident (2025)

Directed by Stuart Wheeldon

2025

Nine Ladies Productions

Stuart Wheeldon’s The Wirksworth UFO Incident is an interesting proposition. Taking the form of a documentary about extraterrestrial experiences across Derbyshire, it ebbs and flows across its 70-minute runtime; never quite building up enough tension to truly hold the audience but made with such clear passion that you can’t help but be intrigued by Wheeldon’s next project.

What’s clear is that Wheeldon does not want to fall into cliché and so avoids sequences that would be common in the sci-fi/horror canon. This film deals with the shock and trauma of seeing something unexplainable, and through its lead performance from Nigel Barber excels in this. Barber plays Arthur Peterson – an American who returns to Wirksworth to confront what he experienced decades before.

There’s a vulnerability to his performance, as he struggles to comprehend what he potentially saw, the fear and paranoia that comes from being targeted by an unknown, and the fact that so few people have come forward to say they saw the same thing. The rest of the cast, including Lotte Bell, Ben Porter, Ray Redmond and Nicola Rees, also do an excellent job. The task of portraying deep emotional torment when you’re monologuing to the camera should not be overstated.

Yet the style of the film comes with a lot of issues. In between the to-camera character pieces, Wheeldon intercuts stock images – some of which looks to be of the artificial kind, although this is just speculation. Not only does segmenting the film into monologues and still imagery hamper the pacing, but it also gives the editing nowhere to hide. There are points where the to-camera bits are quite clearly cut and this could have been hidden behind B-roll footage with a voiceover track.

It also means that this is a fictional documentary that stays so true to the documentary style that it falls apart as a feature film. Late in the film, Dr Vance (Geraint Thomason) explains that Derbyshire has been a relative hotbed for UFO experiences in the UK, and references a large black triangle seen over Bakewell in 1993 and a hovering pink object over Bonsall in 2000.

These are real allegations of UFO sightings, the latter of which had camcorder evidence. Given Wheeldon’s creative choice to use the documentary format, you wonder why he didn’t just make a documentary. A quick internet search finds more Derbyshire occurrences, including one at Dark Peak in 1997, and more over Nottingham in 1991.

Using real experiences, it would have heightened the emotional backdrop and could have still brought in much of the same research, including the meaning behind Wirksworth’s StarDisc installation.

Instead, we have a film that hampers its own progress, forced to insert an unsatisfying finale to meet the requirements of a fictional film, when a true documentary could have been far more interesting to the audience.

★★½

2.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90

Midlands Review of War Paint

Tue, 01 Jul 2025 10:21:00 GMT

War Paint

Directed by William Kowanec

2025

How we and others perceive ourselves is a key component of a new short from local filmmaker William Kowanec called War Paint.

Filmed in a unflinching close up we are introduced to a protagonist (Paul Gerrard) looking directly at camera as they examine their own facial features. An intense stare gives us pause for thought before a voiceover (Ian Black) begins the narration of the piece.

The voiceover describes how the man gives unfavourable judgment on his own appearance using extreme phrases to criticise his appearance. The slow and steady narration emphasises every harsh word in excruciating detail, providing a window into their mind.

The personal nature of the confessions is delivered well by both Black as narrator as well as the unspoken actions of Gerrard who provides an intimate selection of looks and expressions that the camera never cuts from.

The short explores sexuality and power and a slow reveal is realised as the protagonist begins to steadily apply makeup. First lipstick, then moving to the face and eyebrows in personification of “war paint”. The pleasure it gives our protagonist and the frank honesty of an alternative lifestyle is as refreshing as it is blunt.

It’s not bashful about its directness - touching as it does on contemporary topics such as identity, sexuality and homophobia as well as exploring trans and drag community concerns.

And throughout, the camera here acts as both mirror and lens. We observe this personal space with a close-up static shot which does not move throughout the short’s runtime. Yet, the application of make-up shows the reflective nature of the piece - self-analysing and breaking down ourselves through a critical gaze. And despite the camera not moving we see a physical transformation take place - although a reminder at the end returns us to the original unhappy "ugly duckling" confessed at the beginning.

As a Midlands Movies Awards 2025 nominee for Best Writing, the wonderful use of wordplay, candid testimony and intimate voice is one of the short’s highlights. Read well by Ian Black, the truth is that it’s a two-handed piece really - with these words having more power with the addition of Paul Gerrard’s expressive visage.

A mostly-successful and bold experiment - where the close-up style focuses on the monologue’s most important messages - War Paint is a thoughtful short film. Its one-shot style and risqué language may turn off some viewers but it delves deep into discrimination, masculinity and society’s worst preconceptions about people. But more importantly, it turns its eye to perhaps the harshest critic of all. Oneself.

★★★½

3.5 / 5

Michael Sales

X @midlandsmovies

Review of TwentyFourSeven

Sat, 28 Jun 2025 17:38:12 GMT

TwentyFourSeven (1997) Dir. Shane Meadows

TwentyFourSeven is Shane Meadow’s feature debut and stars Bob Hoskins as a hard-working boxing club owner desperate to help young men in his community get their wayward lives back on track.

Opening with a dishevelled hobo in a dilapidated railway car, a young man recognisises this down-and-out and helps him back home whilst uncovering his diary. We flashback to discover this lonely broken man is Alan Darcy (Hoskins), a once-respected local in a decaying Midlands town where two rival gangs of youths spend their time bullying each other.

Meadows quickly establishes the struggles this area has faced over the years - new developments creating broken communities, high levels of poverty and families reularly struggling with generational conflicts. To try and overcome these differences, Darcy feels the discipline, conditioning and the physical nature of the sport of boxing will enable the boys to channel their frustrations in a more positive direction.

Once getting both sets of lads in the ring, the men are challenged about their anger issues with Darcy acknowledging the violence in their lives - often between fathers and son - yet slowly becomes a surrogate dad himself.

The film is shot in black and white which most obviously nods to Scorsese’s Raging Bull (1980). Shots through the ropes seem a direct homage and instead of dancing around the ring, a later sequence sees Hoskins pirouetting at a dance club - of course being scored to a bombastic piece of classical music.

Defending the lads even during their misfortunes - even acting as counsel for one of the boys at trial - Darcy is shown as a real force for change to lower crime and get these, and future, kids off the street. However, despite his efforts, the lad experiences a setback and relapses into drug use, whilst others still struggle to control their temper.

Meadows hints at violence throughout - whether in the ring, between the lads or in domestic family homes - as well as masculinity itself. Body shaming, confidence and other issues are all explored and sadly, despite many years later, these are very much issues still relevant today.

Bruce Jones (known to most as Coronation Street’s Les Battersby) plays the somewhat cliched role of abusive father spouting the usual “don’t answer me back” dialogue and whose character arc is never really in doubt. But it’s not all darkness though. There’s some (black) comedy - James Corden getting hit in the stomach with a medicine ball was a highlight - as well as some heartwarming moments as the lads’ harsh insults melt away as they find camaraderie with each other.

One of the film’s downsides is a lack of individual personality to some of the juveniles. The characters aren’t fully developed as we don’t get distinct personalities as they are always together - often scrambling over each other in wide shots.

Also, despite the film’s fantastic soundtrack, the use of montage does get a bit tiresome as with so many of them it becomes less Raging Bull and more like Rocky IV. This time could have been better spent getting to know individuals and explore their circumstances in more depth. Instead, the middle section ponders around the same themes, as well as including a strange sideplot where Hoskins tries to woo a younger woman working at a grocery.

A group trip to the countryside further cements the boys’ kinship which leads to the incident that leaves Darcy himself unable to escape the violence he’s been steering these lads away from - and loses the community's respect in the process.

TwentyFourSeven is a debut of some note and contains themes that Shane Meadows will explore again in all his later work. There’s an optimism buried deep, but there’s also no shying away from the brutal realities of poverty, violence and generational gloom.

Turning lives around is no easy thing and one aspect Meadows delves into is how hard it is to help others when you’ve not got your own stable well-being. A symbolic departure leads us back to the film’s beginning, culminating in sadness and highlighting the cycle of violence embedded in these men. However, it leaves with a poignant slither of positivity where wounds of all different kinds may be finally healing in this community.

★★★★

4 / 5

Michael Sales

Instagram/Facebook/X @midlandsmovies

Released on BFI Blu-ray on 23 June 2025 and on AppleTV and Amazon Prime on 7 July 2025

Blu-ray special features: • Presented in High Definition • Newly recorded audio commentary by Andrew Graves • The Guardian Interview: Shane Meadows and Bob Hoskins (1997/2025, 79 mins) • Ritchie, The World’s Light-Weight Boxing Champion (1914, 1 min): newsreel capturing Willie Ritchie’s victory over the incumbent light -weight champion Freddie Welsh • Twelve Hours Punching (1924, 2 mins): amateur fighters trade blows at a variety of weights during a boxing tournament at London’s Alexandra Palace • Trailers (1997, 4 mins • ***FIRST PRESSING ONLY** Illustrated booklet featuring new essays by Andrew Graves, Caj Sohal and Tim Coleman, notes on the special features and film credits

Midlands Review of Creativity is for Everyone

Sat, 28 Jun 2025 09:52:21 GMT

Creativity is for Everyone

Directed by Charlotte Footitt

2025

If we go back a few years, people may have forgotten how much of a surprising hit The Lego Movie was. Surprising as it took one of the world’s best known corporate brands, and instead of a name-recognised kids cash grab, delliverd a family-friendly, entertaining and heartfelt film about the beauty of the creative process.

Creativity is for Everyone is a new short film from Midlands animator Charlotte Footitt and very much has a similar sentiment, focusing on inventiveness around the world and using the small bricks and minifigs to highlight these issues.

Unlike that film however, Footitt has used stop motion animation to bring her story to life using actual LEGO and going through the pain-staking process of giving the impression of movement.

A LEGO map of the world opens the short with an emphasis that creativity has no boundaries and we zoom into a city where Footitt has recreated the famous 1932 photo “Lunch atop a Skyscraper”.

But here the black and white image is presented in the full colour range of minifig characters - as they also give a cheeky Mexican wave before we head off to a busy street. The map is then used to take us to a number of other global locations.

First, we head to the South American jungles, then a European cafe, an African farm and some boating and surfing at an Australian beach. The world tour continues with jaunts taking in Santa’s grotto before leaving earth altogether to end in space as an astronaut in pink plants a flag on the moon.

Creativity Is For Everyone is a fantastic little animated short. Jumping between locations allows the filmmaker to create different buildings, characters and sets showing the versatility of the “children’s” toy.

Each little vignette is accompanied by appropriate sound effects but the avoidance of any dialogue is a great choice to align with its universal themes. And although a little rough and round the edges - the stop motion does indeed stop and start at times, perhaps needing more frames - the ‘blocky' nature of LEGO bricks means this is less of an issue.

And we rarely see stop motion in the Midlands film scene so it was a refreshing change and that unique style makes it stand out as a short. And although only two and a half minutes long, it won't be lost on viewers that this must have taken meticulous efforts day and night from the DeMontfort University student and her team.

With its homemade feel and honourable message of individual expression no matter where you live, Creativity Is For Everyone therefore ends a successful short, and one that speaks to not just kids but reminds adults that lots of fun can still be had when keeping creativity in mind.

★★★★

4 / 5

Michael Sales

Insta / Facebook / X: @midlandsmovies

Review of 28 Years Later

Thu, 26 Jun 2025 08:49:34 GMT

28 Years Later (2025) Dir. Danny Boyle

Days became weeks. Weeks Became years. In 28 Years Later the rage virus that infected the United Kingdom has evolved, creating new types of zombies that are more brutal and merciless than before.

Set in rural England, an island of survivors is just about getting by. When a father brings his son to the mainland for the first time, they are ambushed by the mysteries of the mainland. What is an Alpha? What is a Bone Temple? All whilst trying to survive hordes of rage filled monsters.

The iconic duo of Academy award winning director Danny Boyle and Academy award Nominated writer Alex Garland reunite after 18 years, to make the 3 ^rd film in the 28 ... later franchise, and this film does not disappoint. Like the title suggests this film takes place 28 years after the rage virus outbreak in the United Kingdom, offering a significant time jump between the 2 ^nd film 28 Weeks later and this film. Since then, the world has put into place a country wide quarantine on the United Kingdom, everyone left in the UK must fend for themselves.

28 Days Later (the 1 ^st film in the franchise) is a British classic for so many reasons. It popularised the fast-moving zombies, became a part of the British zeitgeist, but most notably it was very experimental with its filming techniques. 28 days was filmed with a Canon XL1 digital video camera, which is essentially a camcorder. This gave the first film a very lived in/grungy feel, it was grainy and highly manoeuvrable. 28 years follows suit, with the film mostly being filmed with iPhone 15 Pro Max’s. Which absolutely gives 28 Years a distinct look and feel to it. It allows the filmmakers to move fast with minimal equipment, giving the film a very chaotic vibe when entering the action filled segments.

Whilst there are fewer zombie action scenes compared to 28 days, the action scenes in 28 years are significantly more brutal. The practical and visual effects have massively improved since 2002, and Boyle uses these advancements to it’s full extent. The Alpha zombie has a signature kill move which I shall not spoil, but seeing it on the big screen was horrifying every single time it happened.

The performances are mostly amazing. Jodie Comer and Ralph Fiennes were the absolute stand outs for me. Comer once again does great accent work, and plays her role very empathetically, her character is absolutely the beating heart of this film. It is hard to talk about her character without ruining her plotline, but the events she must go through is heartbreaking. Fiennes plays an eccentric scientist so well and you could just tell that he is having a great time with the material he’s been given. Even though he comes across as quite friendly, Fiennes' character also feels so eerie and untrustworthy.

In addition, this is Alfie Williams first role in a feature film, and he is incredible. This whole film centres around him, he is the main character. There was not a single second where I wasn’t impressed with his performance. Unfortunately, Aaron Taylor-Johnson's performance is easily the worst part of this film. His character constantly feels over acted with a complete tonal divide between him and the vibe of the film.

Aaron Taylor-Johnson's performance brings down the entire first half of the film in my opinion. Whilst the first half does have interesting concepts and good scenes, every time Taylor-Johnson speaks it completely takes me out of the scene and makes me unengaged with the story. Luckily, he doesn’t appear much in the second half, and coincidently the second half is much stronger than the first. The theme of family in the second half is really nailed home, and the emotional beats hit even harder.

As well as having this sense of exploration that I really liked. But the ending of this film is just bizarre, it is a massive genre shift that I don’t think works with the rest of the film. It is obvious set up for the next film, which is directed by Nia DeCosta. I may feel differently about the ending when the new film comes out next year. But for now, it just has me feeling bewildered.

It is hard for sequels to live up to iconic films such as 28 Days Later. Whilst 28 Years Later does have some glaring issues, it is still a wildly entertaining watch, filled with tense action packed scenes, as well as intimate emotional moments. I also think it is important to note that this film is very different in tone to 28 Days Later and 28 Weeks Later. So, if you are going into this movie expecting more of the classic vibe, you may feel disappointed.

★★★★

4 / 5

Jacob Holmes

Instagram: _jacob.holmes

Letterboxd: https://boxd.it/2vL6V

Watch Midlands Movies Awards 2025 films

Mon, 23 Jun 2025 12:43:03 GMT

With a brilliant range of films in a variety of genres submitted to the Midlands Movies Awards 2025 we are very pleased to share with you a number of those films who were nominated and some who went on to win an award.

The full list of nominees can be found here and the full list of winners can now be found here .

Please take a look at the amazing and fantastic talent we have in the Midlands by watching the shorts & trailers below.

More films coming soon!

The Other directed by Chris Bevan

Winner of Best Short Film & Best Lead Actor

Grave directed by Oz Durose

Winner of Best Animated Film

Couple Goals directed by Tom Bridger and Jonny Gillard

Nominated for Best Actress in a Supporting Role

Creativity is For Everyone directed by Charlotte Footitt

Nominated for Best Anim a ted Film

War Paint directed by William Kowanec

Nominated for Best Writing

Homunculus directed by Ayesha Walker

Nominated for Best Sound

Yen for Zen directed by James Pyle

Nominated for Best Animated Film

Meta Mum directed by Kick Holman

Nominated for Best Editing

Non Fiction directed by Kitty Harper

Nominated for Best Writing

More Midlands Movies Awards 2025 photos

Mon, 23 Jun 2025 09:29:10 GMT

Photo Gallery - Midlands Movies Awards 2025

Please check out even more photos from the guests, filmmakers, cast, crew, nominees & winners from our 2025 Awards. All photos courtesy of POYNER & MEE PHOTOGRAPHY (click for link)

Please get in touch for higher quality versions, missing photos or alternate copies at midlandsmovies@yahoo.com

Midlands Movies Awards 2025 red carpet photos

Sun, 22 Jun 2025 20:51:16 GMT

Photo Gallery - Midlands Movies Awards 2025

Please check out the guests, filmmakers, cast, crew, nominees & winners from our 2025 Awards below. All photos courtesy of POYNER & MEE PHOTOGRAPHY (click for link)

Please get in touch for higher quality versions, missing photos or alternate copies at midlandsmovies@yahoo.com

Midlands Movies Awards 2025 winners

Sun, 22 Jun 2025 00:51:27 GMT

Midlands Movies Awards 2025 Winners

On Saturday 21st June the Midlands Movies Awards 2025 took place at the Y Theatre in Leicester. The nominations for the awards can be found here and the winners are announced below:

Best Short Film (winner chosen by VIP jury panel member RICHARD ARMITAGE)

The Other by Christopher Bevan

Best Feature (sponsored by Chrome Video)

Derelict by Jonathan Zaurin

Best Director

Emma Hodgkinson for No Worries If Not!

Best Actress in a Leading Role

Suzanne Fulton for Derelict

Best Actor in a Leading Role

Adam Hovarth for The Other

Best Actor in a Supporting Role

Jamie Mutambirwa for At What Cost

Best Actress in a Supporting Role

Charlotte Claypole for Teddy and The Mountain

Best Animated Film

Grave by Oz Durose

Best Documentary

I Just want to be a Superhero by Joey Lever

Best Visual & Special Effects

Steve Best & Liam Banks for Run For Your Life!

Best Writing (Original or adapted screenplay)

Charles Strider for A Glass House

Best Costume & Makeup & Hairstyling

Carolina Rodrigues and Aspasia Vrouva for Living Dolls

Best Music (Score or song)

Sadé Nicole Davis & the team for Love Is…?

Best Sound (Editing or Mixing)

Chas Sheppard for No Worries If Not!

Best Cinematography

Billy Evans for Ascend

Best Editing

Christina Hill for You Alright Mate

Treasured Films Brings Horror Icons to Worcester

Sat, 21 Jun 2025 10:22:36 GMT

Boasting one of the best line-ups of stars from cult and horror cinema, the guys behind Midlands boutique label Treasured Films, and the importer and distributor Film Treasures, hosted Weird Worcester on the 14 ^th and 15 ^th of June.

Hundreds of film fans descended on the Worcester University Arena to pick up merchandise, books and physical media from the various traders, and to get their items signed by the guests.

Speaking to the fans at the event, they said that they had never seen a line-up like it. Blaxploitation star Fred Williamson was on hand, who alongside his supporting role in From Dusk till Dawn (Robert Rodriguez, 1996) had roles in the Enzo G. Castellari flicks Inglorious Bastards (1978) and 1990: The Bronx Warriors (1982).

Castellari himself was also in attendance, who directed the infamous The Last Shark (1981). The film was famously blocked for release in America after being accused of plagiarising Jaws. Treasured Films had copies of their release of The Last Shark available on the day, so fans could get these signed by the director.

A UK first was the appearance of Carl Gabriel Yorke, who was signing autographs alongside Francesca Ciardi, both of whom starred Cannibal Holocaust (Ruggero Deodato, 1980). The film remains one of the most controversial ever made, featuring disturbing realistic practical effects and, even more disturbingly, real animal cruelty in the uncut version.

Another person with strong links to Deodato was in attendance. Alessandro Capone wrote Deodato’s 1986 slasher Body Count, before going to write and direct Witch Story (1989). Treasured Films has a link to Capone as well, attempting to get the controversial Reality Killers (which Capone produced) released in the UK, only for it to be rejected outright by the BBFC and instead released as the company’s first US title.

Lamberto Bava, who acted as assistant director on Cannibal Holocaust, is also the director of Demons and Demons II (1985 & 1986), as well as giallo classics A Blade in the Dark (1983) and Delirium (1987). He was in attendance alongside actress Geretta Geretta, who is perhaps most famous for playing Rosemary, who puts the demon mask on in Demons and kickstarts 90 minutes of gory practical effects.

Those practical effects were handled by Sergio Stivaletti, who had replicas of the demon masks for sale at the event. With a long career working with some of the best in Italian cinema, including Dario Argento for Phenomena (1985), which starred a very young Jennifer Connelly.

Lucio Fulci fans were able to get their money’s worth, with appearances from both Silvia Collatina, who found childhood fame as Mae Freudstein in The House by the Cemetery (1981). She was joined by Catriona MacColl, who starred in all three of Fulci’s Gates of Hell trilogy.

Arriving late on the first day due to personal issues, director Sergio Martino has worked prolifically across multiple genres in his career. This includes giallo films such as All the Colors of the Dark (1972) and Torso (1973), as well as Poliziotteschi features and horrors including Slave of the Cannibal God (1978).

A late addition to the lineup was Charlie Higson, who made an appearance on the Saturday, and who wrote the novel King of the Ants; the adaptation of which (Stuart Gordon, 2003) was released by Treasured Films earlier this year.

Margie Newton was a particularly special guest at the event, having starred in The Last Hunter (Antonio Margheriti, 1980), the film that kickstarted the Treasured Films label. From the first release to the latest batch and Howard Ross was in attendance, not only celebrating his roles in giallo such as 5 Women for the Killer (Stelvio Massi, 1974) and The New York Ripper (Lucio Fulci, 1982), but also his part in Rino Di Silvestro’s Werewolf Woman (1976), which was announced as the next Treasured Films release.

This will be the first uncut release of the film in the UK. When initially released for cinemas, it underwent cuts and was later categorised as a Section 3: Video Nasty, meaning that shops stocking the home media release risked having copies seized and destroyed. Alongside Howard Ross, Annik Borel stars as a woman who believes that she is a werewolf after suffering a series of traumatic events.

The other release announced was Sergio Martino’s Mannaja (A Man Called Blade), a 1977 spaghetti western which stars Maurizio Merli, John Steiner and Sonja Jeannine. It follows a bounty hunter who gets caught up in the violence of a small mining town.

No release date has been announced for either Werewolf Woman or Mannaja, but keep an eye on www.treasuredfilms.co.uk for more information

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90

Midlands Review of House-Keeping

Wed, 04 Jun 2025 20:36:10 GMT

House-Keeping

Directed by Nicholas Georghiou

2025

Elevate Film Collective

The sound of a noisy hoover is the unlikely beginning of a new film from first-time filmmaker Nicholas Georghiou. A short about domestic help, the film explores a strange situation in a hotel room where all is not what it seems.

Filmed in stark black and white, we are introduced to a maid on her room-cleaning run around a hotel where the unglamorous and monotonous job is laid bare with close ups of filthy toilets, used contraceptives and empty cans of lager.

Her trolley full of cleaning products is pushed around the long corridors, and thankfully the filmmaker shows her wearing some gloves, as she deals with the rank leftovers strewn around each room.

The sound of a scream breaks her from the drudgery though, stopping the maid in her tracks outside one of the rooms. Pausing to investigate, she tries to listen at the door before unlocking the room and heading inside to find out what awaits.

House-Keeping is a pleasing short that uses interesting camera angles, excellent cross-cutting and a monochrome palette to really help sell the film’s mystery. I was very surprised to hear this was the filmmaker’s first short. There’s a confidence here that is not always seen in even more experienced directors’ work.

Some Sam Raimi snap zooms alongside dynamic editing choices and unpredictable sound mixing also keeps the short fresh and engaging - building up the interest in an unpredictable way.

With no dialogue and an eerie score, the film sets up its suspense well and brings the audience along to question what may be happening behind locked doors in anonymous lodgings such as these.

Camilla Lloyd Moore delivers a suitable amount of intrigue as the put-upon maid, and discovers something shocking in the bathroom before finding herself in her own slippery situation.

If I were to focus on one area for improvement: the ambiguity towards the end could have been replaced with a clearer narrative conclusion as an audience may simply ask “what’s going on?”

A small change perhaps, but one that could help provide a more satisfying conclusion. However, I suspect this depends on the viewer’s own preference for either a neat revelation or leaving a little something to decipher. Ironically a second watch (arf arf) to view everything once more, goes a long way to clarify what seems to be happening.

From Bates’ shower room in Psycho to the ghostly goings-on at the Overlook in The Shining, hotels have provided a suitably peculiar location for tales of horror and secrets. And this film has influences, and even shots, inspired by both those films which was a nice cinematic touch.

House-Keeping therefore ends as an impressive first short film. It pushes its retro atmosphere to the forefront with nicely shot black and white photography and the 3:4 aspect ratio of old - as well as plenty of nods to films from the past. An easily digestible three and a half minute runtime but with a thoughtful premise to untangle, the film mixes voyeurs and victims together in an excellent twisty tale.

★★★★

4 / 5

Michael Sales

X @midlandsmovies

Joe Lycett, Mathew Horne & the team behind Adolescence headline Forward Film & TV Fest 2025

Sun, 01 Jun 2025 08:57:34 GMT

Joe Lycett, Gavin & Stacey’s Mathew Horne and The Making of Adolescence Headline Forward Film & Television Festival

Birmingham’s newest Film & TV Festival is bringing the spotlight to local and global talent across multiple venues in Digbeth this summer The inaugural Forward Film & Television Festival makes its debut and will be spotlighting bold new voices and positioning Birmingham as a major player in the screen industries.

Running 16–20th July 2025, the five-day event will take over key venues including The Mockingbird Cinema, Midlands Arts Centre, Centrala, The Old Crown, and The Crossing.

Festival highlights include a live Q&A with Gavin & Stacey favourite Mathew Horne, The Making of Adolescence — a behind-the-scenes session with the camera team behind Netflix’s global hit — and a short film showcase from Brummie icon Joe Lycett, followed by an in-person discussion with the star.

The programme will also feature a selection of international film premieres, as well as local talent debuts, giving Birmingham-based filmmakers a platform to premiere their work in front of hometown audiences. These standout events lead a packed schedule of screenings, industry panels, networking mixers, and a celebratory awards night recognising excellence in storytelling.

Forward will be offering a vibrant new platform for filmmakers, TV creators, and audiences alike—right in the heart of Digbeth’s creative quarter.

Building on Birmingham’s rich legacy—from the first Odeon Cinema and Sir Michael Balcon to the worldwide success of Peaky Blinders—Forward is backed by key players including The BBC, Digbeth Loc. Studios, Create Central, Royal Television Society Midlands, Creative UK West Midlands, and Steven Knight CBE, the creator of Peaky Blinders and founder of Digbeth Loc. Studios.

“Birmingham has always been a city of creativity and innovation,” says Steven Knight. “Forward Film & Television Festival will continue that legacy by championing the next generation of storytellers—offering a platform where new voices can shine and find their audience.”

“When Steven Knight backs something on screen, you know it’s worth paying attention to,” says Cassie Smyth, festival co-founder. “Forward will not only celebrate Birmingham’s creative past but help shape its future—connecting emerging and established talent with new audiences.”

“‘I’m buzzing to see more love for filmmaking in our beloved Digbeth in the form of Forward Film & Television Festival,” says Joe Lycett.

Designed to be inclusive and accessible, Forward will feature 5 days of screenings and events across Digbeth, sixteen award categories celebrating diverse storytelling, industry panels and networking mixers bridging creators and professionals and a closing awards night celebrating standout talent

Festival co-founder Matthew Ford adds: “Birmingham’s creative scene is thriving, and Forward will showcase that talent to the world. Through projects like Reel Brum, The Mockingbird Cinema, BYFN, and Viewfinder, we’ve seen the impact storytelling can have. Forward is the next step in taking that impact global.”

Film and TV lovers, industry pros, and emerging talent are all invited to be part of this exciting new chapter in Birmingham’s cultural story.

Tickets & Info: www.forwardfilmfest.com

Nottinghamshire’s Biggest Film Festival Returns This Summer

Sun, 01 Jun 2025 08:31:09 GMT

Nottinghamshire’s Biggest Film Festival Returns This Summer

Nottinghamshire’s biggest celebration of cinema is back this summer, and tickets are now officially on sale. Returning for its third and biggest year yet, the Mansfield Town Film Festival (MTFF) runs from Friday 25th to Sunday 27th July 2025 at Mansfield Palace Theatre.

The event promises a weekend filled with powerful stories, exciting new voices, and one-of-a-kind experiences with over 100 short films screening across the three-day programme.

Alongside this there will alos be filmmaker Q&As, workshops, and industry-led breakout sessions and the organisers want people to know that the MTFF isn’t just for cinephiles—it’s for anyone who loves a good story. And this year, it’s easier than ever to be part of the action.

Thanks to a brand-new modular ticketing system, audiences can book individual screening sessions for just £4 each, allowing them to curate a festival experience that works for them. Several events, including the ever-popular Friday night strand ‘From Mansfield, With Love’ and the Mansfield Film Awards, will remain completely free to attend.

Unlike your average cinema trip, MTFF is about discovery, connection, and conversation. Audiences can explore curated sessions of short films—grouped thematically across genres, countries and voices—before diving deeper through live discussions, guest appearances and creative workshops.

This year’s programme highlights include An Old Friend starring Tom Skerritt (Top Gun) and Jason Faunt (Power Rangers), which explores a tender reunion between a 90-year-old man and his childhood imaginary friend. Closer to home, Girlband! – Not Like The Rest offers a bold, energetic look at Nottingham’s local music scene, featuring Bella Ramsey (The Last of Us).

She Will Play On is a Nottingham-made drama that follows two sisters navigating the harsh realities of home life as one dreams of joining a professional girl’s football team.

And audiences can also catch In Half, an animated epic that dives into the subconscious of a troubled man as he journeys through a strange world in search of healing.

New for 2025 is the addition of The Directors Lounge, a more intimate screen housed within the theatre’s Leeming Lounge. This new space will allow the festival to expand its offering without compromising the warmth and focus that have made it such a beloved event.

Also debuting this year is MTFF’s first virtual reality cinema experience hosted in Groucho’s Bar and created in partnership with Leicester’s award-winning immersive storytellers, MBD. It will be free for all guests to explore throughout the weekend.

Festival Director Jay Martin, a local filmmaker himself, said: “MTFF started as a dream to bring world-class stories to Mansfield, and three years in, it’s become a truly global celebration."

“What makes this festival special is that it’s built for and by the people of this region – working-class stories, diverse voices, and real community at its heart. There’s no velvet rope here – just brilliant films and good people."

“And whether you’re a cinephile, a casual viewer or simply fancy something different to do this summer, come along. MTFF25 is for everyone.”

To view the full programme and book tickets please visit www.mansfieldtownfilmfestival.com

Or you can book directly through the Mansfield Palace Theatre Box Office

Midlands Review of Blossoming Hearts

Mon, 26 May 2025 06:45:17 GMT

Blossoming Hearts

Directed by Naphat Boonyaprapa

2025

Elevate FIlm Collective

Naphat Boonyaprapa previously directed the excellent – if niche – documentary Red Black Green about local table tennis star Connor Green. Now, turning his attention to fiction, his latest short is a tender examination of loneliness and friendship.

Ken Fillion plays Adam; a seemingly affluent but lonely man who hires Aiji (Gabriel Gil Sanllehi) to provide companionship. The film opens in Adam’s hotel room as he jokes with Aiji. It’s clear that this isn’t their first meeting, and the easy chemistry between the two actors lets you settle into the back-and-forth banter.

As the conversation turns to something more, the drama of the scenario starts to unfold. Adam wants something more from the relationship; he has fallen for Aiji and believes that Aiji feels the same. One of the joys of the film is Boonyaprapa’s script. Rarely do either of the characters explicitly bring up the crux of the matter, instead they bounce off of one another, the conversation moving from playful to romantic, and then quickly back again as one, or the other, pulls away.

Boonyaprapa has a lot to say about loneliness. While technology is never mentioned specifically, it can be assumed that Aiji was hired through an app or a website. There’s an openness to the way the film builds that allows the viewer to place their own meanings on the scenario. Is Adam suffering from the well-documented loneliness pandemic in men? Is it a reflection on our more isolated world post-Covid-19? Or perhaps it’s a comment on the disturbing trend of AI companionship – a friend we can hire, but upon which there is often other implications.

Both leads are excellent. Fillion brings real vulnerability to his role, desperately trying to maintain some level of joviality while admitting his deepening feelings. Sanllehi, on the other hand, keeps his feelings repressed, hiding behind his ‘friendship as work’ until eventually his own insecurities and lack of self come to the fore.

In it’s brief runtime Blossoming Hearts shows that Boonyaprapa has a real skill for writing deep characters, sitting comfortably amongst other recent Midlands dramas like A Glass House and A Different Place.

★★★★½

4.5 / 5

Matthew Tilt

Instagram: tiltmatthew90

Review of Slade in Flame

Sun, 11 May 2025 16:50:00 GMT

Slade in Flame (1975) Richard Loncraine

Released in 1975 at the height of their fame, Wolverhampton band Slade decided that despite their joyous glam rock stylings, a fun playful knockaround film musical romp in the style of A Hard Day’s Night was not what they were looking for creatively.

And so with that in mind, the band decided to embark on Flame, a more sombre take on the music biz which confounded fan expectations when it originally hit cinemas.

In short, it’s a fictional film - but with very documentary stylings - as two rival bands end up in jail after an attempted sabotaging at one of their gigs. Soon after, they merge members to end up as Flame (Slade themselves) and after a talent scout drops them, they are picked up by a London agency run by Tom Conti’s sleazy manager.

A gig at a pirate radio station, a gunfire attack (!) and a hit record sees Flame court fame - all the while the film intersperses the odd track from the band’s album based on the film. Flame’s previous manager and Conti clash over the band’s income as the story attempts to deconstruct the seedy side of the industry.

And here is part of the problem. The scenes with Conti and discussions of contracts and band touring schedules and the like are incredibly tiresome. The band have a big personality and very little of this shines through. Mainly because they’re really not that in it as much as you’d think. And maybe this warts-and-all exploration was part of the plan - and certainly a bold move - but it’s all a bit pondering.

And sadly (for us Midlanders) Flame is filmed in Sheffield and London rather than around their West Midlands roots. (For fans, there’s a great list of locations at Reel Streets here ).

On the positive side, the film displays the fractious UK class system at the time, with smoky industrial factories contrasted with rich record executive parties. At times conversations take place in overgrown bushes near a dirty canal and then in music offices with champagne. It’s not all glamour and glitz.

Also of note is the floating camera work reminiscent of many a documentary and 5 years before This Is Spinal Tap spoofed a similar style. Here though, the whole thing is all very straight and although lead singer Noddy Holder is a clear standout, it’s much more in the vein of Kes than it is Spiceworld!

Towards the end there’s a concert-style finale (hello Bo Rhap) and in hindsight, it is far more revealing of the difficulties within the music world than it has any right to be. For fans of the band it’s essential, and for general music fans it’s a fascinating time capsule. Yet the casual viewer may simply find it a tad boring and (nowadays) ridden with the cliches seen in many a music biopic.

However, it’s a unique dramatic portrait starring a band not known for their particular seriousness. And despite some failings, captures a time where the glamour of glam is ripped away to discover something far grittier.

3 / 5

★★★

Michael Sales

X @midlandsmovies

In celebration of the 50th anniversary Slade in Flame is getting a BFI Blu-ray/DVD release on 19 May 2025 with new extra features.

Midlands Review of Lazar

Sun, 11 May 2025 07:24:59 GMT

Lazar

Directed by Michael & Rafe Bird

2025

Elevate Film Collective

Not judging a book by its cover. That’s the premise for this snappy period comedy from writer directors Michael and Rafe Bird. It opens on a bard (Joseph Emms) who is on the run from law in the 16 ^th or 17 ^th century (various bits of press around the film can’t seem to decide on which) when a supposed wood nymph interrupts proceedings.

Of course, it’s not really a wood nymph, instead it’s an outcast of local legend, Lazar Pete (Devon Junior). Pete was ostracised from his community after been suspected of having leprosy. What follows is a buddy comedy of sorts, as the bard and Lazar Pete learn about each other and overcome their preconceptions to tackle the various characters they meet.

The premise gets a lick of paint thanks to the period setting, which allow the Birds to have some linguistic fun within the script. These include little flashes of modernity, from the bard’s attitude – closer to that guy from university who always had an acoustic guitar – to little quips in the dialogue. This is neatly combined with playful twists on folklore.

At just over 18 minutes, it doesn’t outstay its welcome, but nor does it really tackle the ideas behind it. It’s approach to not judging people by their appearance is surface level. It’s a tricky criticism, because the genre doesn’t require it to get right down to the nitty-gritty. But the promotion of the film highlights this as a key reason for making it. Those coming into this blind will likely not have the same reservations because the film does everything else so well.

It's funny and it’s just quirky enough to stand out without being so out of the box that it puts off some. It’s also stunningly shot, with the woodland setting looking beautiful thanks to director of photography Laurence Mason Guetta.

Lazar is likely to find a welcome home on the festival circuit, where it will no doubt be an audience favourite.

★★★½

3.5 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90

Review of The Nice Guys

Thu, 08 May 2025 14:22:29 GMT

The Nice Guys (2016) Dir. Shane Black

Shane Black has written his fair share of witty dialogue, buddy-cop movies and his trademark flourishes are on full show in a new special edition release of this 1977-set noir comedy about private detectives investigating a missing girl.

Based in Los Angeles, the film begins after an adult-movie star dies in a car crash and her aunt hires private eye Holland March (Ryan Gosling) after she is spotted mysteriously ‘alive’. As another missing girl Amelia Kutner (Margaret Qualley) hires Jackson Healy (Russell Crowe) to intimidate Gosling’s P.I., the two detectives are suddenly and reluctantly thrust together to search for the answers to each case.

They are assisted (and hindered) by March’s daughter Holly (Angourie Rice) and the threesome head to locations around the city to tie up the pieces – from an air pollution protest to a hilltop party where models, actresses and dead bodies are all “uncovered”.

As the convoluted case spirals, Amelia's mother who is played by an always-pleasing-to-see Kim Basinger, enters to stir the pot from her position in the Justice Department. Her high-class demeanour and Crowe’s violent retribution somewhat echo their brilliant roles in the not-talked-about-enough L.A. Confidential. Black shies away from the seriousness of that film though as slaughter and laughter come in equal measure as the complicated double-crosses are revealed.

The chemistry between Ryan and Russell is probably the film’s main selling point. Crowe doesn’t do anything particularly new with his beefy muscle role, nor does Ryan with all his silly tics, but the two together deliver Black’s zippy back-and-forth dialogue brilliantly. The twisty narrative is slowly exposed with the audience grasping at the clues along with the two leads. And the support from the young and talented Angourie Rice offsets the macho banter. Her scepticism towards her father, her sly and accusing looks at Crowe and generally innocent outlook help give the film some much needed soul where sleaze, murder and corruption are the main themes throughout.

The period fashion, locations and soundtrack are expertly realised and Black’s strong script delivers the knock-out lines the writer-director is known for. A single criticism could be levelled about originality – the set up of Black’s successes of Lethal Weapon, Last Boy Scout and Kiss Kiss Bang Bang are all prevalent here – but the plusses far outweigh that minor negative in a film full of entertaining vignettes.

Its use of Warner Bros 70s "Big W" logo designed by Saul Bass shows that the Nice Guys is much more than nice – it’s a big slice of retro-influenced cool. With stylish direction, a sophisticated script and a set of trendy performances, Black’s investigate yarn is best enjoyed as a hip cocktail of cynical repartee and noir style.

★★★★½

4.5 / 5

Michael Sales

X @midlandsmovies

Second Sight Films presents The Nice Guys in a new dual format edition, including both UHD and Blu-ray with the main feature and bonus features on both discs and with the UHD presented in HDR with Dolby Vision approved by director Shane Black. The Limited Edition is set to arrive on 16 June 2025 alongside 4K UHD and Blu-ray Standard Editions.

Midlands Spotlight on The Wirksworth UFO Incident

Wed, 30 Apr 2025 07:22:26 GMT

Forty years later, a witness returns to Wirksworth in Derbyshire to seek closure in a new documentary called The Wirksworth UFO Incident.

Four decades after a life-altering encounter, a local man named Arthur Peterson is returning to the quaint market town of Wirksworth to confront the memories of a night that has haunted him for years.

The Wirksworth UFO Incident is an upcoming new fictional documentary that will follow Mr. Peterson as he revisits the site of his alleged UFO sighting and seeks to finally find peace with the extraordinary events of that fateful evening.

In mid-May, Nine Ladies Film will take their cameras and begin rolling in and around the area, capturing Mr. Peterson's emotional journey and the reactions of the local community to his return. The film hopes to provide an intimate and thought-provoking exploration of memory, belief, and the enduring impact of unexplained phenomena.

Adding a unique layer to the narrative, acclaimed actor Nigel Barber (Spectre, Mission: Impossible - Rogue Nation) will feature in the documentary, offering his perspective and engaging with Mr. Peterson's story. His involvement underscores the broader cultural fascination with UFO encounters and the human element at the heart of such claims.

The film will be sponsored by Britflicks, a platform dedicated to supporting independent British cinema. And the project has also garnered significant support from the public through successful crowdfunding efforts, highlighting the widespread interest in Mr. Peterson's story and the enduring mystery surrounding the alleged incident.

Director Stuart Wheeldon states, "This isn't just a film about a potential UFO sighting; it's a deeply human story about the search for truth and the long-lasting impact of a significant life event."

"We are privileged to follow Arthur on his poignant return to Wirksworth", he adds.

When finished the final documentary aims to explore the events of 40 years ago through Mr. Peterson's recollections, local perspectives, and archival material, hopefully shedding light on his mysterious account.

Check out the film's teaser trailer below and for more information about the project, its production and upcoming release plans, check out the official website at www.thewirksworthufoincident.co.uk

Interview with Midlands filmmaker Jonathan Hawes

Tue, 29 Apr 2025 07:50:23 GMT

With a number of acclaimed films under his belt including Cosmo , Gone Fishing and The Morgue Party, Jonathan Hawes now launches his latest short film, Sorry We're Closed, a quirky comedy-drama centred around fish and chips. Midlands Movies Mike Sales speaks to the writer/director about his latest project, his influences and his next plans for the film.

Midlands Movies Mike: Hi Jonathan, Can you please tell us a bit about yourself?

Jonathan Hawes: Yeah of course. I’m from Beeston in Nottingham in the Midlands. I’ve been writing/directing short films for over ten years now. My comedy short film Cosmo about a neighbourly dispute over a cat won Best Short Film, Best Comedy and Best Cinematography on the festival circuit. The film was also screened at numerous festivals internationally, including a BIFA-qualifying film festival. I am drawn to stories which explore absurd or heavy subject matter through a lens of dark comedy.

MMM: And can you tell us a bit about your new short Sorry We’re Closed?

JH: The film is about a young couple called Jacob and Olivia who have an argument about the closing time of their local chippy, which leads to them spontaneously breaking in to get some fish and chips. Both characters have forgotten how to seize the day and this is the root cause of their dissatisfaction with each other. Jacob works a dead-end job, while Olivia has abandoned a dancing career after an injury. But there is an indisputable connection between them, and I hope the audience is rooting for them to rekindle their relationship. It’s probably the first time I’ve ever tackled anything approaching a romance in one of my films, so it was nice to tread some new ground.

And I just want to say that I couldn’t have made this film without such an amazing team. Michael Muyunda, Jemma Bentley and Mark Aldrich give such wonderfully nuanced performances. The film’s cinematographer Laurence Mason-Guetta was also fantastic and definitely took the film to another level visually. I also have to shout out the rest of the crew - every single person gave 110% during some long night shoots. It really felt like a family, and I’m so grateful to have worked alongside such talented, passionate people.

MMM: You mention it’s a dark comedy. What inspired you to write this film?

JH: I overheard this argument in a Wetherspoons between a drunk middle-aged couple. They were rowing about the closing time of their local chippy. It was kinda like watching the Fairytale of New York music video in real life or something! I immediately thought about a short film exploring a story around an argument like this, and a comedy seemed like the best approach to tackling a story like this. I was fascinated by how a serious argument could stem from something so simple!

MMM: Thank you. Are there any specific films that influenced Sorry We’re Closed?

JH: I’ve always admired the naturalistic monologues between Jesse and Celine in Richard Linklater’s Before trilogy, which definitely informed the dialogue in our film. I was also inspired by Midlands-shot films like This is England and the kitchen-sink realism of Saturday Night and Sunday Morning. The tonal shifts in Sorry We’re Closed also owe a debt to Martin McDonagh’s work, particularly Six Shooter, In Bruges and Banshees of Inisherin. My friend lent me this short story collection by Raymond Carver called What We Talk About When We Talk About Love a while ago back. It includes a lot of quirky suburban stories about relationships, and that style of writing must have found its way into the film too.

MMM: And the film is set around a local chippy - which seems a unique location to use. How did that come about?

JH: I messaged pretty much every chip shop in Nottingham! I had a pretty surreal phone call with a chip shop owner who thought I was prank calling him when I requested if we could film in his shop. Finally, I got a message from Gill’s Fish & Chips in Beeston, Nottingham (my hometown), who granted us permission to film there. I met with the owners who were lovely, and they were very supportive in getting the film made.

MMM: Aside from that hurdle, what was the most difficult thing you had to overcome whilst shooting?

JH: Definitely the pressure of filming in the chip shop with limited time. We had from 5pm – midnight to shoot everything we needed inside the chippy, but our wonderful 1st AD Charlie Sharp kept the production running on schedule.

MMM: How can our readers find out more about your project?

JH: If they can spare a minute, I’d invite your readers to follow me on Instagram and subscribe to my YouTube channel to keep updated on this project. Thank you.

MMM: So what’s next on the horizon for you? Any new projects in development?

JH: I plan to write a feature script over the summer, but I think I’ve got another short film in me before I make my first feature. It’d also be great to work with the BFI and get experience of working with a bigger budget on my next project.

MMM: And finally, any advice for anyone local looking to start their own project?

JH: Network as much as possible. Review the credits for films you admire locally and maybe reach out to some of them. There’ll always be someone to offer advice on getting your project off the ground, or maybe even work with you. Midlands is full of incredible creatives who can help get your vision on the screen.

'Sorry We're Closed' is coming soon. You can connect with Jonathan on Instagram , Facebook and YouTube .

Review of Up!

Sat, 26 Apr 2025 14:21:35 GMT

Up! (1976) Dir. Russ Meyer

Well, bi-Adolf Hitler BDSM is not something (a) I thought I’d ever see 5 minutes into a movie and (b) ever expected to write in my lifetime to be fair but this spicy start is pretty standard for the work of exploitation filmmaker Russ Meyer.

Up! is a kind of r*pe-revenge softcore p*rn film (there’s gonna be a fair bit of self-censorship in this review so apologies in advance), the type Meyer is known for. I’d describe the plot in more detail but it’s mostly a convoluted and incoherent mess of double-crossing, murder, violence and lots and lots of humping.

In short, a man called Adolph gets murdered and a woman investigates (kinda) the circumstances but as she does so, a group of locals blackmail, attack and screw each other with the murder mystery barely mentioned throughout.

With so little narrative, it could be argued if it’s essentially p*rn? To be fair, not far off. It’s about extreme as you can go without simply making a s*x film. Is that a…no, it’s a belly button hole.

Bookending the film (and also seen at various points throughout) is a Greek Chorus - simply a busty fully nude woman of course - who delivers dialogue like “Pummelling the scrotum with joyous supplication” and other such poeticisms. This artistic flourish is mostly pointless - the actress herself saying the words were tough to learn because it was utter nonsense.

On a technical level, the editing is surprisingly well done and the 4k image is frankly fantastic. Someone somewhere must be putting together a post-modern take about the beautiful landscapes and cinematography of Meyer’s * ahem * output. But it definitely does have a kitsch artistry.

It has certainly provided plenty of cinematic influence though. Elements of Tarantino grindhouse sensibilities are on show - Meyers likes bosoms as much as Quents likes feet - and there’s even a leather gimp early on. I can also see how its had an impact on Ti West X’s with a focus on sexuality and the body as well, more obviously, Anna Biller’s feminist-twist The Love Witch (2016).

Suffice to say it’s not for the weak of heart. I think in this day and age you can’t go into this completely blind to its style, period and context though. It's an X-rated Carry On style that was bad taste then and it’s bad taste now. It revels in its sleaziness without a single hint of shame or apology. Simply saying 'deal with it'.

The main negative though is the absence of plot - if the film can even be looked at like that - which is barely present. This is a shame as the whole thing could do with a bit more coherence rather than endless shagging. But it’s far from titillation, it’s mostly clowning - albeit a very adult version of it. More saucy than sexy.

Trying to review this through modern sensibilities is almost impossible. It’s as offensive can be from the first scene through to the final credits - heck even this 4k menu is simply one of the film's many s*x scenes. But there are some progressive themes as it doesn’t shy from confronting sexual freedom, bisexuality, gay sex, BDSM and consensual exploration.

There's moments of comedy thrown in and I enjoyed a frankly hilarious 5-minute monologue explaining the culprit’s intentions, which was a ludicrous way to deliver a slasher-style ending.

I suppose the main thing about Up! (and Meyers’ work overall) is there’s a sort of love it or loathe it quality about the whole shebang. But it’s so unlike anything being made today - for good or bad - that it’s never anything other than unpredictably fascinating. More explicit than most Meyers films - in fact more than any film - it’s a lewd, rude and crude (s)exploration with a satirical edge and campy enjoyment bouncing from every frame.

★★★

3 / 5

Michael Sales

Severin Films releases Russ Meyers' UP! (1976) and MOTORPSYCHO (1965) on 28 April 2025 in newly restored and scanned 4k with hours of new and archival Special Features https://severinfilms.co.uk/

Gobby Flicks Comedy Night in Birmingham

Sat, 26 Apr 2025 07:31:29 GMT

On the 24th of April, the Midlands Art Centre opened its doors to Gobby Flicks Productions for a night of live comedy. Proceeds were raised towards the production of new short comedy films, directed and written by women.

A study in 2018 found that only 18% of sitcoms were written by women and another in 2022 found only a third of UK television directors are female. The Gobby Girl Film Fund aims to redress this balance.

The event, which kicks of a series of monthly comedy events was put together by Dan Trueman and Zoe Hopkins, who first met Gina Lyons (founder of Gobby Flicks) during the production of Burger Van Man.

“We were working with Nick Helm to produce and sell his merch, and he readily agreed star in the film,” explains Dan. “Gina came on board late in production to look through the script, and to give us some advice.”

Burger Van Man headlined the trial comedy night back in February, with live sets from Mark Silcox, Janice Connolly and Alex Horne, all of whom had roles in the short.

“It’s difficult to draw attention to short films, unless the audience is already working in film,” Dan says. “The idea was to develop a night out that everyone could enjoy. People go to live comedy shows all the time, and putting a short film at the end helps to get eyes on the production.”

Comedy at the MAC

I should caveat my review of the night by pointing out that my knowledge of contemporary comedy starts somewhere around George Carlin, Richard Pryor and Bill Hicks, and ends with Joe Wilkinson’s I Just Named Your Penis skit. This means I’m probably not the authority to say whether the acts were technically good. What I do know, however, is that every performer on the night had the audience is hysterics at one point or another.

Host comedian Kate Barron focused on crowd work – for which, thankfully, I was far enough back to avoid. She knew exactly how far to take the jokes with each audience member and mixed it with a dose of self-deprecation that kept everyone on the same page. She was a great counterbalance to the more observational humour of Kwame Asanti and Naph.

Kwame was more confident on the stage, addressing the culture shifts between Ghana and the UK, as well as London and the West Midlands, and sprinkling in anecdotes about working as an A&E doctor. Naph was clearly more nervous, but never completely faltered, instead embracing it and making it part of her act. Every joke she told landed, as she drew on her Muslim background to discuss parental disappointment and career prospects.

Headlining the event was Spencer Jones, whose bizarre, prop heavy humour brought the audience to a fever pitch. Fully aware of just how silly it was, he took the audience on a journey of imaginary dogs, soup varieties and sound samples, that gradually become so ridiculous that it was impossible not to laugh.

DOSED

The night concluded with a screening of DOSED, directed by Nadine O'Mahony, written by Lily Portman and produced and starring Georgia Neath (who went on to win Best Supporting Actress at the Midlands Movies Awards 2023). Mike has already put his thoughts about the film to paper ( which you can read here ) but this was my time viewing the short and it was just as good as others had said.

Lily’s script is full of dark flourishes that add humour to the grim subject matter, while the direction from Nadine is kinetic, capturing the literal highs and lows that come in the aftermath of a wild night out. This all blends with excellent performances not only from Georgia, but also Emily Dilworth and Karendip Phull.

Speaking to Georgia and Lily after the event, they mentioned that they were in post-production on another short, while Dan and Zoe were also putting a new idea together. Two projects for Midlands Movies fans to keep an eye out for.

The next Gobby Flicks Comedy night will be held on the last Thursday of April at the Mockingbird, headlined by Nick Helm, with Eryn Tett, Mary Flanagan and Kathy Rivett. Nights will run all the way until the end of the year.

Tickets are available and you can see the full listings below.

· June – MAC - TBC
· July - Mockingbird - Lindsey Santoro & Josh Pugh
· August - MAC - Laura Lexx
· September – Mockingbird – TBC
· October – MAC - TBC
· November - Mockingbird - Iain Smith
· December - MAC - Rosie Jones

Review of The House of the Devil

Fri, 25 Apr 2025 15:32:32 GMT

The House of the Devil (2009) Dir. Ti West

Ti West’s The House of the Devil makes a wonderful companion piece to his film The Innkeepers. Both maintain the director’s referential approach to horror, encapsulating it in a slow burning 90 minutes that manages to build and maintain tension while cheekily winking to the audience and showing the mechanisms behind the scares.

Whereas the X trilogy of films (X, 2022, Pearl, 2022, and MaXXXine, 2024) paid tribute to the excesses of 70s grindhouse and 80s slashers, The House of the Devil owes more to cult and ghost stories. Rosemary’s Baby (Roman Polanski, 1968) looms large over the plot, similarly there are hints of classics like The Changeling (Peter Medak, 1980) with the various bumps and groans in the titular house.

As such, there are no jump scares to be had here. Just an overwhelming sense of inevitability, that becomes more frightening as the film progresses.

Samantha (Jocelin Donahue) is cash strapped and looking for work when she comes across a flyer looking for a babysitter. She heads to the address along with her friend Megan (Greta Gerwig) and is greeted by the Ullmans (Tom Noonan and Mary Woronov). West fully puts the audience in Samantha’s shoes, asking what we would do for money, even if the terms of the agreement are changed on the fly.

Instead of babysitting a child, Samantha is to watch the house and ensure that the family’s matriarch remains undisturbed. Once the Ullmans leave the house, and Megan hides back to the dorms, the isolation and noises from upstairs build as Samantha starts to regret her decision.

It never quite reaches the highs of The Innkeepers, where West would perfect his slow building horror tributes, but this is the film that secured his place amongst the mumblegore troupe that included Adam Wingard and Simon Barrett.

And Second Sight have done an incredible job with this release, upscaling the picture while retaining that 16mm grain that gave The House of the Devil its tactile visuals. As you’d expect, it’s also crammed with brand new features, including interviews with the cast and crew, covering the film in general and the importance of sound in these subtle horror films.

The limited edition version also includes stunning new artwork from Nick Charge and essays from Martyn Conterio, Ariel Powers-Schaub, Jerome Reuter and Julieann Stipidis.

Second Sight has been on a real streak of excellent special editions, putting out definite editions of undisputed classics and newer entries into the canon. The House of the Devil is another win from them.

★★★★

4 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Second Sight Films release Ti West’s The House of the Devil in a brand-new Limited Edition set for release on 28 April 2025 alongside a Standard Edition Blu-ray.

Midlands Movies Awards 2025 - Full nominations

Mon, 21 Apr 2025 16:23:18 GMT

Midlands Movies Awards 2025 - Full nominations

On Easter Monday 21st April Midlands Movies Editor Michael Sales & awards ceremony co-host Ed Stagg (BBC Radio) announced the nominations for the 2025 Midlands Movies Awards live from the Queen of Bradgate Vintage Cinema in Leicester.

You can read the full list of nominations across all 16 categories below and watch our announcement videos via Facebook Live .

And please also check out our great awards partner Chrome Video

Best Actress in a Leading Role

Sarah Feltham for Laura Living Backwards

Lucy Wells for A Glass House

Poppy Abbott for No Worries If Not

Rosie Frost for Run For Your Life

Suzanne Fulton for Derelict

Best Animated Film

Sick Day of the Dead by Lee Charlish

Yen for Zen by James Pyle

Grave by Oz Durose

Creativity is for Everyone by Charlotte Footitt

Best Director

Ades Singh for She Loves Me Not

Jonathan Zaurin for Derelict

James Mason for You Alright Mate

Christopher Bevan for The Other

Emma Hodgkinson for No Worries If Not!

Best Documentary

The Secret to Sustainability by Ella Breanna Sugden and Saphir Beaunol

I Just want to be a Superhero by Joey Lever

Best Sound (Editing or Mixing)

Robin Wade for Overtime

Liam Banks for Run For Your Life

Chas Sheppard for No Worries If Not

Daniel Ferrari for The Calling

Josh King, Ayesha Walker and Luke Brightmore for Homunculus

Best Actor in a Supporting Role

Mark Aldrich for Teddy and the Mountain

Jamie Mutambirwa for At What Cost

Vishal Ratnajothy for Axe To Grind

Pete Bird for Derelict

Cameron Moon for The Yard

Best Visual & Special Effects

Dimitris Vrouvas & their team for Living Dolls

Alessia Secci for Inhabitant

Steve Best & Liam Banks for Run For Your Life

Billy Evans for Ascend

James Carpenter & Baz Kannan for Letters from Space

Best Cinematography

Connor Mcloughlin for Persistence

Lewis Malin for No Longer Human

Billy Evans for Ascend

Richard Bailey for Everything

Jack Curtis for A Glass House

(Categories continue below...)

Best Costume & Makeup & Hairstyling

Abbie May Wilson, Lily Matthews, Jacob Thomas McClean & Amelia Helen McClean for Whistling Dixie

Carolina Rodrigues and Aspasia Vrouva for Living Dolls

Miriam Bibi and Oliver Butler for Last December

Luke Worrall and his team for Distill Bill

Sarah Wynne-Kordas for Run For Your Life

Best Actor in a Leading Role

Connor Rembrandt Pollet for No Longer Human

Gary Beadle for A Glass House

Adam Hovarth for The Other

Michael Coombes for Derelict

Andrew Simpson for Operation War Thunder

Best Editing

Christina Hill for You Alright Mate

Luke Worrall for Distill Bill

Charles Leggat, Jack Davies, Kick Orin & Lisa Bustillos-Kovac for Meta Mum

Elodie Bonnick for No Worries If Not

Liam Banks for Run For Your Life

Best Music (Score or song)

Tony J Brown & Roger David Francis for Advent

Sadé Nicole Davis & the team for Love Is…

Tammy King for her song Secret from Remote Witness

Thomas Pearce for Suspect

Ben Casey for Living Dolls

Best Actress in a Supporting Role

Isabel Darby for At What Cost

Karina Holness for Love Is…?

Charlotte Claypole for Teddy and The Mountain

Dani Tonks for The Other

Della Thielamay for Couple Goals

Best Feature (sponsored by Chrome Video)

Teddy and The Mountain by Stanley Roubaix

Operation War Thunder by James Peakman

Derelict by Jonathan Zaurin

Love Is…? Sadé Nicole Davis

Best Writing (Original or adapted screenplay)

Samantha Grierson for The Programme

George S. Evans for Meeting Point

Charles Strider for A Glass House

William Kowanec for War Paint

Kitty Harper for Non Fiction

Best Short Film

(winner will be chosen by VIP jury panel member RICHARD ARMITAGE)

No Worries If Not by Emma Hodgkinson

A Glass House by Charles Strider

Talking Rubbish by Ian Donnelly

The Other by Christopher Bevan

Everything by Dave Alexander Smith and Richard Bailey

Laura Living Backwards by Kate Horlor

Fortune Tell Her by Robert George Lane

Awards tickets to the ceremony are now available here https://www.midlandsmovies.com/awards-tickets

Midlands Review of Yen for Zen, Xmas! with Imagination Jack and Star Pilot Error

Sun, 13 Apr 2025 07:13:21 GMT

Local Midlands animator James Pyle enters 2025 with a selection of three new films and Midlands Movies takes a look at this collection of comedy shorts from the filmmaker.

Yen For Zen (2025)

First up is a 1-minute animation that opens on Australia’s recognisable marsupial, the kangaroo, and a voiceover tells us of the stresses the species has to face out in the wild. Pyle’s fun dialogue here is a cross between David Attenborough nature documentary and a primary school educational video and we get to see the animal use her pouch as an evolutionary tool – as well as the basis for a cheeky gag. The cartoon is done with simple shapes in the style of Bluey (sort of) and ends on a nasty surprise with the ‘Yen’ (aura of tranquillity) leading to a morbid ending with an outback crocodile.

Xmas! with Imagination Jack (2025)

For the second short Pyle plays with a live-action actor interacting with hand-drawn characters. It’s also another episode of his Imagination Jack series (our earlier review )– where a child’s TV host attempts to impart wisdom to younger viewers. Although this doesn’t always go to plan as the tone is, shall we say, not always appropriate. This time, the Sesame Street letter of choice is “X” with a distraught Santa character exploring not only the word X-Mas, but also Xenophobes and XY and XX chromones. Hardly suitable for the young ‘uns! An unfortunate use of a Xerox machine ends the short with a disclaimer about the educational quality of what we’ve just seen.

Star Pilot Error: (2025)

A “safe space” is the focus of Pyle’s final short – but it’s not what you think - as he interestingly moves into a comic book style of animation. Here a spaceman analyses the terrain of an extraterrestrial plant before his vehicle makes a touchdown on the ground. However, despite the ship’s computer claiming it’s harmless, an unexpected and important piece of information about it comes to light which sees a quick dose of slapstick added to the mix.

Summary

With a lot of Pyle’s work all three shorts again deliver a style that harks to childhood media but always with a darker and edgier twist in the tale and once more he tackles similar fare in these mischievous cartoon parodies. With an over-the-top acting style and some juvenile but playful jokes, Pyle’s style continues as seen before in his work.

Which is one of the slight drawbacks sadly. His love of comedy skits are clear to see but, as mentioned previously, the could do with a real change of genre, tone or flavour as although the quality is there, I’d hate to see it all labelled as a one-trick pony.

As also noted previously, although there is some diversity to the shorts – especially animation style and content - I’d love for them to be slightly longer to develop a more complex narrative structure. Perhaps even collect them into an anthology – with a person flicking through TV channels (like parts of Rick & Morty) – to give them a wraparound framework. As is, if you know Pyle’s work then you’ll enjoy these silly capers as they tackle fun little stories with his dependable spicy perspectives.

★★★

3 / 5

Michael Sales

Warwick Arts Centre celebrates the films of Wes Anderson

Sat, 12 Apr 2025 15:04:32 GMT

In the run-up to the much anticipated release of famed movie-maker Wes Anderson's new film, The Phoenician Scheme, Warwick Arts Centre is hosting a very special "Wes Anderthon" on Saturday 17 May 2025.

The event features three Anderson movies: Rushmore (2pm), The Grand Budapest Hotel (4.15pm) and The Royal Tenenbaums (7pm) which will be preceded by a suitably whimsical movie quiz, where Anderson buffs can test their ultimate knowledge of the auteur’s output.

Hailing from Texas, Wes Anderson is one of America’s most idiosyncratic movie-makers. His films typically boast strong ensemble casts, including many repeat collaborators - Bill Murray, Jeff Goldblum, Willem Dafoe, Tilda Swinton, Owen Wilson and Jeffrey Wright are just some of the actors who’ve made multiple Anderson appearances. Across a dozen movies, he’s also developed a strong and distinctive visual style, which has been much mimicked online.

1998's Rushmore (15) was Anderson's second feature, and marks the screen debut of actor Jason Schwartzman as Max, a troubled Rushmore Academy student who’s put on “sudden death academic probation” by the school’s head (Brian Cox).

The wry Grand Budapest Hotel (15), follows the exploits of hotel concierge Gustave (Ralph Fiennes) and a humble lobby boy (Tony Revolori) at a between-the-wars European hotel. Much lauded, the 2014 film earned four Academy Award wins (from nine nominations), five BAFTAs (including Best Original Screenplay) and a Golden Globe (for Best Film: Comedy or Musical).

Finally, The Royal Tenenbaums (15) from 2001, is Anderson's third feature, and the film that arguably established his reputation as a true original. Combining beautifully observed and witty storytelling with a strong visual flair, it features a multi-award-winning career stand-out performance from the late great Gene Hackman as patriarch Royal Tenenbaum.

Warwick Arts Centre Screen Producer James McEvoy said: “Wes Anderson has quickly become the first film-maker who comes to mind when you hear the word ‘auteur’ and with good reason. Not only does all his work feature a unique and idiosyncratic style with finely crafted details – from deadpan humour to symmetrical shots and pastel palettes – but it’s hugely enjoyable and accessible too. Whenever he’s got a new story to tell, it’s an event, and we can’t wait to celebrate a few of his best moments."

“And the final screening will also include a Wes Anderson Quiz where the most whimsically-knowledgeable will be in for a chance to win a very exciting prize!"

“So if you can name the third Wilson brother, and spot him in a line-up, or know Wes’ famous university room-mate, come along and test your knowledge against other fans.”

In addition to the triple-bill Wes Anderthon and quiz, Coventry's Warwick Arts Centre will also host one-off screenings of each film featured from Sunday 18 to Thursday 22 May 2025, leading up to the eagerly anticipated release of Anderson’s new film, The Phoenician Scheme (cert tbc) on Friday 23 May 2025.

Described as the story of a family, and a family business, The Phoenician Scheme boasts another impressive ensemble cast, including Benicio del Toro, Michael Cera, Tom Hanks, Bryan Cranston and Mia Threapleton, in what is bound to be one of 2025’s most acclaimed films.

For tickets and more information, see: warwickartscentre.co.uk

Saturday 17 May 2025

Wes Anderthon - Rushmore (2pm); The Grand Budapest Hotel (4.15pm); The Royal Tenenbaums + Quiz (7pm)

All tickets £5 per screening.

Additional screenings:

Sun 18 May: The Royal Tenenbaums
Mon 19 May: The Grand Budapest Hotel
Tue 20 May: Rushmore
Wed 21 May: The Royal Tenenbaums
Thu 22 May: The Grand Budapest Hotel

Derby QUAD Paracinema Film Festival returns May 2025

Sat, 12 Apr 2025 08:47:04 GMT

QUAD’s Paracinema Film Festival returns this May for four days of cult and genre cinema

Paracinema, Derby’s film festival exploring cult and genre cinema, returns to the QUAD venue for 2025, serving up four days of screenings and talks from the 2 ^nd -5 ^th May.

The festival will feature a number of preview screenings ahead of general release, including Ryan J Sloan’s tense thriller Gazer and Lorcan Finnegan’s The Surfer , starring Nicolas Cage in the lead role. Alongside this there will be a range of talks and director interviews, including Jaz Wiseman and BFI film historian Dick Fiddy discussing the legacy of legendary TV studio ITC and an interview with director Jake West alongside a screening of cult classic vampire movie Razor Blade Smile.

The four days will also feature a range of movies enjoying rare screenings in the UK, including Brian De Palma’s thrilling musical Phantom of the Paradise and the restored French horror movie Night of Death . Alongside this will be a series of new movies from Britain and around the world, with the Festival offering a spotlight for exciting movies that are destined to become cult classics and favourites in years to come. Among the line-up are dog-themed anthology film Life’s A Bitch , American superhero comedy The Dark Crusader , intriguing documentary on Spanish cinema Exorcismo and comedy-slasher-musical Chainsaws Were Singing from Estonia.

Alex Davis, Festival Co-Ordinator, said: ‘Paracinema serves up a thrilling array of films each year, across a wide range of genres and styles, and is the perfect chance to see a range of movies you’re not likely to see elsewhere! Whether you’re looking for a movie from the archive, a pre-release preview or one of the many films that screen with us before going onto bigger things, Paracinema truly has something fore everyone – especially the adventurous cinemagoer!’

Adam J Marsh, QUAD’s Head of Film. said: "They say everyday is a school day, and this May we will be practising that mantra with two talks that highlight elements of the Paracinema programme. First Jaz Wiseman (ITC Entertained The World) presenting a talk about ITC Entertainment followed by a special cinema presentation of two of the jewels in ITC's crown The Prisoner and Randall And Hopkirk (Deceased). Then secondly Clelia McElroy from Monstrous Flesh will present a talk on the history of female vampires, followed by a newly restored version of Razor Blade Smile (1998) with director Jake West along for a Q&A."

Paracinema Film Festival runs from 2 ^nd -5 ^th May at QUAD, and full event passes are £50/£40 concessions, offering access to all the screenings at the event. Individual talk and film tickets are also available from https://www.derbyquad.co.uk/season-festival/paracinema-film-festival/ , with more information on the event available at https://paracinema.co.uk

New Comedy Nights to Raise Film Funding

Sat, 12 Apr 2025 08:12:22 GMT

Both The Mockingbird Cinema and the Midlands Art Centre (MAC) in Birmingham are set to put on a series of live comedy nights, organised by Gobby Girl Productions.

Founded by writer, director and producer Gina Lyons, Gobby Girl Productions provides funding for creatives, especially in the comedy field, which has been recognised as a genre in decline.

The Gobby Flicks Comedy nights will include opportunities for local creatives to network, followed by live comedy sets and a screening of a short film. These films will star one of the comedians featured on the night, or will have been submitted to Gobby Girl Productions.

Money raised from the nights will go towards funding comedy shorts written and directed by women. This is to address the ongoing gender imbalance in the industry, with Diamond data showing that female directors represent just 33% of the industry. According to Gobby Girl Productions, in comedy this slides further to just 25%.

A trial night was held at the MAC in February, which concluded with the short Burger Van Man, which starred Nick Helm. Now Gobby Flicks Comedy has announced the line up (subject to change) for the next six events, which will run until the end of the year.

April - MAC - Kate Barron & Spencer Jones
May - Mockingbird - Nick Helm
July - Mockingbird - Lindsey Santoro & Josh Pugh
August - MAC - Laura Lexx
September - Mockingbird - Acts TBC
October - MAC - Acts TBC
November - Mockingbird - Iain Smith
December - MAC - Rosie Jones

The first short to be shown will be the Midlands production DOSED, directed by Nadine O’Mahony, written by Lily Portman, and starring Emily Dilworth and Georgia Neath.

Tickets are available for the April event from the MAC website

https://macbirmingham.co.uk/cinema/gobby-flicks-comedy

Matt Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Review of Warfare

Fri, 11 Apr 2025 17:56:14 GMT

Warfare (2025) Dir. Alex Garland and Ray Mendoza

Warfare is a film based on true events and the memories of Ray Mendoza. During the Iraq war a group of young Navy SEALs begin a surveillance mission. But after everything goes horribly wrong, how will they escape and how will they cope?

Coming off the heels of making one of 2024’s best films (Civil War), Director Alex Garland sets his sights on Warfare. A harrowing look into the Iraq war, that pulls no punches and in no way romanticises it. But Garland is not the only visionary working on this movie, co-director Ray Mendoza wrote and directed this film alongside Garland, as the tagline says this film is “based on the memory of the people who lived it” and Mendoza was one of the Navy SEALs on the mission depicted in this film. This allowed the film to feel much more realistic and brutal, stripping away some of the glamorisation Hollywood is known for in their war movies. This film is full of tension, deeply upsetting moments, and masterful cinematography.

Similar to Civil war, this film thrives in its tension building. The entire first act is so quiet and slow, mainly focusing the audience into getting to know all the characters and their dynamics. But as the movie keeps moving forward the silent shadow of doubt keeps creeping in with the idea that something is going to go wrong. That feeling just completely engulfs the first 30 minutes of this film and the tension that builds from it is nail biting. But saying that, I do feel like this film is very reliant on immersion, if you aren't fully giving this film your 100% attention and you aren’t invested in what it's trying to set up, you may have a hard time enjoying this movie.

The casting for this film is absolutely inspired. The cast is made up of up and comers like Kit Conner, Will Poulter, and Noah Centineo to name a few. But the interesting thing about this cast is most of the actors are known for playing roles in children's media. Kit Conner had his big break with the Netflix show Heartstopper, a tv show where he plays a teenager in high school, Will Poulter was in the Narnia Franchise, and Noah Centino was on the Disney Channel. There are plenty of other examples like this throughout the entire cast, but I feel like this idea empathises the point that these soldiers are young adults, out of their depth, and are struggling to comprehend what's going on around them.

Additionally, it makes the more brutal scenes in this film, that much more uncomfortable and horrifying. I would like to shine the spotlight in Joesph Quinn’s direction. His performance in this film was utterly incredible, without spoiling what happens, there comes a point where Quinn pulls off the most visceral and earthshattering performance after experiencing something truly horrendous, and when that moment came, I was truly in awe of his performance.

The first two acts of this film are executed perfectly, but it's the third act that did start to lose me, just a little bit. After everything that happens the movie just becomes a little flat and turns into an escape story, and I did find this part under paced. A good 10 minutes could be cut from this part to make for a more immersive and engaging ending.

Whilst Warfare doesn't quite hit the highs of Civil War, it is still a great film that says a lot about war, trauma, and the military system. This film is pure unfiltered reality of the horrors of war. If there is any other reason to give this film a shot, it should be for its fantastic cast of actors. That put in some of the year's best performances.

★★★★

4/5

Jacob Holmes

Instagram: https://www.instagram.com/_jacob.holmes/

Letterboxd: https://boxd.it/2vL6V

Midlands Review of Molina

Fri, 04 Apr 2025 13:51:34 GMT

Molina

Directed by Richard Chambers

2025

Concerted Productions

Molina is a new sci-fi drama short from Leicester filmmaker Richard Chambers which explores the ramifications of mind-altering technology amid tense human relationships.

The film begins with an intense and pulsating score (from Rachel Catlin) which immediately delivers a dark atmospheric tension before we are brought ‘back to reality’ with the sounds of a local pub.

Here we see a young woman (Elise Verney) sit across a table from an older man (Sean Tizzard) in an awkward encounter. She’s angry and upset and explains that she only agreed to meet because he promised this will be their final get together.

Off the bat, the film sets up an intriguing premise as we soon discover via flashback that they are father and daughter, but what could have caused this fracture between them?

There’s a warm glow to Joel Caborn’s cinematography, representing a more homely nature during a different time (or space?) where the man bakes cakes and their conversation is far more cordial - forcing the audience to confront topsy-turvy emotional whiplash like the characters themselves.

Again, the filmmaker provides a stark cut to another scene where this time the man is in an office discussing a payment plan to use technology to explore an alternative reality to his own, one which hints upon dreams and memory. And as electrodes are attached to his head we fade to black. Much like the narrative, the film itself pulls us into a black hole where we too are unsure where we are heading.

Molina is an interesting and enigmatic short with a few nods to existing sci-fi cinema. The obvious comparison is Philip K Dick’s work (most notably Total Recall’s corporate mind-and-memory-bending fantasy plot) but there’s also a hint of 2024’s The Substance where a shady company appears to deliver what the customer wants despite its possible detrimental consequences.

And like the best of those films (and despite some later revelations) the film’s message is to not provide easy, or even concrete, answers to the scenario it presents.

As the plot continues we see that after their brief interaction, the father fails to uphold his promise and arrives unexpectedly at the young woman's flat. But what appears to be suspicious, is soon brushed aside as he passes on a cryptic item that is central to unwrapping the plot. Again, what intentions look like on the surface and what’s really behind them are both key themes throughout.

But it's not all Christopher Nolan-style time-jumping exposition antics. The excellent two leads add a real emotional depth to the characters which helps keep everything grounded, especially when the heady sci-fi elements are in play.

A debut of some note, Molina has all the building blocks of a fantastic short. The time-shifting edits from Gemma Price, the functional but unique lighting and extremely assured writing - which slowly unfolds the mysteries it sets up - are all very impressive. And with such first-rate attributes, the film ends as a perplexing but mesmerising short - one that some more experienced filmmakers could only “dream of” making.

★★★★

4 / 5

Michael Sales

Review of St. Patrick's Day Massacre

Fri, 04 Apr 2025 08:06:37 GMT

St. Patrick's Day Massacre

Directed by Steve Lawson

2025

Creativ Studios

St. Patrick’s Day Massacre is the latest b-movie horror from Midlands director Steve Lawson who once again delves into the past to provide new spins on established stories and lore.

And this time he uses St. Patrick’s Day as a jumping off point to create a tale of historic horror encroaching on the modern day.

We open in Dublin in 1825 with an Irish jig in a small rowdy bar before violence kicks off involving a man named Darragh O'Donoghue (Ben Manning) who is looking for revenge for his adulterous wife before a gunshot rings out.

We jump forward to the present day as we touch down in Dublin where a group of 4 women - Kendra (Ayvianna Snow), Leena (Marta Svetek), Sian (Annabella Rich) and Daisy (Jasmine Sumner) - go on a holiday trip trying to make the most of the day’s celebrations.

Some upbeat music and a round table of chatting in a club, there are hints to the fast-talking ladies from Tarantino’s sleazy Death Proof, as the girls try to get into party mode.

As they enjoy their drinks they are soon invited to a sort of seance at an abandoned tavern by an Irishman named O'Reilly. Although part of their jollies, they ridiculously agree to stay the night at this run-down shack of a place - look out, ladies (!) And given this ropey industrial part of town, they’d be better off staying in the Overlook given its appearance!

Director Steve Lawson has a habit of starting his films a bit slow and somehow getting slower. However, this feature is his best opening yet - creating an intriguing mystery backstory with a hint of action and violence.

A shocking cut into metal music breaks the period drama vibe though - it didn’t really work for me but hints upon the grindhouse direction the film attempts to go in. And like his previous output, it’s once again filmed in the Midlands with appropriate inserts, establishing shots and stock footage to sell the illusion we’re somewhere else.

“Mostly” avoiding previous habits of telling not showing, the film does stall a little with the women chatting for longer than needed but when further information is given to them about why their accommodation is haunted we have some nice flashback inserts instead of dialogue (or the dreaded letter reading). The flashback also fills in some of the mystery set up at the start as well as some blood, gore and even a bit of “skin” for b-movie connoisseurs.

Eventually, one of the girls discovers a selection of newspaper clippings about a number of people who’ve gone missing on St Patrick’s Day and the real horror finally begins. Unfortunately we’re about 45 minutes in, and so lovers of grindhouse nastiness may feel a bit short-changed with the amount of action given its “massacre” title.

But a massacre we do finally get. Sort of. The kills come towards the end with the ghostly undead killer returning to seek revenge on these “gothic hotties”. A rusty curved saw is his weapon of choice and we see a few deaths as the girls are attacked one by one.

A lesbian love sub-plot is mishandled really, and then a shower scene throws in some more brief nudity before we get the scream queen/final girl trope everyone's been expecting.

A few more kills and attacks wouldn’t have gone amiss - that’s why we’re here right? But overall I thought this better handled in the main than the director’s previous efforts like Ship of the Damned , Wrath of Dracula and The Mummy Resurrection .

The writing, pace and editing have seen significant improvements - although there’s a fair bit of low budget walking with flashlights around darkly lit corridors - which despite some tense music didn’t particularly keep me on the edge of the seat.

However, at just over 1 hour 15 minutes in length, it certainly doesn’t outstay its welcome and throws in a few surprises at the end. St. Patrick’s Day Massacre takes all the usual aspects of the horror genre and although it doesn’t do anything particularly new with the material, the step up in terms of quality help saw it through to its grisly end. If you know Lawson’s work then this is one of the better entries so if that’s your bag, pack it up and join this trip to experience historical Irish folk-tale terrors in a spooky slasher horror.

★★★½

3.5 / 5

Michael Sales

A Batman premiere forever in Leicester hearts

midlandsmovies@yahoo.com — Wed, 02 Apr 2025 08:42:37 GMT

A Batman premiere forever in Leicester hearts

A Batman premiere forever in Leicester hearts

Leicester Square! The home of the red-carpet movie premiere in the country. Well, the famous London location didn’t get its hands on one particular UK premiere back in the 90s - but the city of Leicester in the Midlands sure as hell did. Holy cinema, Batman!

For it was on 12th July 1995, the European premiere of Batman Forever unbelievably took place on an industrial estate just outside this East Midlands city. What?? You heard right. A 9-screen Warner Cinema complex opened at Meridian Leisure Park on the outskirts of Leicester and to celebrate its launch, Warner Brothers decided to open with its tentpole summer blockbuster film.

A sequel to the 1992 film Batman Returns and the third instalment of the 90s Batman film series, superstar Val Kilmer replaced Michael Keaton as the caped crusader. He appeared alongside a host of Hollywood hot properties including Tommy Lee Jones, Jim Carrey, Nicole Kidman and Chris O'Donnell.

But given its slightly less than elegant whereabouts, this event probably just had z-list celebrities though, right? Well, there were a few it must be said. But amongst 90s Neighbours soap opera actor Craig McLaughlin and British entertainer Bradley Walsh, the film’s stars Val Kilmer and Chris O’Donnell did in fact attend the bash!

As well as that, director Joel Schumacher was also present with many of these A-listers dropped off by helicopter right next to the glamorous M1 motorway. And to welcome them all to Leicester, a frankly astonishing 2,500 people were invited to be a part of this special occasion.

The recently constructed cinema was unique as well, resembling as it did a giant film set. High ceilings had hanging lamps and gantries added, and placed alongside were life-size models of the Looney Tunes characters. It sounds as gaudy as the sets from Batman Forever itself.

Gabrielle Miller, who runs Cool As Leicester , was there on the day and fondly remembers the event. “I loved that day. My mum took us down early to be near the front because I wanted to see Ryan Giggs and my sister wanted to see Craig McLaughlin. It was completely mental that there was an actual film premiere down the road! I remember Craig McLaughlin turned up in some leather outfit and being very excited”.

"I was only a kid at the time but it's d efinitely one of those 'no, this really did happen' Leicester moments. My grandma even kept the Leicester Mercury newspaper clipping of my sister at the barrier."

Other celebrities out on the carpet included the band Oasis, Julie Walters, Patsy Kensit and half of the Manchester United football team.

Truly one of the strangest cinematic events to befall the Midlands, another attendee was young Leicester resident Mathew Pearce who was involved in even more bizarre antics. “I got a signed football that was kicked out into the crowd with the autographs of the cast on it”, says Mat.

“I remember getting into huge trouble because I was 10 and didn't tell anyone I was going. You can imagine to a small kid that getting one of those balls was the most exciting thing possible. Bradley Walsh must have presented it and came over to us with Lesley Joseph. I remember being scared because her character Dorian was a bit mean in Birds of a Feather”.

Mat finishes off, “Bradley Walsh asked if I wanted him to sign the ball as well. I said ‘I don't know who you are but sure’. He just laughed and signed it. It was dark when I got home and I was grounded for an eternity but well worth the punishment”.

“It really was a great day and obviously growing up in Braunstone it was massive having all of these film stars come to town. There were helicopters flying over the house all night and Warner Brothers had Batman-style lasers lighting up the sky that you could see for miles”.

Local drama principal Karen Stevens has fond recollections too. “I won tickets to the screening an hour before in Town Hall Square. I raced down in whatever I was wearing to walk the red carpet!”

Despite mixed reviews (and the ugly addition of nipples on the Batsuit), the film was in fact a financial hit grossing over $336 million at the box office worldwide. And its successful soundtrack featured monster hit singles "Hold Me, Thrill Me, Kiss Me, Kill Me" by U2 and "Kiss from a Rose" by Seal.

And one final shock from the time was the remarkable fact Batman Forever was nominated for three Oscars! Less surprisingly however was that it won zero.

So come on , Hollywood. What are you afraid of? The welcoming and friendly folk of Leicester ask you to set your spotlights once again on our fair city. Let’s see another huge premiere head our way as it’s about time you tried to top the last one.

Michael Sales

Midlands Review of Falcon

Sat, 22 Mar 2025 17:58:03 GMT

Falcon

Directed by Noel Wyatt

2025

I’ve mentioned this before in reviews for Midlands Movies; reviewing low budget, independently made films requires a change in mindset. There’s a level of compromise, with allowances made for the odd rough-around-the-edges performance or some shaky effects work. On the opposite end of the compromise, however, is a film where the basics – the script, the cinematography – are up to a certain standard.

This isn’t to say that there can’t be mistakes. But there must be a general understanding of storytelling. While Falcon was made with the best intentions, writer/director Noel Wyatt (billed here as Noel Hitchcock) said that they wanted to create opportunities for military veterans, as well as disabled actors and women, it features a few too many basic errors to reach its potential.

To start, it falls into the trap of telling audiences instead of showing them. For example, at the start we see disabled veteran Marcie (Rachel Fletcher) in the park who stops at a set of stairs and says, “wheelchair accessible my arse”. This is superfluous. We’ve already had clear shots of Marcie in her wheelchair and the steps. The audience doesn’t need this extra piece of explanation.

Another example comes later in the film, after Todd (George Weighall), a teenager who lives on the same estate, is forced to work for drug dealer Arron (Aston Gallagher). While out with his friends, Todd explains the situation to them. It’s not a bad thing to show them being clued into the events so far, but Todd explains in granular detail, essentially acting as a catch-up for anyone starting the film at the half hour point. This could have been trimmed; giving the friends some prior knowledge of Arron and his dealings, allowing Todd to simply say that he’s been forced to work for him.

Elsewhere, there are some continuity problems. Todd’s bike is thrown over the balcony by Arron when they first come into contact, but is seen undamaged a few scenes later, with its licence plate intact on the handlebars. This is important stuff – given the events later in the film, the bike is unnecessary, and we could have Todd walking around after it’s destroyed.

In fact, as one of the film’s main themes is the growing levels of poverty, leading to rising crime rates, it could have added desperation to the character and created more realism to the lengths he is pushed too.

Later, when Marcie and Todd start swapping Arron’s cocaine out for flour to put him out of favour with his bosses, the size of the bag changes and whilst it has no bearing on the plot, it does show a lack of attention. These aren’t small errors; a watch switching from the left wrist to the right, or a drink magically refilling between cuts. These are things even casual viewers will notice.

And it sadly feels all a bit rushed. There’s a moment when Arron bumps into the camera, and we watch awkwardly as the actor shuffles around it. Why couldn’t a second take be done of this 30 second scene?

This extends to some characters too. Marcie’s therapist Brian (Paul Tivey) opens her confidential file to reveal a blank piece of paper, despite it suggested she has been going to him regularly. Now there’s an argument that the two scenes involving Brian could be cut altogether. But to not have a few sheets of printed paper in Marcie’s file suggests these scenes were added late and shot quickly to boost this up to a feature length film.

Given that the film’s other key theme is the treatment of veterans after they leave the military, there could have been more to say about funding for mental health support of those suffering from PTSD as well as support for those who cannot get back in work after serving in the military. Reading through the crowdfunder notes for this film, that seems to have been the intention.

Unfortuantely, things are rushed to get to the main story about tackling a local drug dealer. Falcon strives to be a Ken Loach piece but needs to be put back through the editing suite to unearth those themes clearer.

In the end, this would sit far more comfortably as a 30min short. Cut the therapy scenes and have Brian mentioned in passing, showing Marcie’s disillusionment with the support offered. Have Todd become embroiled in the drug dealing plot earlier, so that when he initially mugs Marcie, it comes from a place of desperation rather than feeding into the stereotypes of council estate kids.

The film could do with a little more focus on the antagonist Jim (Dennis George Norton). A fellow veteran who Marcie sees at the Veteran Breakfast events, it’s revealed in the closing moments he is Arron’s boss, pushing drugs into the estates. What better way to show the themes than to have two veterans, one mentally broken by his duty, another physically, pushed in two directions by the poverty they found when they came back home?

There are a lot of important stories to be told about the treatment of veterans, and the increasingly poor living conditions of those on the breadline. Sadly, by throwing subplots into the mix, letting errors slip through the cracks, and not putting the script through a thorough edit, Falcon is unfortunately not the socially conscious film it really wants to be.

2/5

★★

2 / 5

Matthew Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Review of The Rule of Jenny Pen

Thu, 13 Mar 2025 20:18:40 GMT

The Rule of Jenny Pen (2025) Dir. James Ashcroft

After an unexpected stroke, former Judge ‘Stefan’ is forced into an assisted living facility. Whilst there, he is forced into sadistic encounters with another psychopathic resident and his vicious puppet companion.

The Rule of Jenny Pen is the latest film from up-and-coming director James Ashcroft. This psychological horror provides some pretty disturbing scenes, fantastic performances from career veterans, and an interesting visual style that is sure to please fans of the genre. But sadly, this film's brutal approach to its subject matter creates such a disturbing narrative that it made this film quite a tough one to sit through for its entire runtime.

In my opinion the standout of this film is its editing. This film works because it builds tension so well, and keeps you on the edge of the seat throughout. Its constant smash cuts create an unsettling atmosphere that fits extremely well with the cast's unnerving presence on screen. This movie's cinematography is expertly put together especially considering its independent production, the care facility feels silently insidious, switching between dull lifeless colours and horrifying popping colours in an instant.

This film is heavily carried by its actors. John Lithgow plays the menacing antagonist ‘Dave Crealy’. Crealy is intensely sinister and commands the screen in every scene he is in. Lithgow really embodies the role, taking aspects of every iconic movie psychopath. There are bits of Norman Bates, Patrick Bateman, and the Joker in here. With all these elements combined Ashcroft creates an immensely horrible character, one that made me want to look away from the pure disrespect this character displayed. It's truly unhinged.

Geoffrey Rush is the leading man in the film. Stefan goes through a shocking amount of mental and physical torture, that every time he is faced against this movie villain it made me squirm in my seat. He plays a stroke victim with a lot of sympathy and portrays the illness with accuracy and in an appropriate way. As his illness gets worse throughout the film my heart broke more and more.

Whilst there is a lot of positives with this film, it doesn’t quite succeed in creating the thrill and rewards of a good psychological horror. Most of this movie's runtime is dedicated to a psychopath bullying, harassing, and abusing societies most vulnerable.

Ashcroft has such an unwavering brutality that after a certain amount of time the entertainment value drops in favour of harrowing scenes, this film contains no gore and no jump scares but still manages to provide an extremely uncomfortable watch.

Its ending also leaves so much to be desired and comes across has quite anti-climactic. From my perspective, having a character as unlikable as Dave Crealy also requires an ending that mirrors the atrocious acts he committed. It should be a rewarding and satisfactory ending as we see his demise, but sadly this film doesn’t even come close to being a fulfilling watch.

I am sure some people will like this film more than I, but the film should have dealt with its themes with a little more compassion and empathy.

★★★

3 / 5

Jacob Holmes

Instagram

Letterboxd

The Rule of Jenny Pen is in UK cinemas 14 March from Vertigo Releasing

Review of Scanners

Tue, 11 Mar 2025 08:35:31 GMT

Scanners (1981) Dir. David Cronenberg

Filmmakers would kill for a scene as recognisable as the exploding head scene early into Scanners. A moment so sudden and exciting that it was shown out-of-context in place of a trailer in some regions, and has been a horror touchstone, even for those who haven’t seen the film.

Of course, having a moment this iconic comes with the risk that it will overshadow the rest of the film, and Scanners does suffer from this. There’s plenty of fun to be had with Michael Ironside’s scenery chewing performance as Revok, and Patrick McGoohan is excellent as Dr Paul Ruth.

But the film really does peak in two moments – the exploding head, and the final confrontation between Revok and our protagonist Cameron Vale (Stephen Lack).

Cronenberg says that the production started without a script, instead it was a series of ideas, and he would continue writing on filming days. This is apparent as the plot meanders between the exciting moments.

There are interesting parts to the paranoid thriller, pitting a group of rebel telepaths against a private military company, but it lacks the deeply, disturbing personal horrors that came with Shivers (1975), The Brood (1979) and much of his later work.

Still, Second Sight have done an incredible job with this release, with a new director-approved restoration that really makes the visual effects pop. The release is also packed full of interview footage with key cast and crew members, as well as a video essay from Tim Coleman.

It’s a stunning release, as you’d expect from Second Sight, and while Scanners might not live up to the highs of Cronenberg’s other works, it’s still an iconic part of his repertoire and is fully deserving of the full package treatment.

Pick this up, drop it in the Blu-ray player and revel in the thrills of the practical effects and deliciously OTT performances.

Film: 3/5

Release: 4/5

Overall: ★★★½

Matthew Tilt

Instagram

Scanners Limited Edition 4K/UHD and Blu-ray Box set is set for release on 31st March 2025 and will also be available in Standard Edition 4K and Blu-ray restoration with the approval of director David Cronenberg himself.

Special Features

A new 4K restoration approved by Director David Cronenberg
Dual format edition including both UHD and Blu-ray with main feature and bonus features on both discs
UHD presented in HDR with Dolby Vision
New audio commentary by Caelum Vatnsdal
Audio commentary by William Beard
My Art Keeps Me Sane: an interview with Actor Stephen Lack
Method in his Madness: an interview with Actor Michael Ironside
Bad Guy Dane: an interview with Actor Lawrence Dane
The Eye of Scanners: an interview with Cinematographer Mark Irwin
Mind Fragments: an interview with Composer Howard Shore
The Chaos of Scanners: an interview with Executive Producer Pierre David
Exploding Brains & Popping Veins: Interview with Makeup Effects Artist Stephan Dupuis
Monster Kid: an interview with Makeup Effects Artist Chris Walas
Cronenberg's Tech Babies: a video essay by Tim Coleman

Limited Edition Contents

Rigid slipcase with new artwork by Krishna Shenoi
120-page book with new essays by Dr Xavier Aldana Reyes, Eugenio Ercolani and Gian Giacomo Petrone, Kurt Halfyard, Craig Ian Mann, Francesco Massaccesi, Jessica Scott, Emma Westwood and Heather Wixson
6 collectors' art cards

Review of Old Guy

Mon, 10 Mar 2025 19:27:56 GMT

Old Guy (2025) Dir. Simon West

Old Guy suggests that being a hitman is a young man’s game but could the same be said of action film directors? Well possibly, given what’s on show in this sadly pedestrian action comedy.

Don’t be fooled by a rather great opening credit sequence that updates the crime animation style of Catch Me If You Can for a 2025 streetwise audience. We open the film proper on Christoph Waltz as Danny Dolinski who is partying wildly in a nightclub. And soon he wakes in bed suffering from a haze of wanton womanizing in a London hotel. (Well, I say London but this scene is definitely The Harrison Hotel in Belfast as I’ve stayed in this exact room when visiting!)

Anyways, we discover he’s an untamed contract killer, but is struggling to return to his “work” after a medical operation on his shooting hand has adverse effects on his aim. After cleaning up a mess created by a younger assassin, he tries to reclaim his position but is told by a shady handler that he should retire with the only other option to train new recruits.

He is paired with Cooper Hoffman (off the back of an engaging performance in Licorice Pizza) as Wihlborg, a confident 20-something ready to take over as the lead hired gun with a quick draw and feisty attitude. Immediately the two men butt heads but soon travel to Belfast to undertake a mission that gets complicated by unforeseen underworld dealings.

And that’s it my friends. A simple pairing of criminals with opposite personalities in a straightforward narrative is an easy win, right? Not so. There’s something so perfunctory to the proceedings that it’s far too inoffensive. And to a huge fault.

At times it feels a throwback to the late 90s post-Pulp Fiction crime genre featuring fast-talking hitmen and quick dialogue. But it does this with so little 'oomph' that it could really do with taking a few risks - or a big swing in any of its average aspects - to capture some sort of missing Guy Ritchie energy.

Lucy Liu appears, then mostly disappears, in an absolutely nothing of a role and features as part of a criminally underwritten subplot. There’s just no creativity here - in the camerawork, the staging, the action or the dialogue. It has straight-to-streaming energy oozing from every undercooked scene. A double-cross plot is hackneyed and it feels half finished at times. Just no.

And all this from the director of action crime classic Con Air? Oh my. You’ll certainly feel old after finishing the film as its 90 minutes feels like 90 years.

The “plot” continues as Waltz attempts to school his young sharp-shooter student but this is no Schultz and Django. There’s a huge gulf between this film and other belligerent hitmen abroad fare like the excellent In Bruges.

Superstars Waltz, Liu and Hoffman may just drag your interest over the line but it’s a movie that throws away its talented cast on middling mush. In the end, Old Guy is just too over the hill, and despite the cast’s best efforts it’s sadly pure background fodder of the blandest kind.

★★

2 / 5

Michael Sales

Review of The Last Showgirl

Sun, 02 Mar 2025 10:48:26 GMT

The Last Showgirl (2025) Dir. Gia Coppola

Amongst the backdrop of the seedy stage shows of Las Vegas, ex-Baywatch and Playboy model Pamela Anderson stars as Shelly - a middle-aged showgirl dealing with family feuds and the ever-decreasing popularity of the old-style stage event at the Razzle Dazzle venue.

Shelly acts as a mother figure to young performers (played well by Brenda Song & Kiernan Shipka) who have eyes on more prestigious shows, whilst her friend Annette (Jamie Lee Curtis) is now a struggling cocktail waitress, ditched from the show owing to her advancing age.

Shelly is shocked to hear the show will finally close from producer Eddie (Dave Bautista) which raises further worries in her life. And these stresses become increasingly complicated when her estranged daughter (Billie Lourd) arrives to disapprove of her mother’s lifestyle and childhood upbringing.

The Last Showgirl provides an interesting if surface-level look at a rundown world no longer contemporarily relevant, as well as exploring how women cope with the effects of time and aging within an industry focused on looks and beauty.

The Last Showgirl doesn’t delve into anything particularly new or observant about the issues it raises, but I may be one of few viewers these days to see simplicity as an underrated commodity in film. Too many movies overstuff their films with multiple themes and plots that far too often directors can struggle to handle, so it’s somewhat refreshing to see a straightforward tale told in a brisk 90 minutes.

That’s not to say it isn’t without its flaws. Anderson’s admirable attempts at her acting renaissance is “patchy” at best, the script needs another pass and characters are mostly underwritten. Often reduced to wistful musical moments to create a "vibe". But I can't deny that I didn't enjoy the actors's efforts overall. And Dave Bautista continues his interesting career, with each role choosing colourful projects to stretch his acting chops.

Along with The Substance - granted that’s easily a much better film - it’s also pleasing to see films showcasing an older female cast. Jamie Lee Curtis’ changing room de-robing and a later dance sequence not only reflects her character’s former glories but also harks to the actress' own famous sultry shenanigans in True Lies. She can still twirl with the best of them!

Maybe it’s just me as I grow older, but movies that focus on reflecting previous glories, the good ol’ days (were they ever in the first place?) and the toll on aging bodies, resonate with me. Am I in any position to talk about this? Who knows. However, I’d rather have slightly flawed films tackling these issues than none at all. Hollywood's past obsession with youth hasn't changed a bit in 100 years it seems.

As the basic plot develops with a clash of views, hints of reconciliation and a passionate finale, the movie delivers the kind of story you expect and it ends as more honourable than memorable by its conclusion. Not completely a razzle-dazzle of a film, like its central character, The Last Showgirl nonetheless has plenty of heart that overcomes many of the limitations around it.

★★★½

3.5 / 5

Michael Sales

Northampton Film Festival Celebrates Women in Film

Sun, 23 Feb 2025 11:30:29 GMT

Sit with some of the country’s top female film professionals and celebrate women in film

Following last year’s sold out screenings and highly engaged audiences during filmmaker Q&As - the Northampton Film Festival will once again be celebrating International Women’s Day on Saturday 8 March at Delapre Abbey, with the screening of powerful films that celebrate women in front and behind the camera.

The day will also include a ‘People Library’ where anyone interested in filmmaking or TV can have a one-on-one sit down with women working in the industry to ask questions, gain insight and make connections.

According to Becky Carrier, the festival’s director: “Our women in film event isn’t targeted only at women – it’s for anyone who wants to join us in celebrating women filmmakers and women’s stories. Likewise, the People Library provides everyone, regardless of gender or experience, with a rare opportunity to sit down with incredible women working across the industry."

"So whether you’re an aspiring filmmaker, a film lover, or just curious about the magic behind the scenes, you should book your ticket and come and join us.”

The celebration of women in film, forms a major part of the 9-day festival, which runs from 7 - 15 March and provides several opportunities for film and TV enthusiasts to network and watch films from Northants and across the UK, that give a nod to rebels, revolutionaries, misfits, mavericks, creatives and changemakers.

The festival’s full range of networking opportunities include:

● The Opening Gala + prosecco - Fri 7 March, 6.30pm at Delapre Abbey

● The People Library - Sat 8 March, 1.30pm at Delapre Abbey

● Film Networking and screenings - Mon 10 March, 6.00pm, Creative Hub, University of Northampton

● The Awards ceremony (16yrs+) - Sat 15 March, 6.30pm at Northampton Guildhall

The industry professionals at the People Library will include:

Blair Barnette , a London-based production designer with a passion for sustainable design. A BAFTA and Television Academy member, she has worked on major films, TV, and commercials with directors like Lynn Ramsey and Jim Sheridan.

Rowan Bray , Managing Director at Clear Cut Group, leading one of the UK’s top post-production teams and with a career spanning from Channel 4’s early days to heading major post production houses.

Simisolaoluwa Akande , a Northants multi-award-winning filmmaker, passionate about Black storytelling, whose documentary ‘The Archive: Queer Nigerians’ won Best Short at BFI London Film Festival 2023.

Mandy Jennings , a local animator with over 20 years experience across hand-drawn, stop-motion, and digital 2D/3D. She has worked on Horrible Histories, Mr Bean, Moshi Monsters, and numerous TV projects for BBC, CBeebies, and Channel 4.

The festival has been possible with support from Film Hub Midlands through funds from the National Lottery, West Northamptonshire Council, the UK Government, Northampton Town Council, CARRIER-media, Sage Communications, Panavision and our venues Delapre Abbey, the University of Northampton and Northampton Filmhouse.

For the full festival schedule visit: northamptonfilmfestival.eventive.org/welcome

You can also follow: @NNFilmFestival on Instagram or X, or Northampton Film Festival UK on Facebook.To join the NFF mailing list, visit: northamptonfilmfestival.co.uk

Midlands Review of Check Date

Wed, 19 Feb 2025 19:25:18 GMT

Check Date

Directed by Declan Smith

2025

Filmed in the Disco Cup Café Nottingham, we take a look at Declan Smith’s disarmingly amusing bite-sized short, Check Date.

Check Date opens with a low-angle shot, reflecting Josh gazing attentively, almost affectionately at the game below, yet it is immediately apparent to us that his focus may not entirely be on his date sat across from him.

He battles between maintaining eye contact with the board and with Clotilde, his opponent for both the game and the date, as she competes for his attention against his true desire to beat her, something he may have met his match in.

Josh internally gloats at his process with every wrong move Clotilde makes, gaining more and more confidence move by move that he can triumph in the “date” as he refuses to be distracted by her seductive stare, something he sees as a pure tool to distract him from the ultimate ambition of victory.

However, Clotilde has been one step ahead the entire time and before Josh even realises, she has scooped his pieces off of the board and declared her victory, but there will be no handshake.

His blood boils at the sight of his failure. As his heart thumps against the wall of his chest, threatening to burst out and spill all over his date, it is the counters that propel against her as he flips the board to her shock, blowing any chance at a second date, and perhaps of more concern to Josh, of a rematch.

Even in the span of a micro-short with a sub-one minute duration, Smith has again displayed how much of an asset he is amidst the Midland’s filmmaking community, contributing a charmingly conceived simple narrative that does not outstay its welcome.

One of the pitfalls many first-time short filmmakers frequently fall into is the overcomplication of the narrative that frequently disrupts the production’s pacing. An over-indulgence in shot-craft and setup sometimes distract from what should always be the number one priority, the story.

Smith is wise to avoid this, establishing his parameters in media res to deliver only the information we need to know, that these characters are on a “date” and proceeds to show us exactly that.

From here, he establishes the perfect foundation for the plot to do the talking well, more specifically for Josh too. His charismatic voiceover comedically delivers his internal strategy to be victorious in the match, something Giuseppe Manzione’s facial delivery excellently operates in conjunction with.

In fact, both performers make the most of the extremely little opportunity for expressive acting a restrained script like this allows. Rebecca Metcalf Cortese similarly delivers compelling facial expressions to provide much personality to the piece, and befit the poker-face common within any first date or competitive encounter.

In terms of the technical qualities of this film, Smith’s variation of camera angles and strong invasive deployment of close-ups assist in creating an intimacy with both characters. And the board, intriguingly symbolises the three-way fight for attention the narrative is framed around.

But special mention also has to be paid to the sound quality; the subtle effects of the movement of the pieces and the thumping of Josh’s heart is not only key in executing the comedic beats of the film, but is also crisp and combines organically with the visuals.

Check Date delivers across the board on both the key filmmaking fundamentals and the narrative execution that optimises the short-film format. It demonstrates its digestible potential versus feature-length projects, telling a satisfying comedic encounter and leaving a lasting impression on its final frame.

★★★★

4 / 5

Josh Bird

Instagram @birdy9136

X (Twitter) @joshbirdfilms

Midlands Review of A Glass House

Wed, 05 Feb 2025 08:34:58 GMT

A Glass House

Directed by Charles Strider

2025

Pelé Rocket Films

They say a cup of tea can solve everything. In Charles Strider’s debut short, A Glass House, it might not solve everything, but it can at least be the starting point for a conversation. This is a beautiful piece of work, shot on film in a 4:3 ratio, at a gorgeous location in King’s Norton, with a tight, naturalistic script that delves into difficulties around talking about our mental health.

It stars Lucy Wells as Robin, and Gary Beadle as her father-in-law Marcus, both of whom are left reeling by the sudden loss of Milo (played briefly in flashback by Doya Beardmore). Robin does her best to occupy herself in the garden – something that she admits was more Milo’s hobby than her own – while Marcus fruitlessly attempts to get her to talk to him.

Both leads give tremendous performances here. Where some actors would feel the need to add an element of dramatics, Wells and Beadle maintain just a little of that stiff-upper-lip that the film is attempting to crack. Both start the film trying to hold it together. To talk about anything other than Milo.

For Marcus, this is more paternal. Ignoring his own grief to try and provide support for Robin. Robin, on the other hand, tries to struggle through. Deal with the practicalities of losing her husband; get swallowed up by the tasks of day-to-day life. Strider’s script deals with this well, maintaining a level of ambiguity over Milo’s death, not to create tension or to maximise the impact, but to create a subtle cycle that the film intends to break.

We know that Milo took his own life, but we don’t know the reason. In fact, neither do Robin or Marcus. At the start of the film, both characters are continuing a cycle of silence that likely contributed to Milo’s own worsening mental health. Only in his grief does Marcus recognise that it’s important to discuss this. There’s also the subtle use of the garden to tell the wider story. Plants cannot grow if they are not pruned; they hold onto the past and are held back by it.

At 17 minutes long, this is a gut punch of a film, saying just enough to leave the audience reeling but never verging into heavy-handedness. It’s a stunning achievement that audiences should seek out, and one that says more in its brief running time than some films manage in 120 minutes.

★★★★½

4.5 / 5

Matthew Tilt

X (Twitter) / Instagram

The 6th of February is Time to Talk Day. A time for friends, families, communities and workplaces to come together to talk and listen. It is run by Mind and Rethink Mental Illness, in partnership with Co-op, and delivered by by See Me with SAMH (Scottish Action for Mental Health), Inspire and Time to Change Wales. You can find out more at www.timetotalkday.co.uk

Check out the film's trailer here

Japan Foundation Touring Programme review

Tue, 04 Feb 2025 10:47:30 GMT

The Japan Foundation Touring Film Programme provides an excellent opportunity to catch some lesser-known cinematic delights, and acts as a showcase of the variety available from a film industry most often lauded for its horror and thriller output. This year’s line-up, a selection of which comes to the Midlands Arts Centre and Warwick Arts Centre, is no different.

Let’s Go Karaoke! Dir. Nobuhiro Yamashita, 2024

Based on Yama Wayama’s manga series Karaoke Iko!, this is a gentle, slice-of-life dramedy in which high school choir leader, Satomi Oka (Jun Saito), strikes up a relationship with mid-level yakuza, Kyouji Narita (Gô Ayano). Narita wants to learn how to sing; terrified that he will come last in the upcoming karaoke competition. A competition held to honour the boss’s birthday, in which the loser is given an amateur tattoo by said patriarch.

The humour is built into the situation, and there are some genuinely laugh-out-loud moments such as Narita’s screams and falsettos as he belts out Kureni (written for the film by Little Glee Monster), or when a group of yakuza join these singing lessons only to be crushed by the dry feedback from Oka.

There’s a sweetness to the growing friendship between the two leads as well, one which never does anything revolutionary, but which remains entertaining. That is until the final third, which stretches credulity a little too far with whiplash-inducing twists that feel unearned. 2.5/5

Penalty Loop Dir. Shinji Araki, 2024

This inventive take on the Groundhog Day time loop, sees a young botanist (Ryûya Wakaba) take revenge against his girlfriend’s killer (Yûsuke Iseya), living out the same day time after time. Writer/director Shinju Araki piles the twists on throughout the running time, most of which we won’t spoil here, but the most interesting of these is the fact that our protagonist isn’t the only one experiencing the time loop. No, the murderer is also aware of events, creating a neat little cat-and-mouse exchange, which turns into something completely different by the end of the film.

It becomes something that moves beyond its obvious influences to incorporate far more humour and tenderness than the audience is initially expecting. Whereas this could have become an endless barrage of gory deaths; an extended chase sequence that never gives you a moment to breath; Penalty Loop succeeds because of the quieter moments, bolstered by strong performances and a gut-wrenching finale. 4.5/5

Bushido Dir. Kazuya Shiraishi, 2024

The game of Go hangs over Kazuya Shiraishi’s meticulously paced samurai story. Considered one of the four essential arts of aristocratic China, the game is about capturing territory and eliminating your opponent’s pieces. Adversely it also about how we react when we are backed into a corner. For disgraced samurai Kakunoshin Yanagida (Tsuyoshi Kusanagi), it is a game of honour, and he lives his life in accordance with the same rules he sets on the game.

This is a slow film. We’re more than halfway through before Kakunoshin discovers that he was framed for the crime that saw him exiled from his hometown, and his vengeance is told at the same pace. During this, there are some interesting story decisions that occasionally feel out of place with the rest of the film, but just about come together by the end.

Because of this, it won’t be for everyone, but the stunning visuals and deep thematic storytelling will be a treat for those who can let themselves sink into a very traditional story of honour. 3.5/5

In the Wake Dir. Takahisa Zeze, 2021

Set in 2020 and examining the aftermath of the 2011 Tohoku earthquake and tsunami, In the Wake is a socially conscious thriller that occasionally oversteps the line into heavy-handedness.

It follows a detective (Hiroshi Abe) who lost his family during the disaster, who is on the hunt to catch a killer responsible for the deaths of two people processing welfare benefit claims. It’s a particularly grim subject matter; highlighting the state’s responsibility of care for the population, but also the pride that many have and their refusal to accept help even its most needed. Nor is it forgiving of those who abuse the system for personal gain, forcing the system to treat each possible claimant with heightened suspicion.

All the performances are excellent here, and the story is engrossing, however, there are a few too many moments of exposition – often unnecessary exposition as the story is fairly easy to follow – which drags the pacing of an already slow film. 3.5/5

Day and Night Dir. Michihito Fujii, 2019

Day and Night has one of the most interesting premises from the slate of films this year but, unfortunately, is also the film that could most benefit from the editor’s scalpel. Shinnosuke Abe plays Koji Akashi, who finds himself drawn into a criminal gang after his father – an industrial whistleblower – commits suicide.

He uses his growing criminal experience try and clear his father’s name and take revenge on the employer, while spending his days working in an orphanage that the gang oversees. In this sense the title is literal and thematic. Koji is a different person in the day and the night, and his morality shifts in turn.

However, the film struggles because the nighttime activities create a far more kinetic atmosphere than the slower moments, leading to a seesaw in momentum that occasionally stalls everything. Tackling multiple big social issues within the film also leads to long stretches of dialogue, essentially handholding the audience. It’s an interesting watch, which looks incredible, but the pacing desperately needs work. 3/5

Matthew Tilt

X @Matthew_Tilt

Instagram

The Japan Foundation Touring Film Programme 2025 takes place in Birmingham at the Midlands Arts Centre 14 - 20 March, and in Coventry at the Warwick Arts Centre 7 February - 6 March

LCB depot open call to filmmakers for exhibition

Tue, 28 Jan 2025 09:15:30 GMT

LCB Depot in Leicester are looking to hold a film and photography exhibition at their venue alongside the Phoenix Cinema in Leicester's Cultural Quarter in 2025.

This spring, LCB Depot’s programme focuses on film and photography in their annual Film season, this year part of FORMAT - the UK's leading international contemporary festival of photography. And creative filmmakers are now invited to get involved!

They'll be exploring photography, film and video with exhibitions, talks, workshops, creative family activities and more - and they've very open to new ideas as well.

This year the exhibition will be exploring FORMAT's theme 'Conflicted' and will be curated in partnership with Leicester Lo-Fi Photography .

Find out more and send us them your ideas via the submission form at https://forms.gle/uMdzVamXvzbACb3R6

The LCB Depot in Leicester aims to be as inclusive as possible, so if you have any access requirements that you would like to discuss please contact them via email here exhibitions@lcbdepot.co.uk

The deadline for submissions is 23:59 Tuesday February 11th 2025

Selected works will be included in the Film 2025 exhibition from the evening of February 28th until April 17th 2025

Interview with filmmakerJames Peakman from Bader Media

Mon, 27 Jan 2025 11:18:55 GMT

Josh Bird spoke to local filmmaker James Peakman about his new feature Operation War Thunder as it releases on Amazon Prime and discussed the challenges of making an indie film with the limitations a restricted budget brings.

Josh Bird: First off, just wanted to say a massive congratulations on getting the project on Amazon Prime because the project was made for around £1000 right?

James Peakman: Yes, only around a grand!

JB: You also set up a profit share system with 50% of profits going to The Bader Heritage Band, how much does that mean to you?

JP: It means so much, just for the fact it did have such a little budget and there were so few people involved in the making of the film itself. I think 90%-95% was shot by just the three of us, we didn’t have the resources or finances but we had an idea and just thought, why not? To set up a profit share with The Bader Heritage Band, the UK's first big band made up from disabled musicians, is what Bader Media CIC is all about.

JB: Was there anything that particularly inspired you while you were in production as I felt felt editing was inspired by Spaced and early Edgar Wright?

JP: We watched old 50s & 60s low-budget sci-fi and Hammer Horror films also. And yes, there’s a bit of Edgar Wright there, we’re all fans of his Cornetto trilogy, and we did actually watch Spaced prior to making the movie. We like spoofs like Naked Gun and Airplane! and wanted to bring a bit of that humour into it but keep it very British as well.

JB: How did your techniques achieve the incredible cinematic scope that replicate those films that were inspirations?

JP: It’s very important in taking the time to think about what your putting in front of the camera and sometimes it takes that extra effort to travel around somewhere that has what you want in your vision. Finding a great location was the same with Operation War Thunder. We knew the Cottage in the film had a quirkiness and looked very cinematic anyway. We didn’t have a big lighting crew so used a lot of natural light as much as possible.

JB: Given it was the three of you, how difficult was it to jump from in front of the camera then behind it to behind it?

JP: It wasn’t easy! It was time-consuming because we had to set up the scene, stand in, then do a take then pause, watch it on the monitor and decide if something was working or not. We delegated certain roles, so Andrew concentrated more on sound whereas my job was more on lighting and the filming aspect along with Danyan. Danyan is part of the Bader Media team but we very briefly trained her on how the camera worked and what she needed to be looking for, she just went straight in for it and did really well.

JB: Was having fun on the set something that was dear to you going into the project?

JP: Yeah, we kind of share the same sense of humour. There are a lot of outtakes of us laughing and breaking down because we’re not used to being on camera so it did get funny at times. It is important that you have that sort of good relationship beforehand, and I think that’s how we were able to portray that on film because of our sort of limited acting ability and experience.

JB: The comic delivery strong but you also tackle quite serious themes so did you feel you had to tap into something a little bit different?

JP: No, we were very serious during some scenes. We called one the “heart-to-heart” scene where it’s the first time two characters have the opportunity express their feelings to each other about their past . Although we didn’t do much rehearsing overall, we did spend more time on that scene because we knew it had to be convincing and added more depth.

JB: Regarding the writing, was the script locked down or was there a bit of improvising?

JP: Yes, I do like a little bit of improv from the actors on films I make because the actors know the characters more than me by the time we’ve arrived on set. So I like to give freedom on a group project and different ideas can come from anywhere.

JB: Your mission statement talks about a “can do” attitude, and you even named the company after Sir Douglas Bader, and I wondered if you think that is the greatest asset when making a film?

JP: All the time. A lot of it is problem-solving and there’s a lot of people that really want to make movies but just don’t get around to doing it or something gets in the way. It’s not their fault but I think our team just find a way of doing it. So we cracked on and got it done. When people told Bader, “You’ve got no legs to fly a plane”, he said “We’ll see about that”. He ended up being a fighter ace in the Battle of Britain. So, that was something we’ve always done.

JB: So you were able to get on with it, was everything a bit smoother?

JP: Yeah it was definitely a bit smoother. The more people involved the more technical and complicated it has been. We did a horror film in 2022 called The Shimian ( MM review here ) and 20 people were involved so organising everybody at the same time was problematic. It was tougher in some aspects but easier in others but is something we’re going to try and do again for our next project.

JB: Do your new projects have a similar sort of tone as Operation War Thunder?

JP: No, it’s going to be a drama-thriller, so rather than going back into another comedy, we’ll do something different and test ourselves by doing another Western. We’re currently writing it but hope to go to Spain again for a part of it with the rest done in the Midlands.

JB: Speaking of, do you think the Midlands is an untapped area with its own voice?

JP: Absolutely, but it’s starting to be tapped. Areas like Digbeth in Birmingham, especially since Peaky Blinders is filming the movie there, can draw more and more productions to the region. This is a fantastic place to make movies, with some wonderful locations around, including Sutton Park as well as industrial locations in the cities. It’s a small community of filmmakers but it’s a talented one and I think the more that we grow around the Midlands, it proves we can do it here and I think in years to come it’s only going to get better.

JB: When Steven Spielberg part-filmed Ready Player One that was an eye opener to a lot of people in the area and showed there was potential to grow?

JP: Yeah, it also helps with publications like Midlands Movies and your awards. Publications supporting Midlands films always gives an opportunity to get reviews and more of these things are a great help for the filmmakers themselves so it’s a great platform.

JB: Thank you so much for chatting to us James

JP: Thank you.

Find out more about Bader Media on their website www.badermediacic.com

JOSH BIRD

Instagram @birdy9136

X (Twitter) @joshbirdfilms

UK's biggest celebration of Japanese cinema heads to Birmingham and Coventry

Sat, 25 Jan 2025 08:24:54 GMT

The UK's biggest celebration of Japanese cinema, the Japan Foundation Touring Film Programme 2025, is heading to Birmingham at the Midlands Arts Centre from 14th March to 20th March and in Coventry at the Warwick Arts Centre from 8th February to 6th March 2025.

Japanese film and TV is back in news after Shogun's big wins at the Golden Globes, and this year's programme features a big variety of films, from comedy to sci-fi and thought provoking drama.

Highlight of the upcoming Birmingham and Coventry events include:

Let’s Go Karaoke! (Dir. Nobuhiro Yamashita, 2024, 107 min, UK Premiere)

This yakuza film with a difference is a heartfelt and hilarious comedy which sees junior high school choir leader Satomi’s ordinary teenage life turned upside down when a yakuza lieutenant desperately asks him to provide singing lessons in the leadup to his gang’s high‐stakes annual karaoke contest!

Penalty Loop (2023, 99 min)

Young man Jun (Ryuya Wakaba, Gantz series) attempts to kill the man who murdered his lover only to find himself trapped in a time loop of the same day, exacting his revenge over and over again...

Bushido (2024, 129 min, UK Premiere)

Vicious emotional conflicts of honour and revenge collide in an unmissable new twist on the samurai genre.

In the Wake (Dir. Takahisa Zeze, 2021, 134 min, UK Premiere)

The movies sees a sinister serial murder case unfold in Sendai nine years after the city was ravaged by the 2011 earthquake and tsunami and stars Kore-eda regular Hiroshi Abe (Still Walking; After The Storm) and Takeru Satoh (Rurouni Kenshin series)

Day and Night (Dir. Michihito Fujii, 2019, 134 min, UK Premiere)

Shōgun star Shinnosuke Abe stars in a powerful thriller that unflinchingly tackles a wide range of social issues, from whistle‐blowing and suicide to orphanhood and crime.

For the full programme and further information about events at each location check out the links below:

https://www.jpf-film.org.uk/venues/mac-birmingham

https://www.jpf-film.org.uk/venues/warwick-arts-centre

Review of Presence

Fri, 24 Jan 2025 11:18:03 GMT

Presence (2025) Dir. Steven Soderbergh

A family move into a new home for a fresh start after the tragic death of the daughter's best friend, but as soon as they arrive, they feel a strange presence around the house. Watching and waiting.

Presence is the latest film from the experimental mind of Steven Soderbergh. Following in the footsteps from some of his other experimental films like The limey and Schizopolis, this movie provided an interesting and unique visual style that is unlike anything I have seen on the screen. The film is mostly filled with oners and harsh jump cuts, akin to the vibe and feel of Paranormal activity. But the big twist is that the camera is from the perspective of the ghost. The camera moves around smoothly and really gives a strong ethereal vibe. But whilst this film is being advertised as a horror, I really would not call it that. To me there is nothing scary or terrifying about this movie, instead I would call it a paranormal family drama.

The visual style will undoubtedly divide the audience, with how experimental and distinct it is. It definitely took some time for me to acclimatise to the style, and at the start I was hesitant. But as the movie went on, I couldn’t help but get incredibly immersed. Every scene important, every conversation driving the story. All the characters of the family get their own moment to shine and have their own personalities.

This movie wouldn’t be what it is without the cast. Lucy Liu’s character plays one of the most unlikable characters put to film. The clear favouritism, the backhanded comments, and the way she treats everyone is so cold-hearted. But newcomer Callina Liang is the beating heart of this movie, the movie mostly follows her as the protagonist, and you can tell throughout that she is a deeply hurt and lonely individual, trying to navigate a world without her best friend. For a movie with such long takes she really holds her own and manages to act with some acting heavyweights easily. She drives home the overall narratives of the key themes and really makes you feel for the character.

There is a lot packed into the runtime. Presence is only 1 hour and 25 minutes long, but the whole story fits neatly into it, with no plot elements really dragging or feeling rushed. This film really excels at creating an immersive atmosphere that will keep you wanting to watch more and find out what's happening. The twists are expertly put together, and really made my jaw drop towards the end.

I believe this movie is well worth the watch; it’s certainly one of the most original and unique films you'll see all year. Which proves that movies in our days aren't just releasing adaptations, spin offs, and sequels. The independent industry is still releasing really cool and really interesting original films. This film has so much to say about death and family that really resonates with me, as well as being a surprisingly entertaining and gripping film. This film may not be for everyone, but I absolutely loved it.

★★★★

4 / 5

Jacob Holmes

https://www.instagram.com/_jacob.holmes

https://letterboxd.com/jolmes_media/

Kinky Boots kicks off in Leicester

Fri, 24 Jan 2025 09:49:57 GMT

Just last year we did our retrospective on 2005’s Kinky Boots movie - a film whose soul (sole?) hails from the Midlands area as a traditional boot manufacturing company are forced to diversify into saucy leather boots, wrapped within a heartwarming tale of acceptance.

And with our recent Instagram video on the same film our excitement to see this on stage was as high as the boots showcased in the production. Based on a real-life Northampton story, KInky Boots The Musical is now playing at the Curve theatre in Leicester and expores a culture clash is thrust upon a local man struggling with his family's legacy.

In this version of the Tony ® and Olivier ® award-winning musical, the star is Strictly Come Dancing’s Johannes Radebe who plays a drag queen called Lola. Lola strides with sass into the life of Charlie (played by Dan Partridge), who is the put upon man that inherits a shoe-making business. As it struggles in a failing economy, Charlie considers broadening the company's, and his own, horizons by making leather boots for Lola.

The alternative lifestyle Lola leads and the naughty footwear the company starts to make is a shock to the factory-floor workers, but soon both Charlie and Lola discover many things in common as their lives come together.

The show begins quite low key as despite the opening number getting the audience going, the next 25 minutes underwhelmed with some songs delivered simply behind tables. However, that quickly changed and it was factory-set “Sex Is In The Heel”, where we hear what Lola desires in a boot, that the whole auditorium “kicked” up a notch.

And speaking of the music, it’s certainly a catchy set of songs - all written by 80s star Cyndi Lauper - which gives the show an instantly enjoyable set of hit pop songs - but each with their own personality. Yet it was the intimate “Not My Father’s Son” - contained within a scene where Charlie and Lola realise they have a lot in common living in their fathers’ shadows - that gained a collective gasp. The two leads deliver an emotional sequence that was touching and poignant and you could hear a pin drop. Until the huge round of applause that is.

Radebe has some *ahem* big shoes to fill with Chiwetel Ejiofor’s fantastic drag performance still in recent memory but is the star of the show throughout from cheeky asides to moments of deeply touching vulnerability. But let’s not forget Dan Partridge who has a particularly affecting speech of wrongly-placed passion that showed the actor’s range as his Charlie fails to deal with the pressure upon him.

In the second Act, the energy rolled over into an upbeat barnstormer of an intro. Here, the stage set - doubling as both factory, nightclub and people’s homes throughout - is turned into a brilliantly choreographed boxing ring scene. As the cast deliver "In This Corner", Lola is challenged by the stuck-in-their-ways factory workers but her message of acceptance eventually turns their opinions.

As the show reached its climax, the thumping "Raise You Up/Just Be" got the audience on their feet as the successful catwalk show allowed each cast member to shine. Nikolai Foster’s direction is strong with a great set placing us in Northampton (and Milan). And the costumes are suitably lush with drag queens’ flamboyance at the forefront of the designs.

A big shout out should also go to Courtney Bowman as Lauren whose character has a crush on Charlie. With a great voice and impeccable comedic talents, her supporting role was hugely entertaining every time she appeared on stage.

With comedy, sensitive sequences and a strong theme of overcoming adversity Kinky Boots looks set to be a surefire winner. And with a whole host of stomping pop songs the show is a rocking crowd-pleaser and a whole lot of fun to boot. The talented cast perform their hearts out with each upbeat and emotional number and if that all sounds right up your street then as the saying goes, if the heels fit, then wear it.

★★★★

4 / 5

Michael Sales

X @midlandsmovies

Click here to check out the Curve website for more info

Review of Werewolves and The Last Voyage of the Demeter

Sun, 19 Jan 2025 15:55:04 GMT

With Nosferatu recently released to high acclaim, two other classic creature inspired flicks head to BluRay in early 2025. However, for every The Invisible Man (and Leigh Whannel’s soon-to-be-released follow up The Wolf Man) there’s a Renfield so do these recent monster shockers deliver on their legendary statuses? Let’s open the coffin and find out.

The Last Voyage of the Demeter (Dir. André Øvredal) - available on UK home release from 3rd February 2025

The director of monster flicks Trollhunter (2010) and Scary Stories to Tell in the Dark (2019) Øvredal turns his horror camera towards the Dracula mythos, with an adaptation of "The Captain's Log", a chapter from Bram Stoker’s novel. The story sees a ship travel from Transylvania to the UK with the crew unwittingly carrying creature cargo on their ocean trip. An interesting route to take, the movie begins in a Bulgarian port (actually a beautifully captured Malta) and off the bat, the visuals look far better than its $45million budget would suggest. And here we follow a man named Clemens, who is a Cambridge-educated doctor, join the ill-fated crew as a series of suspicious wooden boxes (hmmm) are loaded on board. Sadly once the trip begins the film’s main flaw starts to appear. Despite its Alien-but-on-a-boat premise, it’s simply not scary or tense at all. A strange woman, some dead animals and eventually the Count (who appears as a frightful monster) failed to get my blood pumping despite its multiple attempts at inducing panic. Taking a few liberties with the book, the film throws in some appropriate gore, yet all I could think of was how the TV series The Terror had superior boat frights from the 1800 era. Not a complete failure, Corey Hawkins as Clemens is a good lead and the darkly delicious David Dastmalchian is always a welcome addition - yet at two hours it’s certainly a long slog and becomes shipwrecked in more ways than one.

★★½

2.5 / 5

Michael Sales

Werewolves (2024) Dir. Steven C. Miller - available on UK home release from 10th February 2025

With a plethora of direct-to-video action thrillers under his belt, it’s no surprise that this latest movie from Steven C. Miller delivers similar fare - and similar quality - as we see a story of humans turning into werewolves during a supermoon event. With a hint of 2009’s Daybreakers (which mixed science and supernatural elements but for vampires) and also The Purge (Ethan Hawke again), Werewolves attempts to deliver something new to a well-worn formula. But does it? I guess the idea is solid - a society aware of werewolves attempt to control the situation - but the execution leaves a lot to be desired despite its best efforts. Yet, this may seem faint praise but I’ve seen a lot more expensive action horrors do a lot worse with a lot more and the gory makeup and practical effects are a nice change from shoddy CGI. That said, a bit less light and a bit more smoke could have helped cover up some of the quite obvious limitations in the makeup and animatronic face. And a particular scene in a lab had nasty The Predator (2018) vibes - sadly one of the worst things I’ve ever seen. Frank Grillo delivers the appropriate b-movie action star gruffness but there’s not much here to get your teeth into. Maybe the right audience will find some cult, late-night, watch-with-drunk-mates fun to it, but unless you’re a real fan of schlocky low budget nonsense, this bites off more than it can chew and doesn’t deliver anything of note in a forgettable fright flick.

★★

2 / 5

Michael Sales

Review of The Gift

Sun, 19 Jan 2025 15:52:32 GMT

The Gift (2000) Dir. Sam Raimi

Back in the late 90s/early 2000s there was an influx of cinematic supernatural thrillers, and as well as the biggies like The Sixth Sense (1999), What Lies Beneath (2000) and The Others (2001) there were a slew of smaller movies that similarly mixed drama and otherworldly aspects.

From Stir of Echoes (1999), Fallen (1998) and The Skeleton Key (2005), the genre was at its peak and one of the better, but lesser-known, is Sam Raimi’s The Gift. ( Check out our Letterboxd list for some more ). Here, Cate Blanchett stars as a mother in the US South whose psychic visions help assist the police investigate a missing woman. But her clairvoyant powers disturb as much as they illuminate, with the locals ranging from strong believers to angry skeptics.

After Katie Holmes goes missing and Blanchett is called upon to help find her, her discoveries lead to more questions about the guilt of those around her and come into question at the suspect’s trial. Blanchett is fantastic as the vulnerable single-mom cursed by her “gift” and she is supported by an absolutely stacked supporting cast.

Including her with her fellow cast members Hilary Swank, Greg Kinnear, JK Simmons, Rose Harris and writer Billy Bob Thornton, there’s 6 Oscar wins from 17 nominations (!) between them - not including Danny Elfman (who cameos) and his 4 noms. In fairness, they do elevate some stereotypical caricatures and a host of convenient plot points but it’s an entertaining mystery nonetheless.

Sam Raimi includes some of his famous directorial flourishes - crazy zooms, quick editing and extreme close-ups (plus a cameo from the famous Evil Dead car), and Keanu Reeves - who also got his own hit in the genre with 1997’s The Devil’s Advocate - plays excellently against type as an abusive “red-neck” husband.

This was Raimi’s warm-up for Spider-Man, which helped cement his mainstream credentials and although The Gift is messy and silly at times, it was a hit with audiences where it made back 4 times its budget. And I have to agree with them.

Maybe it’s just a nostalgia trip or its fantastic cast doing great work with freaky page-turner material (that’s probably beneath their talent, in all honesty) but I really enjoy The Gift. Mixing an award-winning cast with Sam Raimi’s roots in horror, the film is one of the best examples of that genre and I for one would love to see a resurgence of the spooky drama I loved so much from that period.

★★★★

4 / 5

Michael Sales

X @midlandsmovies

The Gift gets a special edition UK home re-release on BluRay and 4k via Arrow Video on 27th January 2025

West Midlands short A Glass House releases new trailer

Thu, 16 Jan 2025 18:59:44 GMT

A Glass House is a new West Midlands film from Charles Strider and has just revealed a trailer for its upcoming release.

The film tells the story of Robin, who is heartbroken and tending to her garden before she is confronted by an unexpected visitor whose presence threatens to unearth the past.

The short film is a true Midlands production, made of almost entirely local crew, with the film being shot right here in the region in King’s Norton in Birmingham.

Director Charles Strider himself is a working-class filmmaker and disabled artist from the Midlands and has long been an advocate for creating new opportunities for others. A graduate of the BFI Film Academy and the NFTS’ Craft Skills Residential, Charles has directed micro shorts funded by the BFI Film Academy as well as the Chapter Arts Centre.

Producer Red Wade adds, “A Glass House centres on how difficult it is to talk about our feelings, especially coming from different cultural backgrounds and is inspired by events that occurred in my own family”.

Taking steps into longer-form shorts, A Glass House is Charles' debut short film, and he hopes it can be an example of what it is possible to achieve regardless of who you are or what background you may come from.

The film has premiered at the Bolton International Film Festival and also received the Honourable Award for Best Drama Short at the New Renaissance Film Festival.

And recently the film was longlisted at The British Short Film Awards for Best Actor, Best Actress, and Best British Director.

Following from these successes, the film will next be screened at the Northampton Film Festival where it’s been nominated for best short – with the production team very excited to be bringing the film back to the Midlands.

A Glass House stars Lucy Wells (Champion, The Programme) as Robin, Gary Beadle (The Wheel of Time, Andor, Rye Lane) as Marcus and Doya Beardmore as Milo.

Check out the film’s full trailer above and follow on their socials for the latest news and release information:

https://www.instagram.com/pelerocket

https://x.com/PeleRocket

Review of Here

Tue, 14 Jan 2025 18:31:43 GMT

Here (2025) Dir. Robert Zemeckis

After huge hits in the 80s and 90s, director Zemeckis has a patchy record of releases of late, but here he combines aspects of previous films to create a gentle piece exploring our regular lives and interactions with others over time.

Reuniting with his Forrest Gump stars Tom Hanks and Robin Wright, Here tells its story in a unique non-linear narrative that jumps between different time periods during the lives of a number of people in the same house.

As well as this criss-crossing of stories, the conceit is all this is presented from a single static camera position in the corner of one room. “Here” we see snippets of each life spent in the house (and even just on the land many eras ago before the home itself was built) and how these people spend their time in the same space.

Describing the film is difficult as Zemeckis’ film jumps time every 5 minutes (or sometimes less), but as it is based on a graphic novel he has been influenced by comic ‘panes’ to overlay some actions taking place simultaneously across time.

I’ll describe the main stories in chronological order which begins back in the dinosaur era (it’s no Tree of Life though) and then forwards to native Americans. It leaps once again to Benjamin Franklin and the colonial era before we get an eccentric 1940s pin-up and inventor couple. However, the bulk of Here follows the Young family (Paul Bettany & Kelly Reilly) and their children. One is Tom Hanks and he meets Robin Wright and the couple begin to live in the home as well. Finally in the 2020s, the Harris’s arrive and deal with a Covid-19 tragedy before moving out. Phew!

Jumping between these can be a little exhausting but it’s never not fascinating. Whilst the narrative is pretty minimal and Alan Silvestri’s old fashioned score is overly sentimental, I warmed to its subtle urban charms and a great cast of actors providing those small moments of memory we easily forget in our busy environments.

In the negative column is Zemeckis’ heavy-handedness. The characters are trinkets with the director placing them around his doll house like his playthings. The repetition of household objects - "it’s like poetry, it rhymes" - is on the nose to a fault but I was pretty consistently engaged by its very distinctive style choice.

From pandemics to wars, events are remixed like living memes and we see the “circle of life” playout as each scene pops in for a moment before disappearing like seconds on a clock.

Ceiling water leaks lead to waters-breaking as babies come and go but audiences beware, it can get a bit tiring. It’s like constantly switching through TV channels - or swiping through Tik Toks for our younger readers. The CGI de-aging is mostly pretty good, although there are some strange tonal switches which again, felt awkward as comedy and drama flip quickly.

With divorce, death and days going by, Here is a window on the world and a decent exploration of those snapshots of time we all experience. Despite some minor flaws, I enjoyed its random puzzle of moments - much akin to fragments that make up memory itself. Life is often like that - full of glimpses and fleeting instances.

Whilst Here is too cloying to win any awards, it's touching to see Zemeckis successfully blending some of his greatest hits as Forrest Gump sentimentality and its talented cast combine with a Back to the Future focus on repeating moments and our relationships with time itself.

★★★½

3.5 / 5

Michael Sales

Review of Smile 2

Tue, 14 Jan 2025 18:06:50 GMT

Smile 2 (2024) Dir. Parker Finn

2022’s horror film Smile came and went with a pretty big shrug from most - including myself - so anticipation for an inevitable franchise sequel hardly set pulses racing.

Well, like many, pulses did end up racing in this sequel which delivers even more scares and gore than the first. But surprisingly it’s also far more creative too, with better camerawork, lighting and a number of truly unique and terrifying dream-like sequences.

Naomi Scott stars as pop star Skye Riley who gets infected with the Smile “demon” - I’m still not sure what the entity is and its rules seem to be frankly “whatever the film wants” - as she begins preparations for her upcoming tour.

A fantastic intro featuring Kyle Gallner attempting to pass on the curse to another is delivered in a well-executed extended one-shot and as the story switches to Scott’s musical career, we get more of her backstory and backstage troubles. With a history of drug-addiction, the film explores public and private personas and has a number of legitimately freaky scares including a disturbing sequence of choreographer “smilers” invading her apartment en masse.

There’s a hint of The Substance about it all towards its end with its bloody body ghastliness and like that film it explores how others' perceptions are set against our own view of our self. There's also echoes of Vox Lux (2018) with its pop star losing their grip on reality.

And as hallucinations come and go, Skye tries to reconnect with a friend as she rehearses for her big arena shows all the while her entourage worries about her increasingly unstable state of mind.

It's a rare feat that any sequel - and especially in the horror genre - is better than the first but that is exactly what’s happened here. Parker Finn’s direction is leaps better too. The celebrity iconography allows the filmmaker to play with music video aesthetics, stage dancing and create interesting visual compositions using the varied locations of the pop world.

The anxieties and paranoia of the lead are palpable and we’re along with her every step of the way. With excitement, terror and a number of serious themes around mental health thrown in too, Smile 2 will give horror fans a big grin with its great cast exploring the distorted face of fame.

★★★★

4 / 5

Michael Sales

Smile 2 gets a UK home release on 20th January 2025

Gangster flick Fall to the Top shoots scenes in the Midlands

Tue, 07 Jan 2025 18:07:46 GMT

Pete Hirst is a filmmaker creating waves in the film industry and he now takes the reins in writing, directing and starring in his debut UK gangster film, “Fall To The Top.”

With a wealth of credits under his belt, Pete decided it was time to step up and craft his own feature film and Fall to the Top follows one man who wants to rule all the drugs gangs on inner city streets. And it’s this man who will need to work his way to the top from a lowly drug dealer to the ‘king of the jungle’.

Shooting partially in the Midlands, joining Pete in this venture are a host of notable names including Mason Antonio Fardowe from hit Netflix series The Gentlemen. Also involved is reality star Pete Bennett from Big Brother, and Joe Egan, a former professional fighter turned cinematic heavyweight.

The film also features a surprising new side to Paul Chuckle, known for his comedic roots, who will take on a chilling role that audiences have never seen before.

Additionally, George Newton from This Is England adds to the film’s dynamic cast and Joe Rooney of Father Ted delivers a shocking new side of himself.

Pete shares his enthusiasm by saying, “Having Paul in a darker role is something truly special. He’s known for his comedy, but in Fall To The Top, audiences will see a completely different side of him that will leave them astounded.”

The movie promises to deliver an engaging narrative infused with Pete’s distinctive flair, blending gripping storytelling with a stellar cast. As he embarks on this ambitious project, Pete Hirst hopes to inspire a new generation of filmmakers to follow their dreams and push the boundaries of storytelling.

To find out more about the film check out the photos and videos in this article and follow the production’s progress at their Facebook page https://www.facebook.com/profile.php?id=61562897585115

Check out an exclusive scene starring Paul Chuckle here:

Review of The Order

Sat, 04 Jan 2025 16:42:10 GMT

The Order (2024) Dir. Justin Kurzel

Coming off movies about Ned Kelly and mass murderer Martin Bryant ( our review of Nitram here ), director Justin Kurzel shifts his focus from Australian history to a dark topic in America’s past with his new crime film exploring racism and violence.

Based on non-fiction book The Silent Brotherhood by Kevin Flynn and Gary Gerhardt, The Order sees a group of white supremacists undertake robberies and crime to forward their twisted goals.

Their leader Bob Matthews (Nicholas Hoult) feels the local Ayran Nation group isn’t doing enough to achieve change and recruits a number of equally twisted men with similar extreme views to his own.

Hot on his trail is FBI Agent Terry Husk (Jude Law) who’s looking for a more relaxed life, but whose hot-head rough style continues to bubble to the surface as he’s thrust into the chase.

The film’s heists are brief versions of those in Michael Mann’s Heat and they add intense and exciting sequences, whilst also being sandwiched between Hoult’s speeches to his “soldiers” and scenes of his fractured and complicated home life.

Law’s aggressive behaviour is amplified when paired with Tyler Sheridan’s reserved local officer in a nice character contrast of the two different approaches to these criminal investigations. And Jurnee Smollett as a senior FBI agent enlivens proceedings every time she’s on screen. Which, to be fair, is all too brief.

But in addition to the well s tructured narrative, an intriguing story and the cat-and-mouse antics of the criminals and coppers, the real highlight is the simple pleasure of two fantastic leads.

Off the back of his turn as Henry VIII in Firebrand, Law is entering a fascinating renaissance, dropping his admittedly pretty boy-ish charm to delve into more complex, rugged and tortured characters with much success. Here he’s a glorious trouble-maker but one with ultimately honourable intentions, yet it's these fiery ambitions which lead to eventual tragic consequences.

Hoult meanwhile is on his own impressive run. Just this month with have him in this and Nosferatu as well as a home release of his strong role in Clint Eastwood's Juror #2 - and even a welcome appearance in the latest Superman trailer. Boy is busy!

In the end, Law’s law-man and Hoult’s bigoted blow-hard show that both actors are the real standouts here. They provide the necessary depth - plus impressively flawless American accents - to a story whose important themes and subject matter sadly still resonate in today’s America.

★★★★

4 / 5

Michael Sales

X @midlandsmovies

Upcoming Shropshire film First Christmas enters development

Fri, 03 Jan 2025 13:17:42 GMT

First Christmas is an upcoming film directed by Keith Wilhelm Kopp and written by Laurence Guy that has just entered development and will be produced by Shropshire-based production company Ask Seek Knock.

The film sees a widowed man who invites his three grown-up children and their families for Christmas in the hope that they stitch their fractured family back together. This is the second feature film for Kopp and Guy, with their previous feature, Translations, receiving several awards.

Luke Allen (Something Sketchy, Henry House) is set to make his feature film producing debut with First Christmas. “When Keith approached me to produce this, it was an instant yes as I had so much fun working with him for a couple of days on Something Sketchy”, said the filmmaker.

He continues, “Once I read Laurence’s beautiful script, I knew I had made the right decision - it’s an honour to be onboard and I can’t wait to bring this story to life!”

First Christmas is set to be filmed here in the Midlands in Shropshire with a primarily West Midlands based crew, and also be associate produced by West Midlands-based Emily DeJesus and Adam Fray.

(continues...)

Laurence Guy, the film’s writer, states “I’m really excited to be working with ASK on Keith and my second feature, First Christmas. After the success of Translations it felt like a natural step to bring this ensemble comedy drama to life in a way that I know audiences will love. It's a real actor’s script, with character and heart at the centre of the story, that centres on a family brought together over Christmas after the death of the matriarch of the family.”

Guy is an award-winning screenwriter who has worked in collaboration with Keith Kopp on several films that have played in festivals around the world, as well as streaming online (SkyTV and Amazon Prime). His play, 'ZORIC', was longlisted for the Bruntwood Prize in 2022, and his debut feature film 'Translations' won best screenplay at the Riverside International Film Fest.

Guy adds “I look forward to bringing First Christmas alive because of the universality of families coming together during the holidays, overcoming their hardships and rediscovering the joy of spending time with people who know the joy and complexity of each other."

"This film has a lot of humour and humanity and I know there is a wide audience who will really engage with the story. I am especially excited to shoot First Christmas in Shropshire, a location that is wealthy in history and picturesque landscapes.” adds director Keith Wilhelm Kopp.

Kopp’s works have screened in festivals globally (Encounters FF, Belfast FF and Portland FF) and has had TV broadcast in the UK. And Allen himself is the writer and executive producer of Something Sketchy, a sketch show pilot, having previously worked as production manager on the heavily anticipated pilot Henry House (starring Peter Purves, Annette Badland and Mark Lewis Jones).

First Christmas is currently in development and available for investment and sponsorship. For more information, contact Luke on luke@askseekknock.co.uk

Midlands Review of Advent

Tue, 31 Dec 2024 10:33:37 GMT

Advent

Directed by Charlie Duckerin, Kaush Patel and Dave Hastings

2024

Heritage Cinematics

In the spirit(s) of Christmas, both with alcohol and mystical beings, a new anthology feature arrives under the tree this festive season from Charlie Duckerin, Kaush Patel and Dave Hastings.

First covered on our site back in 2020 - the Covid pandemic led to a lengthy yet understandable pause - Advent is an anthology movie from the makers of Midlands Movies Awards Best Feature 2018 winner House of Screaming Death.

Framed around a Christmas light switch on, the film comprises 3 festive fables beginning with Ho-Ho-Hostage directed by Dave Hastings and Kaush Patel. Here we see a family facing difficulties who cross paths with some dastardly thieves. But arriving to help both the family and somewhat thwart the criminals is Santa. Yes, the actual Santa. Responding to the family’s child Christmas letter he arrives with some much needed hope during an extremely difficult time.

This section explores the very real problems facing vulnerable families during the holidays but never dwells too much on the struggles, instead providing a positive message of support with a dash of festive magic.

Up next, the Three Ghosts is directed by Kaush Patel alone and is a take on the classic A Christmas Carol story. In this version, a mum and two daughters are distraught at the loss of the father and begin to consider drastic actions to escape their pain. Despite hardly being a festive topic, it’s quite surprising to think that the issue has been explored in many a Christmas film such as It’s A Wonderful Life and the Christmas-set The Apartment.

More explicitly than those flicks, this confronts the issue of self-harm straight on and once again, uses a spiritual entity to show people their life matters. It features a far darker tone than the opening cheerful story which somewhat throws the viewer off given its extreme thematic shift - but the lead actresses give a very tender take on this emotive topic.

The third and final part is Dominik directed by Dave Hastings. This segment sees a distraught man arrive at a church Midnight Mass each year with the congregation wondering who he is. Yet as they investigate it comes to light that something in the past still haunts him. But eventually with support and understanding there’s an acceptance of the troubling circumstances he has faced.

Consisting of a HUGE cast of actors, the performances are solid throughout and there’s a real filmmaking “spirit” to the whole proceedings. Tackling sensitive topics, it’s clear the issues are close to the filmmakers’ hearts and reminds us that despite all of the festivities and frivolities, the winter holidays can be an extremely tough season for people. Loneliness, sadness and strife are troubling experiences for far too many.

On a filmmaking level, the directors provide assured moments of laughter and levity but also know how to handle delicate and emotional topics without any crass or exploitative intentions. However, they’re also done relatively heavy-handed and there’s not a lot of subtext or surprise with the narratives going exactly where you expect.

For me, as so often with indie films, I feel it could be slightly more accessible with a tighter cut. A full 2-hours means scenes can feel a little stretched out to breaking point. Filmmakers often don’t want to cut out very supportive friends and families to push their stories ahead just a little quicker. With mere minutes shaved off here and there, this could provide a 90-minute leaner edit which may be more palatable for a general audience.

Despite that personal preference, the film doesn’t skimp from avoiding difficult subject matters during a time where “forced-fun” can be a pressure for a lot of people. It covers honourable themes with thoughtful intent, and although there’s some improvements to make, we should give thanks to Advent for highlighting these throughout its triptych of tales.

★★★½

3.5 / 5

Michael Sales

X @midlandsmovies

Midlands Review of Off Grid

midlandsmovies@yahoo.com — Thu, 19 Dec 2024 15:05:13 GMT

Off Grid

Directed by Carl Timms

2019

Dark Matter Films

How far will you go to protect your loved ones is a question asked in Off Grid, an impressive new short from Midlands filmmaker Carl Timms.

Opening with an unknown man in the woods at night, he is concerned for an injured woman whose clothes are splattered with blood. We are immediately shocked as we are then introduced to a bearded stranger in a green jacket who strikes the man hard with a shovel.

Strangely though, before passing away the man’s eyes glow a mysterious blue colour before he falls to ground as his friend (Kate Davies-Speak) escapes further into the woods. Yet the fight isn’t over as our attacker tracks down the frightened female, hits her and then her similarly blue eyes fade out to darkness.

So, Off Grid begins fantastically with an intense and intriguing opening sequence filmed at night using great cinematography from Paul Angier. And therefore the film impresses even before the main title appears. I’d advise local filmmakers to take note here as an exciting opening for your story (no matter what the genre) can create mystery using characters in conflict. Later the brief credits are laid over more footage to move along the story. So no time is wasted. If you’re condensing your story for a short-film format then condense most other things too.

Cutting to dawn, the man is John Tanner (played by Game of Thrones’ James Cosmo) who re-sets a bloodied bear trap before returning to a shack in the woods where bed-bound wife Grace (Alison Steadman) discusses with him about the safety of their refuge.

And here the film switches its sympathies from the young victims to the older protagonist – who is the real threat here? As John moves body bags to makeshift graves, he discovers his female victim’s body has disappeared, but we are quickly thrust into a tense moment as another suspicious stranger (Marc Bayliss) arrives and offers to work for a meal.

The devil is in the detail in Off Grid too. The hair and make-up are noticeably apt, the audience really gets a sense of the situation and surroundings from the subtle clothing and dirt and grime along with some gory special effects.

With the stranger welcomed into the shack, their cordial discussion over the table leads to an intense confrontation that instils further paranoia about the characters’ intentions and who each say they are.

The film reminded me a little of 2017 horror It Comes at Night by Trey Edward Shults. The infection, protection, a remote cabin and the constant fear of an unknown presence as a couple try to stay alive are all present but this is a far more engaging film that that (see our review here). The paranoia of the unknown seen in Off Grid also appears in 2019’s The Hole in the Ground (review here) which funnily enough also starred another haunting performance from James Cosmo.

And so as more blue light appears into the cabin, a final fight for survival ensues and Timms has expertly created set-ups and pay-offs which lead the film to a satisfying conclusion.

In the end, Off Grid is one of the most impressive shorts from the region in 2019. Timms has built upon his 2017 short STILL (review here) and develops the dark themes into a fascinating flick.

With twists, turns and a shocking final revelation, the 20-minute film is ultimately a stunning success for everyone involved. And the innovative shots, absorbing narrative and captivating performances from the cast make Off Grid an astonishing achievement that mixes high quality drama with spectacular shocks.

Michael Sales

Midlands Movies Top 20 Films of 2024 (10-1)

Fri, 13 Dec 2024 09:16:04 GMT

We continue our run-down of our favourite 20 films of 2024 but before you go any further, please check out part one of our list (numbers 20-11) by clicking right here

Now, on with the countdown...

The Substance (Directed by Coralie Fargeat)

6 years after Revenge dropped comfortably into our Top 20 films of that year , director Coralie Fargeat returns with another horror looking at female-fronted physicality and redemption. Demi Moore stars as a celebrity tossed aside as she ages, but begins to ingest a drug that creates an alternative younger version of herself. Moore becomes ‘addicted’ to being this youthful variant (played by an astounding Margaret Qualley) but as her career grows, so do the problems caused by their lives switching. Exploring the exploitative world of female idealism, Moore gives a masterly performance taking her body and mind through an intense transformation and deserves high praise for her exceptional efforts. Its destabilising narrative is full of gross horror surprises and the filmmaking technique uses wild colour and chaotic sound. It also revels in beautiful and sometimes bizarre physiques and is a stunning achievement, highlighting as it does a horrendous boulevard of broken not just dreams - but bodies too.

The Holdovers (Directed by Alexander Payne)

Standout performances from Paul Giamatti and Da'Vine Joy Randolph anchor this heart-warming comedy-drama set over the festive period at a New England boarding school. Giamatti’s strict classics tutor and educational Scrooge clashes with Dominic Sessa’s student as they battle on a holiday holdover period during a winter break. It takes the 'cantankerous teacher learning life lessons from a student' and plays with it incredibly well, with humorous and tender interactions alongside great performances. It’s an emotional and satisfying journey starting out with two people very cold in spirit who slowly warm their frozen hearts. And although Giamatti’s surrogate is the glue holding it together, he’s only as good as his support cast who match him every step of the way. Payne’s stoic direction focuses firmly on the first-rate actors and a bittersweet ending will see tears flow as much as titters in an unlikely Christmas miracle of a film. Full review here

Hundreds of Beavers (Directed by Mike Cheslik)

Influenced by 1930s slapstick, the film’s co-writer stars as an applejack maker whose farm is destroyed by beavers and in a desperate effort to stay alive, attempts to capture various woodland creatures and sell their pelts to a fur trapper. It’s a (semi-)live-action version of Warner Bros’ Looney Tunes, yet its black & white cinematography of a freezing winter is an effective evocation of Chaplin movies. And amongst its pleasures, no genre, puppet, stop-motion animation, costumed caricature, joke or 4th-wall breaking is off the table and it's all contained within a homemade and incredibly charming cut-out-collage style with the director's ingenuity and creativity making each scene an enjoyable sketch on its own. Stunts and crude jokes have the simplistic violent pleasures of Jackass, and just when you think you’ve got a grip on it, the movie avoids doing anything by the book and is all the better for it. Some may call it an animation, a drama, a farce, a tragicomedy, a romance, a detective story, a parody or many other things. But I’d call it one of the most unique and funny films I’ve seen in a very long time with hundreds of reasons to recommend it. Full review here

Civil War (Directed by Alex Garland)

With head-scratching sci-fi already under his belt, director Alex Garland moves to explore a not-so-distant future where the USA is split into two fighting factions attempting to control the country. Delving deep into contemporary concerns, Garland actually keeps the politics intentionally murky as it dissects despots, authoritarianism, culture clashes, media, racism, antipathy and much more. And despite the astute observations on government and oppressive regimes, at the centre of it all is a thrilling journey across an American landscape, where conflicts play out through the lens of a senior photo-journalist (Kirsten Dunst in a career-best performance) and an out-of-depth prodigy (a wide-eyed Cailee Spaeny). Clever, insightful and with some chilling moments (take a bow Jesse Plemons for a scene-stealing cameo), the film is filled with entertaining sequences alongside its look at the current extremities of political power.

Society of the Snow (Directed by J. A. Bayona)

It hit Netflix early in the year and may go forgotten by some, but this compelling real-life drama impressively explores the 1972 true story of an Uruguayan rugby team whose plane crashes in the Andes Mountains. In efforts to survive they attempt to overcome the remote mountain wilderness, avalanches, injury and hunger - where the unthinkable starts to become an option to avoid what seems like inevitable death. With a cast of newcomers, and tremendously tactile location shooting, the risks facing them and the team’s efforts to endure for as long as they can,create a palpable danger audiences will feel every cold step of the way. An exhilarating and shocking plane crash sequence merges brilliantly with the quieter teamworking and emotional beats, ending with a film that is a fascinating portrait of faith, belief and determination in the face of the worst possible circumstances.

Sing Sing (Directed by Greg Kwedar)

Colman Domingo gives a powerhouse performance as an incarcerated con who is part of a prison theatre programme attempting to create a stage show performance with fellow inmates. The film mixes professional actors with former alumni of the real-life arts programme, one of which is Clarence "Divine Eye" Maclin, who uses his role as Hamlet in an attempt to turn his life from one of anger and bitterness into something more positive and redemptive. Exploring art as a form of therapy, the men not only use their creativity to “escape” their locked up existence, but help them face their crimes, their loss and what the future may hold in another type of life. The engagingly tense drama mixes brilliantly with ideas of artistic expression and some lighthearted moments help balance the conflicted outlook of the men' situation with optimism. The film’s success stems from it showing the strength of art as a way to probe masculinity and more, but also leaves room for hope and the ability to confront personal responsibility and make changes for the better.

Dune: Part Two (Directed by Denis Villeneuve)

We return to Arrakis for the second installment of the dense and dusty space opera as Timothée Chalamet’s Paul joins the nomadic Fremen to take on the Harkonnens in a battle for the planet. Building upon the lore from part one, the film doesn’t have the issue of establishing its game players which sees it bolt out the blocks from the start with politics, scheming and thrilling action sequences filling its nearly three-hour runtime. Beautiful cinematography captures an array of outstanding costume and production design elements and Paul's sandworm-riding moment may be one of the best scenes of the year (especially on a huge cinema screen). The large and experienced cast gets further expanded too - with newbie Austin Butler in particular stealing scenes during his all-too-brief villainous ploys. Epic in scope and delivered with aplomb by Villeneuve who knows EXACTLY what every single part - be they large or small - will achieve, has resulted in one of the best sequels of recent memory. And perhaps even of all time.

Promised Land (Directed by Nikolaj Arcel)

A fantastic film exploring legacy, family and duty, Mads Mikkelsen plays a retired army veteran who gains permission to cultivate an area of desolate moorland. Hoping to establish a colony he faces a ruthless landowner, who also claims ownership, and its their confrontations that make for a fascinating historical clash. A feast for the eyes, the sumptuous manor houses are candle lit and contrast with the brutal rustic landscapes captured in muddy browns, yet contain their own natural elegance. Relationships with locals and the women in his life slowly bring warmth and compassion to Mads’ cold outlook, but he is soon forced to make gut-wrenching decisions as he battles Simon Bennebjerg’s brilliantly loathsome opponent. One of the finest actors working today Mikkelsen has an uncanny knack to delve deep into the souls of isolated and tormented men and it’s his magnificent emotional moments that take root in this story. A working man fighting a classist battle against the odds is a well-worn tale, but the film is an engaging and hugely satisfying historical drama harvesting the many talents Mikkelsen has to offer. Full review here

Challengers (Directed by Luca Guadagnino)

A thrilling sports drama exploring a raunchy rivalry between young tennis stars, Challengers shuns a game of doubles to serve up a saucy threesome which sees Zendaya become the focus of attention of both Josh O'Connor and Mike Faist. Set over 13 years of their intertwining relationships, the three try to gain their own personal advantage on and off the court as they each fall foul to their addiction to winning, no matter the costs. Friendships fizzle and backhanded betrayals drive wedges between them which compliment the director's tension-filled tournaments featuring pumping tennis sequences. An ace and arousing film, it culminates in an adrenaline-fuelled finale with brilliantly staged back-and-forth camera work, leaving Challengers as a grand slam of a movie that showcases three passionate lead performances from the hottest actors in Hollywood.

Poor Things (Directed by Yorgos Lanthimos)

Emma Stone returns as muse for seemingly her favourite director to play a young Victorian woman brought back to life via a brain transplant by Willem Dafoe’s mad scientist. Replacing a brain with an infant’s mind, Stone brilliantly encapsulates a child-like wonder who soon discovers the world and its seedy components at break-neck speed. Like The Favourite, Lanthimos again uses fish/wide-eye camera lenses to provide a distorted new view on the proceedings and the impeccable costumes and production design move from steampunk to Burton-style fairy tale. Pleasure-seeking Bella cannot be controlled by successive lovers, partners, “punters” and fiancés and her blossoming is contextualised with darker life struggles. But all this is done with a knowing and darkly comedic tone keeping some of the riskier elements in the arena of farce without ever undermining them. Delivered with naughtiness, humour and moments of pure surrealism, Poor Things deftly utilises every cinema trick from black and white photography to luscious set-design via pantomime performances and great musical moments. And all this is played excellently by a stacked cast revelling in their over-the-top characters - ending with a movie that has gorgeous visuals but something to say to back them up.

Michael Sales

Midlands Movies Top 20 Films of 2024 (20-11)

Thu, 12 Dec 2024 18:41:57 GMT

Was 2024 a classic for cinema? Well, the fact I have to think about it suggests not. But although a fair few critics’ darlings didn’t hit with me during a less-than-perfect year, there’s still a huge amount of hits worth celebrating without question. But before we get to the countdown of my favourites let's have a quick round up of some of the eye-opening films (for good and bad) over the last 12 months.

Maybe most surprising were the blockbusters. With Hollywood’s obsession with franchise films and a general run-of-the-mill output of late, a number of wide-release movies actually hit a home run in 2024. Even the reboots and sequels! Twisters, Beetlejuice Beetlejuice, Deadpool and Wolverine and one that even made the Top 20 all seemed to find a great balance of fun and charm that resonated after a long run of dull summers.

It was a year of divisive endings though. Sometimes within the film, sometimes the film itself. Sadly Joker 2 and MaXXXine couldn’t maintain quality in disappointing follow ups, despite me enjoying their previous films. Joker: “Folie a Dull” especially. This irredeemably tiresome picture also had me questioning US inflation if $200million only bought you two film sets these days. The Substance and Love Lies Bleeding however saw powerful female directors go wild (and good) places in their final 3rd acts - captivating audiences, but also alienating others.

And I take no pleasure in this but for me, Furiosa was the biggest disappointment - an abysmal and cheap-looking affair, it was like Wish.com made Fury Road. With its ugly video game aesthetic I’ll leave this to the zoomers, thanks. All in all, a bit of a ball drop for Miller, a filmmaker I hold to a higher standard than this - especially given its connection to the FAR superior earlier film.

Thankfully though there were some outliers and A Quiet Place: Day One bucked this trend with a solid narrative-focused entry that brought new ideas and stories to a horror franchise and Smile 2 did the unthinkable and was actually better than the first! In general, at the other end of the scale both Abigail and Scoop had their fans but thought both were absolutely dreadful.

Yet there were some excellent movies and many just miss the limited spots in the top list. So it's tough to cut these but I do highly recommend checking out Longlegs, Oddity, Firebrand, The Crime is Mine, Strange Darling, Kinds of Kindness, Rebel Ridge, Monkey Man, In A Violent Nature and Super/Man: The Christopher Reeve Story.

And I have to give a nod to those films I haven’t gotten around to watching as yet. So am very much looking forward to catching Thelma, The Apprentice, Anora, Timestalker, The Beast and The Wild Robot as soon as possible. But outside of those let’s check out what floated my boat in the last 12 months…

The Fall Guy (Directed by David Leitch)

I was as surprised as anyone to find my old and tired cynical cinema shoulders enjoying this incredibly fun, and silly, adventure romp inspired by the 80s TV show. Ryan Gosling steps into Lee Majors’ shoes as a stuntman who gets drawn into a crime world and uses his on-set fighting experience to tackle bad guys both on, and off, a movie set. Emily Blunt as a film director and Gosling’s ex provides a romantic but strong and hilarious foil for our lead and as summer Hollywood hits go, it may just be the witty tonic needed right now. Never trying to be what it's not - it simply gives us Gosling and Blunt (and an over-the-top turn as a Cruise-style-actor from Aaron Taylor-Johnson) playing excellently off each other in a throwback to the unpretentious rom-com-action blockbusting of the past.

Oddity (Directed by Damian McCarthy)

Off the back of one of my favourite recent horrors Caveat ( our review ) comes McCarthy’s second feature which again sees the director take horror staples and add unique new twists. Here, a blind medium who grieves for her sister visits the home where the death occurred, bringing with her a wooden mannequin to help uncover the truth. It’s a raw and different take on the typical couple-in-a-country-house fright flick, with Carolyn Bracke as the standout by playing both sisters and adding depth to the film’s intense atmosphere. With jump scares sitting nicely with a consistently grim tone, it’s only 98 minutes long but each one more unsettling than the last.

Love Lies Bleeding (Directed by Rose Glass)

Kristen Stewart as a shy gym manager and Katy O'Brian as a bodybuilder centre this follow-up feature from Rose Glass as we see a passionate lesbian relationship develop before they get drawn into a world of crime. With the use of steroids increasing, the anger and tension rises as violence begets violence owing to a history of family abuse and retribution. With two leads at the top of their game and Ed Harris delivering his best villain in years, its fascinating tale of love and hate delivers pulse-racing visuals. A polarising ending turned off as many as it turned on but as a metaphor of delivering ‘big’ justice, totally works in context. It’s a sweaty and forceful film full of body-altering brawn, yet at its heart focuses on women’s strengths in all their forms.

Conclave (Directed by Edward Berger)

A phenomenal performance from Ralph Fiennes is the main draw in a film that focuses on the internal machinations of a Vatican vote for a new Pope. Despite a downside being its similarity to Ron Howards’ Angels & Demons, this film’s solemn examination of faith and duty is in fact a (hidden) world away from that surface-level blockbuster. And as Cardinals jostle to find support, Fiennes’ stoic leadership of the papal conclave is set against the seedy underbelly of the Catholic church game-playing. The lush cinematography supports its stupendous ensemble cast yet it's always Fiennes’ show. His furrowed brow and brilliantly subtle glances personalise a film where the conflict between ambition and secrecy leads to a hugely satisfying watch.

Snack Shack (Directed by Adam Rehmeier)

Amongst the horrors, killings and dark dramas of 2024, a film came along that was joyous teenage fun and felt like a balm to our contemporary stresses. Snack Shack is a 90s-set coming-of-age comedy starring Conor Sherry and Gabriel LaBelle as friends who run a food stall at a local pool over summer. Refreshingly, we see these youngsters toiling hard to achieve their goals - even with their sometimes shameless shady practices - and despite their differences realise they achieve much more working together. Great support comes from Nick Robinson as an haunted older brother figure and Mika Abdalla as a girl-next-door who the boys want to, but often fail, to impress. Friend fights, upset parents and fleeting summer love are all done in a warm and engaging style without ever getting too sentimental or rose-tinted. It explores the foibles of growing up and by showing constructive young men having fun running a successful business it stands unique against many modern teen films with its enterprising outlook and go-getting message.

The Greatest Night in Pop (Directed by Bao Nguyen)

After the UK Band Aid single helped raise money for famine-affected Africa, American artists were inspired to create their own charity song and it was 80s pop musician Lionel Richie who held the reigns to pull off this awe-inspiring undertaking. Richie’s ingenious pre-internet planning used the coming together of artists at the American Music Awards - where he also hosted (!) - to get the big name singers in town over to a studio to record vocals after the show. With Quincy Jones’ sad passing this year, it’s great to be reminded of his genius where we see him in his element shepherding the group to produce, record & mix the song in one special night. A difficult task but boy does he deliver. Richie is humble, hardworking and hugely important to get the record complete and the behind-the-scenes footage is fascinating as we witness everything from Springsteen’s raw voice, Cyndi Lauper’s noisy earrings, Michael Jackson when he was still half-normal and Diana Ross not wanting things to end even at 6am. And Stevie Wonder’s lighthearted moments - a self-depreciating blind joke and his spot-on impression of Bob Dylan - is a candid and wonderful symbol of a night that pushed superstar egos aside to help others less fortunate.

The Bikeriders (Directed by Jeff Nichols)

Starring two of the hottest male leads - Tom Hardy and Austin Butler - The Bikeriders is a crime drama filled with machismo and violence, but is actually centred by a fantastic performance by Jodie Cromer. She plays the put-upon wife of Butler’s biker and has to face the conflicting loyalties of her hot-headed husband and fellow gang-members as well as their ferocious rivals. Butler channels even more Elvis-leather cool whilst Hardy’s weathered face and stocky build add appropriate old school menace. Yet it’s Cromer who provides the emotional core as a straightforward but no-nonsense spouse who details their vice-filled history to a journalist. With great actors doing great work, it’s less of a road movie than it is a study of charismatic characters, but it’s this unique angle that makes it all the better.

American Fiction (Directed by Cord Jefferson)

An appropriate (and deserved) winner of the Best Adapted Screenplay Oscar in 2024, American Fiction is a brilliant debut that sees an intellectual African-American novelist pen a “stereotypical” black novel under a pseudonym only for it to become a surprise breakthrough bestseller. A first-rate Jeffrey Wright is the author fed up with his work being overlooked yet his plans to expose the community with a “dumbed-down” book leads to internal conflict owing to its unexpected success. A deserved Oscar nomination came Wright’s way as it did also for Sterling K. Brown who provides excellent support as his recently out brother. Wickedly satirical but soulful at heart, the movie explores important themes of race and divisions in the literary sphere - as well as the world at large - but does so with a witty script, a great cast and plenty of laugh-out-loud moments.

The Coffee Table (Directed by Caye Casas)

Touching, and perhaps exceeding, the boundaries of extreme fright flicks, this Spanish horror-drama takes the strongest of stomachs to persevere with. A banal sitcom set-up of domestic familiarity sees a couple eventually purchase an ornate coffee table but once back at their flat, a missing screw leads to an horrific off-screen accident involving their child. Hiding the incident from his wife, the stomach-churning set up is full of tension and terror as audiences are aware of the terrible circumstances but other characters none the wiser. Biblical metaphors explore guilt, righteousness and spirituality and its mix of tones and a host of narrative puzzle pieces are crammed into 90 minutes without it overstaying its welcome. The Coffee Table is as macabre as they come and its brilliance lies in showing almost nothing but hinting at everything. It’s certainly “not for everyone”, but if you’re willing to go down a gruesome journey, you may be (un)pleasantly surprised to find out how good this allegorical indie truly is. Full review here

Late Night with the Devil (Directed by Colin Cairnes & Cameron Cairnes)

Set up as never-aired tapes from an episode of a 70s TV chat show, this found footage frightener sees David Dastmalchian’s host try to compete for ratings by staging a special Halloween show to win viewers back. A psychic guest trades insults with a guest skeptic before a parapsychologist and her allegedly possessed subject try to help the ailing presenter bring his show back from the dead. The era-accurate style and gaudy fashion compliments the filmmaker's use of a 4:3 TV-screen ratio which keeps us immersed in the whole chaotic affair as events spiral out of control. A dark and often funny film, it owes a debt to similar ghostly mockumentaries and adds vintage vibes and an excellent turn from Dastmalchian who barely holds it together as events collapse around his ego and guilt. Thankfully its big swing hits a horror home run and combines chat-show presenters like Partridge and Parkinson with the paranormal. Full review here

COMING SOON - PART 2 OF OUR TOP 20 FILMS OF 2024 (10 - 1)

Midlands Review of Sister Wives

Mon, 02 Dec 2024 22:30:36 GMT

Sister Wives

Directed by Louisa Connolly-Burnham

2024

Louisa Connolly-Burnham is quickly proving herself to be a versatile Midlands talent, with several short films under her belt that have seen her write, direct and act, as well as projects working with other writers and directors. It’s an impressive body of work, which continues to expand with Sister Wives, now streaming on Channel 4.

It follows two women – Kaidence (Connolly-Burnham) and Galilee (Mia McKenna-Bruce, star of Molly Manning Walker’s excellent How to Have Sex) – who live in a devout, polygamous community. Kaidence has been married to Jeremiah (Michael Fox) for some time at the beginning of the film and is initially resistant to the introduction of the younger second wife Galilee. However, when Jeremiah is called away on a mission, the two ‘sister wives’ develop a relationship that makes them question their teachings.

The film doesn’t deviate too far from the expected story beats, but it is elevated by the strong central performances. Connolly-Burnham maintains a strong outer shell, but her vulnerability is always just under the surface. In contrast to this, McKenna-Bruce seems to be keeping her character’s rebellious nature just about in check.

Then there’s the writing. Despite a run time of just under half an hour, Connolly-Burnham expertly drip feeds information throughout, and does so without Sister Wives ever becoming melodramatic. The revelation that Kaidence was only 14 when she was forced to marry Jeremiah is shocking to the audience but treated as a normal occurrence by the characters because it is a normal part of their world.

It's a rare talent, being able to portray a level of justified anger while also keeping the characters true to their experiences. A lesser writer would have forced more confrontation into Sister Wives, yet Connolly-Burnham gets the same reaction by simply stating the facts.

By showing that these women are forced into marriage early; that they need to hide their mobile phones and literature away; and, most upsettingly, that they except it because it is what they have always known.

If there’s a complaint, it’s that we don’t get enough time with these characters. Necessitated by the short runtime, the endpoint of the relationship between Kaidence and Galilee feels like it jumps a few steps, while the fallout from Jeremiah’s return isn’t given long enough to add catharsis to the ending.

Reading up on the making of the film, I believe Connolly-Burnham is working on a feature length version of the film and it’s an exciting prospect to see this relationship have a little more time to simmer. Until then, this stunning short deserves plenty of attention, and should earmark Connolly-Burnham as a talent to watch.

★★★★½

4.5 / 5

Matthew Tilt

X @Matthew_Tilt

Instagram @tiltmatthew90

On set with Birmingham action flick Lotus

Mon, 02 Dec 2024 11:49:43 GMT

Despite being the Second City, Birmingham is rarely the focus for filmmaking. This is changing, slowly, with some big Hollywood blockbusters coming to town to shoot certain scenes, and plenty of independent films being made, but cinema (especially action cinema) remains within the M25.

That’s all set to change with the production of Lotus, an action-heavy thriller set entirely in Birmingham. It is written and directed by Phillip Ray Tommy, who has built a career in the UK and beyond as a stunt performer working on major productions such as The Expend4bles (2023, Scott Waugh) and The King’s Man (2021, Matthew Vaughn), as well as television shows such as Gangs of London and Ben Hur.

“I started making short films after I worked on King Arthur: Legend of the Sword (2017, Guy Ritchie),” Phill says. “I was injured but didn’t want to stop working, so I brought some other stunt performers that I knew together, and some local actors.” The result was Cain & Abel, and afterwards, Phill continued to develop short films – producing one a year until 2022’s A Fistful of Shekels. “Every project was a learning experience, and they got bigger every time,” he adds. “You could say I’m a bit of a workaholic, but I understood that everyone who invested would ask the same thing once the film was finished; ‘what’s next’. So, I’ve always got scripts ready to go.”

Lotus

The constant output, slotted in-between the stunt and acting work Phill does, led to him meeting Alan McQueen, who was producing the Birmingham-based Fixed (2021, Jez Alsop), as well as cinematographer Gary Rogers. “It got to the point where I felt ready to take on a feature-length production,” Phill says. “I’d built up my reputation and could get the funding to make it happen, and I felt confident enough in my capabilities to take on the challenge.”

The result is Lotus, which is nearing the end of shooting at the time of writing. The film follows John (played by Phill) who uncovers a city-wide conspiracy of corrupt police officers and local gang members to distribute a lethal drug.

Alongside Phill, the cast is made up of primarily stunt actors, who have some serious credits on their IMDb accounts. Chi Lewis-Parry, Jon Callaway and Matt Lewis all worked on Gladiator II (2024, Ridley Scott) with Phill, as well as other major releases including Indiana Jones and the Dial of Destiny (2023, James Mangold) and Fast X (2023, Louis Leterrier).

With this pedigree of performers on set, you quickly get a picture of the sort of film Lotus is going to be. Phill explains that he has a deep respect for Gareth Evans, who has a built a career create bone-crunching, heightened action films such as The Raid (2011) and the aforementioned Gangs of London.

“There’s such a unique feeling to those films and TV shows,” he says. “They have this style of combat where everything feels desperate. No posing; just a gritty fight for survival. “And one thing I was keen to make sure of was that all the action was justified. I also looked to The Crow (1994, Alex Proyas) and the way it managed to build characters so quickly, so that when Brandon Lee’s character start’s taking his revenge, you are 100% with him.”

Another key influence in Phill’s filmmaking was his time working in the projection booth at The Mockingbird Cinema. He sat behind that projector while audiences enjoyed the high-octane sequences in John Wick (2014, Chad Stahelski). “Being able to watch the audience allows you to see what really makes them react. Whether that’s a certain stunt, or a particularly move in a fight sequence.”

From Morocco to Alvechurch

I was lucky enough to be on set as the crew shot some of the climatic action sequences on a farm in Alvechurch. While the wet and miserable weather couldn’t compare to the Gladiator II shoots in Morocco and Malta, the atmosphere on set was friendly, as everyone worked together to make Lotus the best possible film it could be.

As well as directing the film, Phill had to consider his own performance and the coordination of the stunts and fight scenes. When I asked how he managed to balance the various responsibilities, it said that it was all down to perspective. “The big picture can be overwhelming, but if you break it down piece by piece and keep moving, then you start to build a feature.”

Phill’s quick to praise the people working on set as well. “I’m acting alongside top-level stunt guys. They understand the dance so once the cameras are rolling, I can be confident that it’s going to be a good result. Then there’s Gary behind the camera; I can talk through each scene with him, and he completely gets what I want and how to make it happen.”

Despite having to play a mean, one-man wrecking machine, Phill is jovial and friendly between takes. He takes the time to speak through every motion with the crew, and is clear with his instructions when the cameras are rolling. Cheekily, I asked Matt Lewis if he was a one-take director ala Clint Eastwood, or if he was Kubrickian with his approach. Matt smiled and said: “Phill knows what he wants and keeps shooting until he gets it, but he brings you along with him to get there.”

The set also had students from Birmingham University, who were filming interviews for the film, as well as getting hands-on experience. Alan lectured in film at the University and explained that this provided the ideal opportunity for his students to understand the process behind making movies.

Phill adds: “Having the students on set has been amazing. It’s so hard for them to get any sort of credit early in their careers, so it’s a great opportunity for them. Not only that, but they’ve brought an incredible energy to proceedings. When we filmed in The Ruin, Digbeth, they stayed for hours, just trying to learn what they could, and I tried to repay that by showing them that no one is unimportant.”

After Lotus

Filming hasn’t completed on Lotus at the time of writing, so it might be strange to talk about upcoming projects, but Phill says that he never stops working. “I get my ideas from my dreams and I’m always writing,” he says.

According to his IMDb, Phill has five projects in pre-production alongside Lotus, including two features, a short film and a television series. Not only that but he says he already has an outline for Lotus 2. “Doing nothing is harder that not trying to get those ideas out,” he says.

As well as developing his own career as a multi-faceted filmmaker, he’s also excited about the possibilities for Birmingham and the wider Midlands area. “There’s something incredible about seeing your hometown on the big screen. You see it in a new light and Birmingham is full of cinematic locations, as much as London.”

Alan agrees, saying the footage captured in Digbeth looks amazing. “Our city is an untapped resource.” The other aspect, of course, is the opportunities a localised film industry could provide to young directors, writers, actors and stunt performers. “I love working on big films, but sometimes I want to stay local,” Phill explains. “And I’m lucky; a lot of people don’t get the opportunities that I’ve had.”

While there’s no release date announced at the time of writing, Lotus is being prepped for a full cinema release, showcasing Birmingham on the big screen.

Matt Tilt

X https://x.com/Matthew_Tilt

Instagram https://www.instagram.com/tiltmatthew90/

Nottingham-set film We're All Black Down Here launches trailer

Thu, 14 Nov 2024 13:44:19 GMT

We’re All Black Down Here is a new narrative short film set in Britain that explores themes of race, identity, acceptance, and multiculturalism.

The Nottingham based BFI short film is directed by James Mellors and written by Milly James and has recently released a brand new teaser trailer just this month.

The story follows Morris, a man from Trinidad who works in a coal mine in Nottingham during the 1950s. The dangers of the mine mean Morris and his fellow workers must look out for one another and put differences aside. Yet above ground, out of the showers when the coal dust is washed off, Morris is considered an outsider by the white miners.

Writer James wrote the film based on the experiences of her father who was a black coal miner. And it stars TV Workshop actor Jorden Myrie who has recently featured in Sherwood on the BBC and has a Netflix film called The Strays in which he stars.

Director Mellors has directed two short films to date that were both shot on 16mm film, Coffin 2014, and Nez 2018 and he is currently in development on a feature about three brothers escaping the 1981 Hyson Green riots.

And writer Milly James has written, directed and produced her own shorts and was also a co-producer on Anika Films' award winning short, Limbo. As a writer Milly’s short script Müggelsee won best screenplay at WOFF23 and her drama pilot Ruining Alice Marlow was a winner in the 7 Black Women Script Window 2022

Producer Derry Shillitto adds, “The coal mining experience has been told on film and TV frequency, but rarely from the black perspective”.

Paying homage to classic British social realist cinema and drawing inspiration from directors like Andrea Arnold and Shane Meadows, the film was supported by the BFI and also crowdfunded the production.

The film is set in Nottingham with the majority of the cast and crew living and working in the city and was produced by Simply Thrilled a Nottingham production company.

Check out the teaser trailer above and follow on Facebook here https://www.facebook.com/weareallblackdownhereshortfilm

Enter young person films into Northampton Film Festival for free this month

Tue, 12 Nov 2024 17:20:52 GMT

Northampton Film Festival are sharing an exciting opportunity for young people and their creative work.

NFF are inviting young filmmakers to submit their films to their 16 and Under category for free! NFF champion young people that have courage to submit their films by trying to screen all submissions in this category.

They hope creatives in the area can use this is a great opportunity for young people in Northampton to have work showcased during their prestigious festival. Films will be screened during the festival in March 2025 either at Cineworld Northampton or the historic Delapre Abbey.

NFF explain that the submitted films can be drama, documentary, music videos, commercials, poems - in fact, they are looking for films in any genre of any type!

They are especially encouraging submissions that fit with their themes of ‘Rebels, Revolutionaries, Misfits, Mavericks, Creatives or Changemakers'. But they are also open to all stories that reflect the perspectives of young people.

Acknowledging that for young people, submitting to a professional festival can be daunting but the NFF is keen to assist young passionate filmmakers regardless of what stage they are at in their filmmaking journey.

The NFF could be the perfect opportunity to showcase stories, gain exposure to film festival settings, and also share a love of filmmaking and storytelling in a welcoming, safe and encouraging environment.

To enter, participants can visit Northampton Film Festival on FilmFreeway, and enter using the code NFF16Free at checkout for free entry.

Further information about criteria can be found on FilmFreeway too: https://filmfreeway.com/NorthamptonFilmFestivalUK

You can find out even more at www.northamptonfilmfestival.co.uk

Lieberman comes to Kidderminster

Mon, 11 Nov 2024 10:39:00 GMT

When Midlands based boutique Blu-ray label, Treasured Films, an offshoot of the import business Film Treasures, announced Jeff Lieberman’s 2004 slasher film Satan’s Little Helper as it second release there was talk of an event involving the director.

The company’s Graeme Lloyd and Tom Lee Rutter (director of The Pocket Film of Superstitions ) said that they specifically wanted to do something in the Midlands, not only to boost the local businesses in the region – access to independent screens in the area have taken a knock in the last 18 months – but to also open doors for further events, which would not only drive audiences to the cinemas but also provide opportunities for local filmmakers.

And while Kidderminster might not be the first place many would think of when it came to opportunities to see a film director with 50 years of experience, the Futurist Cinema (aka The Lume Cinema) proved to be the ideal location. The new owner Sachia Mooney took over in July and said that he wanted to provide something akin to stepping into a Blockbuster.

“Blockbuster was a place where you could meet like-minded people and discover new films,” he said. Stepping into the foyer and bar area, you can see what he means, with shelves of video tapes lining the walls and wall-mounted TV/VHS combos playing classics as you enjoy a coffee and a roll, or a pint of local ale.

The event itself, spread across two days, enabled ticketholders to see all of Jeff Lieberman’s widely released films on the big screen, alongside some rarities that really showcased the man’s versatility. Each screening was bookended with discussions with the man himself, moderated by film scholars Darrell Buxton and Jon Towlson.

One of the key things that came out of these Q&A sessions was that Lieberman never planned on being a horror director – despite his most famous films being in the genre. In fact, there’s a huge amount to his filmography that moves closer to dark comedy, as well as more socially conscious projects.

Remote Control (1988) As if to prove that horror wasn’t the direction that Lieberman wanted to specialise in, the first screening of the event was the science fiction thriller Remote Control, starring a young Kevin Dillon and with a supporting performance from Jennifer Tilly.

It’s schlocky fun, revolving around a tape of a 1950s movie that hypnotises viewers into murdering those around them. Lieberman said that his inspiration was the rollout of video tapes, which were something alien in households and could expose people to anything. It fits into the fears over media control of the time, with links to John Carpenter’s They Live, which came out the same year, and David Cronenberg’s Videodrome (1983); although Remote Control is far more sanitised in its exploration of desensitisation.

While not the best film the weekend would have to offer, it was a crowd-pleasing affair with plenty of laughs and some wonderful tributes to 1950s sci-fi.

But… Seriously (1993) “You didn’t expect that from the horror guy, did you?”

Lieberman’s right of course, But… Seriously is probably the most obvious outlier in his widely known filmography but was also one of the best screenings of the festival. He said that he had always been a fan of standup comedy and its ability to break down major world events into punchlines. He noted before the film that there was often a gap between what news outlets reported and what comedians would say on stage, the latter of which often being closer to the truth. From the late 1950s, when comedy moved away from impressions and innuendo to a more socially conscious, aggressive style, Lieberman believed that comedy was a truer version of events and worked with producer Rob Reiner to build a compilation of news broadcasts and live comedy to show the distance between.

Part of the joy of this TV special is the early clips of legendary comedians such as Richard Pryor, Lenny Bruce and George Carlin, working from the 1960s up through comedians such as Robin Williams, Bill Hicks, Lily Tomlin, Whoopi Goldberg and Billy Crystal. On the strength of the comedy clips alone, this is worth the price of admission, but when combined with the news clips and political speeches, it turned into a thought-provoking affair. In many cases, Lieberman was right and the comedy strayed closer to what we accept as the truth (when looking at Vietnam, the Watergate Scandal, the JFK assassination and the Rodney King incident) then what was said by major news sources. Interestingly, when asked if But… Seriously could be made now, Lieberman said that comedy had lost its way. “The great thing about the comedians in the film is that you would never know who they voted for. Now they’re partisan. Whoopi Goldberg talks about politics on The View, and Bill Maher is a right-wing pundit. The scene has lost that freedom it once had.”

Just Before Dawn (1981) Lieberman started his third film as a director for hire, before insisting on rewriting the “awful” original script to be closer to a feminist retelling of Deliverance (both the 1972 John Boorman film, and the original novel by James Dickey).

While hardly breaking new ground with its premise (kids go into the woods and are picked off one by one), it’s an excellent early example of the slasher film, bolstered by a strong central performance from Deborah Benson as final girl Constance, and a cameo from George Kennedy as the park ranger who heads into the wilderness to find them. It would also be one of the first examples of having two killers in the genre, with John Hunsaker playing both hulking twins, leading to some stunning camerawork to hide the dual role.

He added that he was keen to showcase nature as one of the characters, with the cast often dwarfed in the frame by the woodland. While there’s a very real killer on the loose, Just Before Dawn uses nature as the main antagonist.

Blue Sunshine (1977)

Just before we got into Blue Sunshine, one of the most anticipated films of the weekend, we were treated to a rare screening of Lieberman’s first film, The Ringer (1972). Made for Pepsi, this anti-drug short compares peer pressure to the advertising power of big corporations. While certainly cheesy, it’s central premise around a new fashion accessory that will only take a little marketing push, and some celebrity endorsement to gain traction was more interesting than many of the anti-drug educational films that floated around at the time. On to Blue Sunshine and this was an excellent thriller, inspired by Lieberman’s own acid flashbacks. It follows Zalman King as Jerry Zipkin, who becomes embroiled in a murder mystery, with political implications, when the long-term effects of a batch of LSD start to include complete hair loss and murderous tendencies.

The murder scenes are really well done, with some particularly creepy performances from Richard Crystal and Ann Cooper, and while not everything makes 100% sense by the end, it’s fast paced and exciting enough for you to overlook it. All the performances are good, although Lieberman, who was refreshingly frank in his discussions about each film, was unimpressed with King.

“I made the mistake of suggesting that the character might be on acid, to build some ambiguity into the performance, but it didn’t work. He took it too literally, but characters aren’t supposed to have that awareness on the screen.”

Another interesting point was that Lieberman highly recommended Ken Johnson’s novelisation of the film. Instead of a straight retelling, Johnson worked from an original draft, with the story set in New York, instead of Los Angeles, and including several crucial character beats.

Satan’s Little Helper (2004) The second day started with Lieberman’s return to the horror genre after over 30 years away from it. It’s a funny little slasher film that follows Douglas Whooly (Alexander Brickel), a young kid who is obsessed with a new handheld video game, Satan’s Little Helper, so much so that when he inadvertently meets a real masked serial killer (Joshua Annex) he is unwittingly coerced into helping with some very real murders.

There’s a lot of dark humour at play in the film, using Halloween as an excuse to have many of the kills happen in broad daylight, as onlookers believe that the bloody corpses are elaborate decorations. Lieberman noted that Halloween was the only holiday he subscribed to, as he was not religious. “I believe that Halloween is the only time of the year that most people are not in costume,” he said. “Every day they put on a suit and pretend to be this professional version of themselves and then one night a year, they get to show off who they really are.”

It also showcased his common-sense approach to storytelling, with seemingly minor character quirks paying off later in the film. The fact that Douglas’ sister Jenna (Katheryn Winnick, seen here before her star making turn in Vikings) bites her nails might be a throwaway line elsewhere, but here it becomes vital when she’s unable to rip the tape of her mother’s mouth, played here by Amanda Plummer.

While the film doesn’t take itself seriously, Lieberman did say that he thought he had a point about how kids see historical and biblical figures. “There’s a distance there. These are all comic book characters to kids now. That’s why Douglas can go along with ‘Satan’ for so long.”

Till Death do us Part (2006) & The Funny (2000s) We got a couple of additional rarities from Lieberman’s back catalogue next. The first was the pilot for Till Death do us Part, a series of dramatisations of true crime stories made for Court TV. Lieberman said that he was inspired to make the show after reading a statistic that spousal homicide was the number one murder cause in the United States.

To be frank, it’s saved by the central conceit of the Groom Reaper (played by legendary director John Waters), who attends weddings and explains to the audience the series of events that lead to the murder. This breaks up the standard true crime formula, bringing a dose of dark humour to proceedings.

It was a fun half hour, and one that was picked up for a full season, retaining Waters in the host role but without Lieberman in the writing or directing chair, but was later dropped when the channel was rebranded to TruTV and switched its focus to reality shows.

A ‘what might have been’ project was The Funny, which Lieberman worked on with Tony Hendra and producer Rob Reiner in the mid-2000s. Hendra, best known as Spinal Tap’s manager in Reiner’s legendary mockumentary, played himself on the hunt for some magical ingredient to turn him into a star comedian.

Lieberman noted that a lot of the film was an exaggeration of fact. Hendra, while undoubtedly funny in his own right, had often been overshadowed. He got his start in the popular but rather unfunny duo with Nick Ullet; was the only member of National Lampoon not to be picked up by Saturday Night Live; and was often the butt of the joke in Spinal Tap. In the raw footage we saw, put together as a highlight reel to garner more funding, Reiner says that Hendra is always so close to the funny, but is never actually funny.

It's a good idea for a mockumentary, backed up by some star power with Reiner and Twiggy having key roles, but according to Lieberman it quickly fell apart due to Hendra’s tendency to burn bridges. “The final film was going to have the guys from Monty Python” – the reel has a descriptive scene indicating that John Cleese was going to be part of it – “as well as lots of others. Hendra told me he could get them, but they wouldn’t speak to him.”

There was also a discussion about Lieberman’s work with Janus Films early in his career, especially The Art of Film, which similarly to Mark Cousins’ The Story of Film, used footage from classic cinema to teach aspiring filmmakers what to do. Lieberman had stories about Rod Sterling, who did the voiceover work for the project shortly before his untimely death, including their first meeting, which played much like a meeting in Sterling’s Twilight Zone. He also had a humourous story about wanting to bring King Kong to Broadway as a musical, and even drunkenly pitched it to John Lennon, who he hoped would do the music alongside Stevie Wonder. Despite doing this behind the back of his boss, the idea got to the pitching stage, at which point it was blocked due to production starting on the poorly received 1976 remake.

Squirm (1976) Lieberman’s most popular film was also his feature debut, partially written before his work at Janus and then brought back to life when the producers were looking for a cheap ‘animal attack’ film that could be turned around quickly. Focused on a small southern town that comes under attack from electrically charged worms, it’s a surprisingly tense, gory flick, filled with excellent practical effects that were engineered by Rick Baker.

It was a crowd pleasing end to the event, and before saying his goodbyes to the audience, Lieberman was once again on hand to give some interesting titbits about the film. One particularly point of note was his ability to work with the local extras. There’s a famous scene early on, after the storm that cuts the town off, where an extra describes the weather event. According to Lieberman this wasn’t in the script, instead he simply asked the extra about memories of a storm and rolled the camera, adding some real colour to proceedings.

Speaking to Graeme and Tom near the end of the event, both said that they were thrilled with how the event had gone. “We’ve been learning all weekend about what to do and what not to do, but I think we’ve shown that there’s a real appetite for events like this in the Midlands.”

Matthew Tilt

X https://x.com/Matthew_Tilt

Derby Film Festival 2024

Thu, 07 Nov 2024 08:27:14 GMT

After resting in 2023 Derby Film Festival returns in November 2024

Derby Film Festival is one of the leading regional film festivals in the UK. Bringing together film fans, filmmakers and industry figures, Derby Film Festival is four days long and will run from 7 to 10 November 2024.

Screening schedule:

Thursday 7 November

7:30pm: Conclave (12A) – Preview screening

Friday 8 November

5:00pm: Shorts Programme 1 (Adv. 15) - including a screening of Midlands Movies Awards winner A Different Place
7:00pm: Kes (PG) + David Bradley Q+A

Saturday 9 November

11:00am: Satu – Year Of The Rabbit (Adv. 12A)
1:00pm: A Place For Everyone: A Virtual Climate Reality (18)
1:00pm: A Place For Everyone: A Virtual Climate Reality – Adaptive VR Version (18)
1:30pm: Your Monster (15) – Preview Screening
4:00pm: Dead Man’s Shoes (18) – 20th Anniversary Screening with Q+A
4:05pm: The Contestant (Cert. TBC) – Preview Screening
6:00pm: Mermaid Legend (18)
7:00pm: Dead Man’s Shoes (18) – 20th Anniversary Screening with Q+A
9:45pm: One Night Rental (Adv. 18)

Sunday 10 November

11:00am: Masked Conspiracy (Adv. 15) - A 2024 Midlands Movies Awards nominee
12:15pm: Amongst The Wolves (Adv. 15)
2:45pm: Rumours (15) – Preview Screening
5:15pm: Shorts Programme 2 (Adv. 15)
7:15pm Scarlet Blue (Adv. 18)

Tickets for the majority of screenings are priced at £7.50 (standard) & £6:00 (concessions). Preview screenings are priced at QUAD’s regular cinema ticket prices. Q+A screenings are individually priced.

Find out more at https://www.derbyquad.co.uk/season-festival/dff

Midlands Review of Big Man

Wed, 06 Nov 2024 09:12:47 GMT

Big Man

Directed by Chi Lam

2024

Five Pence Productions & Chi Lam Pictures

A new Midlands short comes courtesy of prolific local filmmaking production company Five Pence Productions who in tandem with Chi Lam release a new 5-minute film about a young man spinning a yarn.

We open with a mother and child visiting a school and speaking to a teacher who asks a boy who is sporting a huge black eye how he came to receive it.

The young man begins his tale and the filmmaker cuts to the story he’s describing, where he says he was at school and a “big man” (played by an adult) was in his classroom. And despite throwing some paper at him - who is described as wearing a school uniform strangely - he ignores the child's antics.

The boy’s story continues as he stops the humongous gent to ask him why he is there, but again receives no answer. And swiftly moving outside to a playground, the big man does some pull ups before grabbing the kid after accusing him of saying something about his mum.

Big Man has a good set up as the boy’s strange story is told in voiceover which is then manifested visually into the events he’s describing. The weird dreamy situation is realised well and sets up great intrigue as to what actually could be happening.

Back in the school office, the mum seems confused with the odd moments she’s hearing and also spots a hole in the child’s story, yet he backtracks and continues on. Then the final part sees a ball hit both the man and child, thus causing his bruise.

The boy ends with a coy admission that he does embellish his stories a bit, whilst a hard cut back to the school office sees the teacher simply stating he’s a liar. Harsh! But is there one more twist in this scenario?

Big Man is a quaint and fun short story, which seems aimed at a younger crowd. With a slight repositioning it could work well as an education tool or video for primary school children. It could warn about the dangers of lying or more seriously, how children should tell the truth about what's happening to them no matter how strange or serious the situation - especially when an adult is involved.

It's a bit messy (especially with the ending) and I could be overthinking it, but somewhere in here sits a darker tone under the surface about what adults should believe about how children get injured and not dismissing wild claims straight away.

That said, the mix of reality and story-telling is a simple and effective combination for a young viewer - even though it’s a bit basic for an older audience. And on the surface it neatly uses a comedy-skit structure to explore the ramifications of telling a “tall tale” and although a solid if slightly unremarkable child’s story, it actually poses some appropriate questions the more you think about it.

★★★

3 / 5

Michael Sales

X @midlandsmovies

Review of Magpie

Mon, 04 Nov 2024 16:07:46 GMT

Magpie (2024) Dir. Sam Yates

Magpie stars Daisy Ridley as Anette, a wife and mother-of-two whose responsibilities to her family are tested when she suspects her husband of infidelity.

Her daughter Tilly (Hiba Ahmed) is a young actress who is taken to a period drama film set each day by her father Ben (Shazad Latif). As a struggling writer, Ben now spends his time chaperoning his child to the location each day, but his eye is soon drawn to the movie’s main star Alicia (Revenge's Matilda Lutz).

But his kind words soon turn to a more flirty affair with the famous actress, leaving his wife at home to struggle with their newborn baby.

As Ben’s indiscretions become more overt, Anette becomes increasingly concerned about his behaviour - which was already controlling, having asked her to change her outfits and we are later informed it was his decision to move far away to the countryside.

And even though Anette attempts to reinvigorate her life by reconnecting with her former employer, she has to take her baby owing to Ben’s constant absence. Later on, she then decides to check for evidence on his computer and phone, and even more bad news comes in the form of tabloid reports of a secret couple.

Magpie has some pretty standard elements and unfortunately doesn’t move too far from any of the paths you think it may go down - apart from one at its conclusion. A slow beginning doesn’t really get things off to an intriguing start and, essentially, not enough “stuff” really happens. A lot of texting - which is not inherently interesting, but an important plot point - is done the best it can be with cross-cutting actors ‘speaking’ the words but again, hardly a riveting watch.

Minutes drag by and what more do we learn from scene to scene? A wife increasingly suspects her husband of infidelity whilst away with a pretty actress is hardly a new concept. And for 90 minutes it’s dragged out until a final, and hugely enjoyable to be fair, Shyamalan-style plot twist which takes it into brilliantly schlocky territory.

This ludicrous narrative rug-pull actually hints at another route the movie could have taken - that of a more Neil Jordan-esque over-the-top noir thriller. But unfortunately this just doesn’t deliver that. A shame really. You have to wade through over an hour of dull filler before you get to its juicy payoff.

Daisy Ridley has been doing everything in her power to move from her role in the recent Star Wars sequels as Rey. Young Woman and The Sea, Sometimes I Think About Dying and The Marsh King’s Daughter (as well as this film) have all been released over the last 2 years. She’s certainly putting the graft in and this career repositioning has been great to witness.

The move into more indie fare has shown that she definitely has talent in droves, and whilst the output has been patchy, it’s definitely the right move. Here, she’s the best thing about Magpie by far, but the film itself (bar its entertaining ending) is a pretty bland exploration of a marriage on the rocks. And sadly, this mostly underwhelming flick is far too often on the rocks as well.

★★½

2.5 / 5

Michael Sales

X @midlandsmovies

Magpie is available on UK and Ireland digital platforms 11 November

Midlands Movies Awards 2025 jury panel

Mon, 04 Nov 2024 09:49:13 GMT

Midlands Movies Awards 2025 jury panel

Every season the nominations and eventual winners are chosen by an experienced jury made up of a wide-range of industry experts. Previous jury panel members include Parminder Nagra (Bend It Like Beckham, DI Ray), Shane Meadows (This Is England), Debbie Isitt (BAFTA-award winning director), Steve Oram (actor/writer), Richard Billingham (Turner prize nominee & director of Ray & Liz), James Luxford (Radio Times film critic), Becky Adams (CEO Screen Northants), Dharmesh Rajput (Head of Birmingham Indian Film Festival) and Pin Cushion director Deborah Haywood.

Richard Armitage

Special Guest Jury Member 2025

Richard Armitage is a multi-award winning stage and screen actor and best known for his role of Thorin Oakenshield in Peter Jackson’s trilogy of The Hobbit. He has been involved in three global number one Netflix hit shows playing Ray Levine in Stay Close, Adam Price in The Stranger, both written by Harlan Coben, and as William Farrow in Obsession. He has also starred in Into the Storm, Alice Through The Looking Glass, Captain America: The First Avenger and Oceans 8. He is also the voice of Trevor Belmont in Netflix series Castlevania. Richard hails from Leicester and went to drama school in Coventry and will choose the winner of Best Short Film.

Jack Rafferty (BBC Leicester) is a Leicester film writer & a regular presenter on BBC Radio Leicester. During his career, Jack’s passion for film has seen him interview a variety of actors & directors about their work – including Bella Ramsey, Jon Bernthal, Robert Eggers & Julian Fellowes. From Letterboxd to his new movie blog, Jack reviews and writes articles about award-winning and indie productions, and his connections with the Midlands have given him a unique insight into the stories told by local filmmakers.

Jake Harvey (Phoenix Cinema) is the Cinema Programme Manager at Phoenix Leicester and has been involved in indie film for 15 years. Working at Leicester’s independent cinema across the operations and film programme departments, he has a huge passion for film - both regional & national - and has managed their cinema programme since 2012. Jake has also overseen a big growth in local admissions and driven the organisation to focus on diversity and inclusion, reflecting the great plurality of Leicester.

Lateesha Johnson (BFI Network) is a BFI Network Talent Coordinator for the Midlands and works across the region to empower emerging talent to bring their unique visions to life. With a deep commitment to nurturing new talent and amplifying underrepresented voices, she helps connect filmmakers with development opportunities, funding and programmes. Lateesha is also passionate about creating pathways for diverse voices, ensuring fresh perspectives are heard and with experience in film curation, she brings her expertise and enthusiasm and is excited to champion innovative filmmakers from the Midlands.

Matt Tilt (Freelance Film Critic) is a writer and the co-founder and editor of What’s In a Scene - a weekly newsletter exploring the greatest scenes in cinema history. From classics and cult movies to underappreciated gems of film, Matthew has a wide-range of experience in film history and criticism. As a regular contributor of reviews, interviews and festival coverage at Midlands Movies, Matthew is committed to raising the profile of regional filmmakers and a strong supporter of the local film community.

Sophie Ivanova & Mellissa Donello (Birmingham Film & TV Market) Sophie Ivanova is an award-winning producer, actor, multi-platform businesswoman and owner of Inspirit Productions and Mellissa Donello is an award-winning screenwriter and producer. The Birmingham Film & TV Market is the UK's leading pitch and network event for filmmakers and the team are passionate supporters of Midlands talent.

Michael Sales (Midlands Movies) is the founder and editor of Midlands Movies. Set up in 2013, Midlands Movies is a hub which showcases a wide variety of talent from the region’s film industry. Mike has regularly appeared on BBC Radio Leicester and Derby and has provided support for filmmakers on the BACK IN programme in Birmingham. Based in Leicester, Mike is passionate that the Midlands Movies Awards are once again a place to honour and celebrate the best local film-making creatives in the region.

UPDATE: Nicola Prestage (Filmmaker) is a local independent filmmaker and digital artist who has successfully produced films for L'Oreal, John Lewis and Jaguar. Over 12 years, Nicola's work has been featured on BBC Three and the Commonwealth Games, and she was recently nominated for a Royal Television Society award. The experienced filmmaker will be offering post-awards development support to one production team!

Midlands Review of Operation War Thunder

Fri, 01 Nov 2024 08:50:23 GMT

Operation War Thunder

Directed by James Peakman

2024

Bader Media Entertainment

Operation War Thunder begins with Gary Pratt, a suicidal car dealer - played subtly by Andrew Simpson - whose every action and movement feels somehow laughed at by the universe and designed to submerge him deeper into his slumber. With every good deed he does, a negative repercussion seems certain to come. Even when he gives a lady her purse back, she misidentifies him as an attacker, makes him miss his bus and slaps him on the face. And his desperate suicide attempts are somehow always stopped at the last possible moment.

But when Gary receives the codeword for his father’s death (Operation War Thunder), he reunites with his estranged brother Tommy, a charismatic pale ale addict played by James Peakman (also the film’s director). And the pair head to their childhood home in search of their father’s will and begin to confront the roots of their strained brotherhood, until something much more sinister tries to confront them too.

For a film made for less than £1000, the results are endlessly impressive. The diversity of location and cinematography lends the film a cinematic scope sometimes absent from low-budget features. Similar can be said for the performances. Both brothers and their father’s neighbour Mrs. Wells, who is delightfully portrayed by deaf musician Sam Lord, all contribute to the wit and charm of the piece.

It executes its comedy well and feels inspired by an early Edgar Wright piece in the vein of Spaced and Shaun of the Dead. OWT is extremely successful in this regard, intelligently gearing towards some well-orchestrated timed jokes and needle drops. Similarly, the editing lends itself to this comparison, favouring Wright’s now unmistakable quick cuts as a trick to mislead, and be mischievous with its audience. As Bader Media Group said, their intention with the piece was to have fun, and this certainly delivers in that regard and translates extremely well to its audience.

Despite this wit, the film also dares to be bolder and refuses to be categorised, boasting an emotionally compelling and satisfying reconciliation between two tortured souls. The stand-out of this being an 8-minute outpouring of emotion between the brothers about their past and childhoods. Their chemistry and fracture is realised strongly by both performers and each inhabit their pain expertly.

Where this film slightly loses its steam is pacing and dialogue. The consistent expository dialogue feels mechanised and is handled a bit clumsily. Information is repeated and explained as if deliberately talking to the audience and sometimes feels parodic in its placement. In scenes of tension, the interjection of humour frustratingly suspends the action in favour of telling misplaced jokes that leave little room for any more emotional reconciliation. A slight refinement may be necessary in the script and could have lent the film a wider amount of nuance with much of the dialogue feeling too basic, and more trust being given to its audience.

The subdued pacing also detracts with scenes of dialogue feeling at times minutes too long and slightly monotonous. This stems from a lack of narrative drive, sometimes detracting from its strengths. The 2nd act is largely static as we wait for narrative progression. The inciting incident gearing the brother’s reconciliation is not strong enough to fully justify the feature-length run-time. [Potential spoiler] And sadly, one of the problem stems from the inclusion of a sci-fi twist, which appears rather too late - operating as a completely new short film itself, with its links to the prior narrative are weak.

However, overall Peakman’s low-budget directorial effort is a feat to be applauded. The execution of comedy is perhaps the most difficult to achieve in the cinema and Operation War Thunder delivers it consistently. Its slow pacing and dialogue can at times prevent full investment but the cinematic scope and charismatic leading performances ensure there is plenty for an audience to enjoy. And with its quirky visual trademarks, the film is a testament to the possibilities of low-budget filmmaking when creativity meets ingenuity, and experimentation is allowed.

★★★½

3.5 / 5

Josh Bird

Instagram @birdy9136

X @joshbirdfilms

Midlands Review of Kip Trip

Sat, 19 Oct 2024 10:08:53 GMT

KIP TRIP - Ape Escape

Directed by Luke Palmer

2024

Opening with swirling, hypnotic credits that very much set the tone for the duration of this 5-minute film, Kip Trip is a peculiar tale which simply depicts the treacherous journey of a monkey and his escape from a white gorilla.

From a descent below a crumbling wooden bridge to a rubbish-filled underground passage and eventually to a high rise garden, Palmer’s charmingly hand-drawn animation immediately implements a pace befitting the short form’s strength, effectively animating this anthropomorphic tale to replicate dynamic motion.

Despite the still shots of the film, the variation in facial gestures and body positioning of the beautifully drawn monkey bleeds strongly with the dimensions of the world. And this generate a sense of genuine urgency in this 'swinging story'. The inclusion of incrementing variables of the gorilla’s attack similarly prevents the film from feeling static at any point. And it is a feat to be admired.

While the music is strongly in symphony with the colourful and clean visuals, an area perhaps in need of slightly more polish is the sound design. Where implemented it adds a great deal in the creation of atmosphere, especially of the gorilla’s varying assaults. However, its predominant absence in ambient settings is an element that could have been improved. Whilst the textures of the city scape and underground sewage are strongly realised, these are slightly let down by the less creative audio.

This is a similar trend with the first-person narration of the piece. Although understandable with the limitations and the difficulty of recording dialogue from an actual monkey, the tone of delivery doesn’t quite match the energy of the visuals. It is at places slightly too wordy in description and lacks variation in tone which prevents delivering true threat and urgency.

Perhaps a further revision could have helped the script for the narration, which then would replicate the energy of the visuals which is where this film’s strengths definitely lie.

Another revision to the script would have also benefitted the ending. It is extremely abrupt and although may be attuned with the unconventional structure, it feels completely adjacent to even this dream-like tale. A lack of setup leaves it feeling slightly clumsy and an awkward link for a follow-up piece renders it unsatisfying as it feels somewhat incomplete.

In the end, Kip Trip – Ape Escape has a slightly unpolished and unrealised narrative, but Palmer’s strong visual world-building and beautifully penned creations craft visual charm. It's an enigmatic, strongly executed animation with a psychedelic original score with fittingly accompanies its fever dream aesthetic. And the wholly unconventional structure emits pure originality and the film should be commended strongly for its energy.

★★★

3 / 5

Josh Bird

Instagram @birdy9136

X @joshbirdfilms

Review of Haunted Ulster Live

Sat, 12 Oct 2024 16:19:25 GMT

Haunted Ulster Live (2024) Dir. Dominic O’Neill

There’s definitely something in the pipes in this lovingly made homage to Ghostwatch, the generation scarring 1992 BBC production from Lesley Manning and Stephen Volk. Writer and director Dominic O’Neill uses the same basic setup (an established television host teaming with a beloved children’s programme presenter to explore reports of poltergeist activity) and incorporates a good dose of humour and some interesting plot moves towards the finale.

What we’re presented with is the raw footage of a 1998 live event, in which jaded presenter Gerry Burns (Mark Claney) and up-and-comer Michelle Kelly (Aimee Richardson) try and discover what is haunting desperate mother Sarah (Siobhan Kelly) and her child Rose (Libby McBride). They’re joined by medium Sinead (Antoninette Morelli) and Robert (David Fleming), who brings his own theories about ley lines and psychic energy.

A nice touch here is that O’Neill imagines a channel with adverts, meaning that we get to see characters between the planned spots and pieces to camera. Much of the humour within the film comes from this, as Gerry tries to rejuvenate his flagging career behind the scenes, and Michelle attempts to move up the ladder with a reported Blue Peter job in the pipeline.

There’s also more time given to build context. As we’re travelling back in time to Ulster in 1998, there are allusions to the political situation at the time, and the devastating events that came before. There are also lighter moments, as Michelle interacts with neighbours outside the house, and three young women there to support DJ Declan (Dan Leith), who is holding his own vigil live from the attic of the house.

Of course, during the broadcast, everything goes horribly wrong. The haunting is far beyond anything the crew could have envisioned and while Haunted Ulster Live doesn’t have scares as such – certainly not the same level of creeping dread that Ghostwatch has – it does an excellent job of developing the backstory to Black Foot Jack, the reported poltergeist.

As it rumbles towards the ending, O’Neill adds some neat story beats that start to differentiate it from its influences. Not all of this works 100%, and we’d be entering full spoiler territory to discuss any of it here, but it certainly helps this to stand out. Especially since we’ve had the high-profile release of Late Night with the Devil, and a re-appraisal of Ghostwatch itself in recent years.

It's a film that lives and dies on the excellent performances within. While possibly a little overhyped in the 12 months since it first appeared on the festival circuit, Haunted Ulster Live is a great little 80 minute love letter to Ghostwatch and Most Haunted.

★★★★

4 / 5

Matthew Tilt

Twitter/X @Matthew_Tilt

Haunted Ulster Live is available on UK and Ireland digital platforms from 14 October

@hauntedulster #HauntedUlsterLive

Review of Joker: Folie à Deux

Wed, 09 Oct 2024 08:56:13 GMT

Joker: Folie à Deux (2024) Dir. Todd Phillips

Set a short while after the original Joker (2019), the film sees Arthur Fleck facing a trial for his wrongdoings as he struggles to keep his alter ego at bay, find his true love, as well as discovering his love for music.

Joker: Folie à Deux is a big swing and a massive miss. The concept of having a musical based around Joker is a fascinating one. But sadly, Todd Phillips doesn’t commit hard enough to the genre to make a meaningful impact. Infact the musical element of the film feels more like an afterthought, the songs themselves distract from the story being told and after a while the gimmick gets tiring. There are one or two songs that absolutely nail the tone the film is trying to go for, but unfortunately the other songs from the catalogue serve little to no purpose.

The film starts off quite well, the first hour is brilliant, it’s filled with great character moments and sets up a promising direction for the movie, It completely engrosses you in the story. Pheonix and Gaga’s performances are also highlighted here. The story really has time to breathe and fully explore the Jokers phycological state; while also showing the romance brew between the two leads. The issues start in the second act for me, the trial begins and the movie switches to a court room drama. This leads to key characters like Gaga’s Harley Quinn being sidelined in favour of a slower pace and more character driven moments, as well as this the movie really starts to drag in places is shouldn’t and sadly makes the film boring in places.

The performances from Joaquin Phoenix (Joker) and Lady Gaga (Harley Quinn) are particularly good. They both carry the film on their backs and make the viewing experience a lot more bearable. While Pheonix never reaches the heights of the original film, he still puts in a lot of effort in making the tortured super villain believable and empathetic. With the amount of time Gaga has before being put on the back burner, she makes this iteration of Harley her own and making her easily a standout of the film.

One of the biggest positives with this film is its cinematography. The film is shot incredibly well, the colours feel very vibrant when they want to exaggerate the surrealist aspects of the film, and so muted when they want to bring the story back down to earth. There are so many camera shots throughout that you cannot help but applaud for how great they look. It does genuinely feel like the audience is descending into madness with the joker at times, additionally making the movie seem a lot more personal with more close ups and tracking shots.

Furthermore, the costuming is also another stand out for me, expanding from the first films outfits, this film enlarges the joker's wardrobe, especially when he is in a dream sequence, these costumes are also entirely relevant to the story making them more thoughtful and intentional this time around.

There was so much potential here for something great. But Todd Phillips throws so much at the wall with not much of it sticking. This is easily once of the biggest disappointments of the year especially considering how much hype was built around this movie when it was first revealed. There are some great moments but overall ‘Joker: Folie à Deux’ is a messy movie that never needed to be made and doesn’t come close to the greatness of the first film.

★★★

Jacob Holmes

Instagram

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Review of Take Cover

Fri, 04 Oct 2024 10:27:23 GMT

Take Cover (2024) Dir. Nick McKinless

Action and stunt star (and Midlands-born and raised) Scott Adkins returns this month with another shooting and punch-up extravaganza in the form of assassin-focused flick Take Cover.

John Wick 4 actor Scott plays Sam Lorde, a sniper who works with his friend Ken (Jack Parr), whose messed-up last job leads to him being a target himself.

The opening delivers some good banter between Sam and Ken before moving to a forest location where Sam is brooding after the botched job. The action clichés are there - a “retired” assassin, some introspective log-chopping and moody alcohol-drinking are shown before he sees… that’s right…a lone wolf! Yes, it’s that type of movie.

Despite these, the conversations between the two bros is a highlight. Hitmen verbally “sniping” at each other is a great set up and dynamic, and Adkins and Parr do really well with this back-and-forth, adding an entertaining tongue-in-cheek aspect to proceedings.

And as Sam inevitably comes out of retirement they head to a posh hotel room and in their paranoia close the curtains as protection. Their worries turn out to be justified though, as after a visit from two call girls they are all pinned down in the room as sniper shots hail through the hotel windows.

Obviously it’s no Citizen Kane, but positively - and thankfully - it doesn’t have the laziness of a straight-to-dvd Steven Seagal vehicle either. It avoids CGI and green-screen and the stunts and shooting have a distinct visceral feel. It also uses the budget limitations well and locking down the action to one location has a Free Fire (2016) vibe that keeps things intense and focused.

But let’s not over-egg it. It’s not exactly Fincher’s The Killer and my biggest wish is just to have a scene or two that stepped away from the genre clichés. The reluctant hero coming out of retirement for one last job has been exhausted.

And despite the central idea being a huge positive, there’s missed opportunities to use the hotel to create inventive moments. Some crossfire with room service bellboys, fire alarms, cleaners, keycards, luggage, air conditioners and many other things could have added another Trip Advisor star to the film. However, they do eventually use the lift for some much-needed cramped fisticuffs.

Alice Eve’s supporting role is a tad wasted too - mostly on the phone like a cameo from Cameron Mitchell - and the action is sparse for the first 30 minutes. But to be fair, this sort of movie isn’t always my cup of tea, but I feel fans of the stars and specifically the genre would lap it up.

If you are into films with classic two-word action titles (this could have easily been named Kill Shot, Murder Point, Code Sniper, Target Fire, Cross Trigger, Bullet Stalker, Blast Force etc) then Take Cover delivers all the necessary beats you’ll be looking for. And with likeable characters at the forefront, it also successfully adds a touch of superb star power to the pumping violence.

Michael Sales

Take Cover is available on Digital Platforms and DVD 14 October. Distributed by Signature Entertainment

And check out our interview with Scott here who discusses his career and Midlands life:

https://www.midlandsmovies.com/grab-a-camera-and-do-it-yourself-that-s-the-best-film-school-you-can-have-interview-with-scott-adkins

Review of Late Night with the Devil

Fri, 27 Sep 2024 13:28:46 GMT

Late Night with the Devil (2024) Dir. Colin Cairnes & Cameron Cairnes

A brief documentary-style prologue opens new horror Late Night with the Devil, which tells of the found footage we’re about to view from the never-aired tapes of a (fictional) episode of a 70s TV chat show.

We swiftly cut to the era-accurate grainy VHS visuals of a late night NYC talk show called Night Owls. Presented by Jack Delroy, he competes for ratings with Johnny Carson and despite the loss of his wife, he returns from this tragedy to present a special Halloween episode to win viewers back.

David Dastmalchian plays Delroy, and for an actor often seen playing quirky weirdos, he does a brilliant job of delivering a likeable, and even loveable at times, late night tv host just trying his best in the “cut-throat” TV industry.

In his attempts to gain ground on Carson’s popularity, Delroy uses his comeback special to invite a number of contentious special guests to his show. These include Christou (a Ure Geller-style psychic), Carmichael Haig (a James Randii sceptic) and parapsychologist June Ross-Mitchell and her allegedly possessed subject Lilly. But can the ailing host bring his show back from the dead and resurrect his career?

The movie does well aligning its pieces with the style, technology and fashion seen in the era. Ingrid Torelli as Lilly delivers a great version of The Exorcist’s Regan, and from the chat show musical sidekick Reggie to the graphic intertitles, it all adds authenticity from the period.

The 4:3 screen ratio and ‘unedited’ footage continue this immersion but the filmmakers have interspersed this with black and white fly-on-the-wall sequences which occur backstage during the adverts breaks.

As the show progresses, the guests begin to clash based on their beliefs in the supernatural or doubting it all as pseudoscience, but Delroy slowly loses control over the whole chaotic affair. Water (and vomit) sprays the studio whilst the vintage vibes are infused with questions about how much is real or is this a publicity stunt to further various careers.

The movie owes a fair amount to BBC’s 1992 Ghostwatch - perhaps the earliest horror TV mockumentary - with Delroy in place of famous UK chat show presenter Michael Parkinson (‘Parky'). And I’d also say there's a dash of Steve Coogan’s TV comic creation Alan Partridge as well.

Yet although it adds some American aspects to its references, it sadly cannot resist going too far in some places also. The filmmakers’ previous film Lake Mungo is one of the most frightening films I’ve ever seen, but I have to say this is much more entertaining than it is scary. It even gets silly at moments and “half-hearts” its devilish premise with some poor CGI VFX and cutaways that break the 70s illusion.

However, if you go in expecting more of a satire than scares I think you’d have a better experience overall. The vintage vibes are spot-on and the whole cast make the show believable with the production design a real-stand out throughout.

And of course, the excellent Dastmalchian holds the whole film (show?) together as it slowly collapses around his ego and guilt, and from the outset the film takes a big swing and mostly hits a horror home run.

From Grave Encounters, Gonjiam and Ghostwatch, the “TV-show footage” genre is a fantastic subset of handheld horror and here Late Night with the Devil does an amazing job combining presenters like Partridge and Parkinson with the paranormal.

★★★★

4 / 5

Michael Sales

Late Night with the Devil releases on 4k/BluRay Limited Edition on 28th October via Second Sight Films @aimpublicity

Mammoth Cinema and Kino Koło Notts bring poignant documentary to Nottingham

Thu, 26 Sep 2024 15:02:21 GMT

Mammoth Cinema and Kino Koło Notts collaborate to bring poignant documentary to Nottingham

Final preparations are underway for community cinema Kino Koło Notts screening of documentary HOME taking place 4th October at Mammoth Cinema, on Nottingham’s renowned Broad Street.

The culmination of a seven-year collection of films and photographs covering the lives of a handful of people ejected from their own cultures and homes, HOME invites us to explore their experiences creating a new home and finding love at the house of a 90-year-old, bed-ridden writer in suburban London.

The film previously had its UK premier during the KINOTEKA Polish Film Festival at the Institute of Contemporary Arts (ICA) in London, and was officially selected for this year's festival L’Europe autour de l’Europe.

Liam Skillen from Kino Koło Notts said, “I’m really excited for our first screening in the city, especially with such a fantastic venue as Mammoth. This is the perfect film to demonstrate our shared ethos around community, and the importance of coming together."

"It’s a real pleasure to share this award winning film by Mela Hilleard; and its central themes of home, identity and family are ones I’m sure we can all relate to.”

Raffa from Mammoth said, "We are delighted to be hosting Kino Koło Notts for this collaboration! As a Climate Action Cinema, our purpose is to bring people together from all corners of the community, using the power of stories on the big screen to start conversations, inspire action and share feelings about the environmental emergency, and the social crises we all face as a direct consequence.

Particularly in light of the current rise of the far right, the topic of immigration is compelling: finding new homes, identities and families in new communities, while offering dignity, safety and welcome to our fellow humans is a key part of the future we want to build.

'HOME' is the perfect story for everyone to delve into immigration as the communal human experience that it is.”

More details of this event can be found at: https://mammothcinema.co.uk/Event/89917

Mansfield set for action with film screenings and stunt event this October

Thu, 26 Sep 2024 14:51:24 GMT

Mansfield set for action with film screenings and stunt event this October

Mansfield Town Film Festival are collaborating with the BFI to screen classic action films at the town’s Palace Theatre this October giving audiences an opportunity to experience these cinematic masterpieces on the big screen.

The Art of Action Season will celebrate the artistry and skill behind action filmmaking, focusing on the genre’s delivery of both entertainment and visual storytelling.

The programme kicks off on October 4th with The Adventures of Robin Hood (1938), a swashbuckling classic known for its thrilling action sequences and iconic performances. This is followed by The Train (1964) on October 18th, a tense World War II thriller featuring a storyline about the French Resistance’s efforts to stop a Nazi train.

The season concludes October 25th with Crouching Tiger, Hidden Dragon (2000), the visually stunning martial arts epic that captivated audiences worldwide with its breathtaking choreography.

Speaking of which, the festival will bring real-life Hollywood-level excitement to the town with two thrilling events hosted by local stuntman and radio personality John B. Tannen. Best known as the voice of Mansfield 103.2’s breakfast show, John will offer filmgoers an exclusive glimpse into the world of cinematic stunts.

John B. Tannen’s career spans over 30 years, with notable credits in blockbuster films like The Batman (2022), Maleficent: Mistress of Evil (2019) and Aquaman and the Lost Kingdom (2023).

Those attending The Train screening will see a special presentation from John on his long-standing stunt career. And the Crouching Tiger, Hidden Dragon audience will get hands-on experience with a live workshop - where participants can try their hand at some Hollywood-style stunts. Both events are included with the price of admission.

MTFF’s Festival Director Jay Martin says, “John has been a part of our festival for the past two years, and he’s always a highlight for our filmmakers and guests”.

[And] “We are thrilled to partner with the BFI to present the Art of Action Season. This selection of films not only celebrates the dynamic nature of action cinema but also highlights the incredible artistry involved in creating these adrenaline-pumping sequences”.

“Our goal is to provide the local community with access to world-class films and foster a deeper appreciation for the craft of filmmaking.”

Mansfield Town Film Festival has built a strong reputation for innovation and community engagement, attracting attention not only from local audiences but also from film professionals and critics."

Tickets for the Art of Action Season are now available on the Mansfield Palace Theatre website .

And check out all the latest MTFF news at www.mansfieldfilmfestival.co.uk

Midlands review of Teddy and the Mountain

Thu, 26 Sep 2024 08:17:26 GMT

Teddy and the Mountain

Directed by Stanley Roubaix

2024

In a world often focusing on the heady days of youth culture, it comes as a refreshing surprise to see a new film exploring the ramifications of getting older as well as the love and loss we face along the way.

David Mason plays Teddy, a retired navy man who is clearing out his house with his daughter - who also advises the set-in-his-ways pensioner to “get out more”. Unfortunately, among these nick-nacks he donates to a local charity shop, he accidentally includes a personal diary belonging to his late wife.

And despite returning later to retrieve it, the book has already been picked up by a lady (Linda Dootson as Rose) and thus begins an intertwining story of two lost souls.

Teddy is supported by his friend Dave, who helps keep Ted’s spirits up from his mobility scooter, whilst Rose’s friend Jean (a funny turn from Charlotte Claypole) helps her friend during a series of awkward dates. But as luck would have it, Jean encourages Teddy to come on a country walk after their own unsuccessful meet-up and finally meets Rose, not realising she’s in possession of his missing book.

Teddy and the Mountain has an intriguing set up and the criss-crossing of two contrasting personalities works well, as Teddy is shy and reserved whilst Jean is more outgoing. Both seek companionship yet find it difficult at their later stage of life.

Yet rather than dwell (too much) on the negative effects of ageing, the filmmaker also challenges the audience by tackling issues such as Tik Tok, “Silverfox” speed-dating and Jean’s brash work on a sex telephone line without shying away. It certainly doesn’t dance around these issues and they often are the source of much of the comedy.

Some other aspects felt a bit old-fashioned though. Despite the subdued pace setting it aside from other local films, a camp exercise instructor was a bit of an out-of-time “Carry On” stereotype to say the least - and gets more annoying as we progress. (Although his fun YouTube video introduction had shades of local film Twin Leaps , which I also encourage people to check out).

Around the half-way point the film drops some of its saccharine tone and delivers some bad news to one of the characters, who then finds some appreciation of life they didn’t have before and decides to tick off a goal on their bucket list.

This is followed by further heartbreak, yet there is some hope as sparks start flying as a couple go on a sunny boat trip despite ultimately facing sadness as we head towards its conclusion.

Making the most of time and living for today is an honourable message that Teddy and the Mountain pushes to the forefront. It hits its theme about the “need to get out more”, although many scenes literally have similar lines within actual dialogue. My advice is to Ctrl + F to find these duplicates and delete. It’s way over-emphasised in general and an audience would easily get this idea early on and other standard plot points go exactly where you think they would.

Yet the director has leapfrogged off his previous film Void with some sporadic drone shots of the countryside which are used sparingly and appropriately, and I felt it had the lighthearted tone of an afternoon ITV drama - 3 episodes stuck together perhaps? It did however feel a bit more “telly” than a cinematic movie though. And could do with a large dose of Richard Curtis or Danny Boyle style, as it takes a similar wry look at quirky British life.

However, the story does confront the fact we all face sadness at the end - but encourages us to enjoy the friends, families, lovers and acquaintances we make during our journey.

And although this feature stretches its content given its runtime, it mostly delivers what it says on the tin. A world moving fast as we get older and making the most of life is also a solid theme despite the cliches and stereotypes the movie includes.

Overall, this heart-warming and mild comedy-drama feature gives us a big old dollop of schmaltzy and sometimes risqué lifestyles, but maybe slightly too quaint for my sensibilities overall. But it certainly has plenty to recommend, and as it touches upon many issues we can all relate to whatever our age, Teddy and the Mountain shows Midlands films are not ready for the scrapheap yet either.

★★★★

4 / 5

Michael Sales

Review of The Substance

Sat, 21 Sep 2024 17:31:20 GMT

The Substance (2024) Dir. Coralie Fargeat

The Substance is director Coralie Fargeat's sophomore film and after the success of Revenge (2017) she sets her sights on tackling beauty standards and Hollywood industry in a very brutalist way. It is a remarkably unique body horror from the outset, and one which reflects the vast lengths people go to in order to keep their beauty and fame. And it doesn't shy to giving us the grossest entertainment possible along the way.

The film tells the cautionary tale of Elisabeth Sparkle (Demi Moore), a washed-up celebrity who turns to the mysterious 'substance' to try reliving her glory days - but by doing so, she goes through a sadistic living nightmare, as a younger version of herself (Margaret Qualley) splits from her body.

Body horror is this film's most interesting draw. With a mix of practical and CGI it manages to pull off some beautifully gory scenes that will make even the strongest willed people's jaw drop. Furthermore, it gets increasingly bonkers throughout and just when you think you have seen it all, something else makes us question how Fargeat is getting away with putting this on screen.

But that itself is only one small element of what makes this film so disgusting. Its sound design and camera work makes the watcher feel unnerved and uncomfortable, and by using ultra close-ups and exaggerated pleonastic sounds it delivers a truly horrific experience.

The performances from Demi Moore and Margret Qualley are some career bests too. Moore is heartbreaking as she descends a slippery slope, and even when it takes a turn into more surrealist territory, she still provides the emotional heart. Qualley solidifies herself again as a rising star, proving she can go toe to toe with career veterans like Moore. And she accomplishes this with an innocently sinister portrayal of her character Sue, but make her empathetic too.

Sadly, the final act did lose me. Without spoilers, something happens towards the end of the film I think completely derails the movie's tone. Until this point I felt the movie had a sincere heart to it - and even though it was one of the craziest movies I have ever seen, the message it conveyed was important.

But the ending feels like it abandons its sincerity in favour of shock factor. It’s especially disappointing because there were so many natural endings it could have taken without going to the absolute full extreme. While I understand the reason they did it, it doesn't gel well with the rest.

The Substance's themes hoewever are entirely relevant in today's society. Plastic surgery, Ozempic misuse and extreme surgeries are on the rise. And this film goes from one extreme to another to display the true horrors this can cause. By the end, it provides an interestingly unique experience and it very much feels like the film industry just doesn’t make too many films like this anymore, so I encourage all to support it.

★★★★

4 / 5

Jacob Holmes

Instagram

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Midlands Review of Meeting Point

Wed, 18 Sep 2024 09:02:35 GMT

Meeting Point

Directed by George S Evans

2024

Five-Fifteen Productions

How a life may turn out if another path is taken is one of the central themes of a new Midlands short that sees a man contemplate how his circumstances and choices intertwine with others'.

We are introduced to Andy (Jon Laight) who is on his phone at a pub and after ordering from the barmaid observes something strange on his mobile device. After this mysterious moment we move to the same man sitting on a stone bridge with a woman (Julia Bentley as Vicki) who asks how long it’s been since he lost his wife.

The filmmaker here mixes some flashback moments of a happy couple’s life together, shot with great cinematography that gives the visuals a warm glow and some loving sun-setting lens flare.

But from making two teas and crying into her clothes, Andy is clearly still coming to terms with his loss in a terrific performance from the lead actor. We also get moments where we are unsure if it’s the present or a memory and it’s this narrative and visual structure that the director successfully plays with.

Telling the story out of order helps keep things interesting for the audience but it takes a while to get going. Although there’s links between the first scene and later scene, the opening of a man looking at his phone for 2 and a half minutes in a pub and some tea-making and van driving was hardly riveting and didn’t pull me in until a while later.

The film hits its stride, and also takes a sidestep, as it switches to the woman’s domestic life at the midpoint. Vicki herself is accused of infidelity by her partner (Drew Noon as Jack in an intense performance) and their discussion soon becomes a shouting match. But it’s suddenly revealed their school-age son is behind a door listening to this severe conflict and whilst protesting her innocence, there are revelations that all is not what it seems and the boy decides to run away to escape this family tussle.

Technically, Meeting Point also has an interesting and superb ethereal score from Ross Baillie-Eames who adds some Inception-like moody atmosphere to the time-twisting narrative. The film has some really great individual shots but some scenes drag and I didn’t find its as narratively tight as the director’s previous film. Whereas English Rose ( our review here ) was a very focused story, Meeting Point meanders around its message a bit more.

However, no spoilers here but the two stories collide at the end and the audience awakes with a new understanding of some of the earlier scenes. The plots intertwine yet there’s not a great deal of connection at first. It sometimes feels like 2 separate films, perhaps intentionally. But this adds a dose of confusion that's not needed - although it does eventually explore two lost souls dealing with their own unfortunate and sad situations quite satisfyingly.

With much to recommend, Meeting Point is a film of two halves - both literally and thematically. Combining stories is a great narrative structure, even though it does take a bit of time to get there. Yet if you can stick with it, there’s an intriguing twist finish and overall the film is an interesting combination of dual lives that crash together with sadness yet also hope.

★★★½

3.5 / 5

Michael Sales

Review of The Vourdalak

Mon, 16 Sep 2024 17:50:51 GMT

The Vourdalak (2024) Dir. Adrien Beau

There’s something wonderfully tangible about Adrien Beau’s directorial debut. It’s shot on Super 16mm, layering the stunning rural locations with a thin grain, combining with the work of cinematographer David Chizallet to create something that wouldn’t have been out of place in a Peter Greenaway production.

Indeed, this feels akin to Nosferatu via The Draughtman’s Contract. Based on the vampiric novella The Family of the Vourdalak by Aleksey Konstantinovich Tolstoy, which predates Bram Stoker’s Dracula by almost 60 years, it follows the Marquis Jacques Saturnin du Antoine (Kacey Mottet Klein) who finds himself seeking refuge in the home of a man called Gorcha.

Gorcha’s family is disfunctional. His eldest son Jegor (Grégoire Colin) is domineering over his wife Anja (Claire Duburcq). The daughter, Sdenka (Ariane Labed), has brought shame upon the family by falling for, and sleeping with, a traveller, and the youngest son, Piotr (Vassili Schneider), shows more effeminate tendencies and is considered an embarrassment.

As for Gorcha himself, he has escaped the house to fight the invading Turk army, leaving a note warning the family not to allow him back into the house if he has not returned within six days – lest he has become a vordulak.

Of course, the film would be light on horror if the family followed this letter. When the emaciated Gorcha is discovered on the edge of the grounds, he is brought back into the fold. Up until this point, Beau and co-writer Hadrien Bouvier have focused on the culture clash between the haughty Antoine and the lower-class family. Klein really is excellent in the role, jumping from eagerly attempting to seduce Sdenka, to disgust at the freshly butchered meat used in the family’s meals, to a certain amount of reference to the patriarchal Jegor, offering plenty of humorous moments.

When Gorcha is brought back, in the form of some exceptional puppetry, the film quickly steps into horror territory. This isn’t jumpscares and gore – although there is plenty of blood at times. Instead, The Vourdalak is a film focused on atmosphere. Using a life-sized puppet as the antagonist creates an uncanny feel to proceedings. There is no refined gentleman vampire here, but something otherworldly, uncertain in its decomposing body. Mixed with the voiceover work of the director himself, and you get a vampire as horrifying as Max Schreck’s Count Orlok.

But the vampiric bloodletting makes up just part of the events in the climax. Beau and Bouvier aren’t afraid to put their modern sensibilities into the film, highlighting the ridiculousness of discriminations against those who do not conform to gender expectations, as well as women who are not considered ‘pure’.

The most horrifying part is the power Gorcha holds over his family as the patriarch, and the film is roundly critical of this. In his weakened state, Gorcha is more of a manipulative force, bidding the family to degrade themselves and hurt each other. It leads to some deeply uncomfortable moments.

It also helps The Vourdalak to stand out against other vampire films. Its beautiful cinematography and disturbing content making it something that sticks in the mind long after the credits.

★★★★

4 / 5

Matthew Tilt

Twitter/X @Matthew_Tilt

The Vourdalak is on digital platforms on 16 September 2024

Midlands Review of Fallen Angel

Sat, 14 Sep 2024 08:16:31 GMT

Fallen Angel

Directed by James Harris

2024

“A lost soul seeks redemption”

The directorial debut from actor and singer-songwriter James Harris, Fallen Angel is a 5-minute short film from the West Midlands that explores life, death and perhaps also life-after-death.

Starting with a dark tunnel with light at the end, rather than a move into the afterlife, this opening seems to portray an angel traversing the opposite direction arriving on earth.

So rather than an ethereal bridge to heaven, our location is our own urban sprawl as a man (entity?) in a suit stands amongst the very-human concrete structures whilst sporting a pair of almighty white wings. A great sweeping shot and a really majestic visual metaphor from the outset.

Quickly cutting to the angel waking up, he rises amongst the dark canals and roads, staring plaintively at a world strange to him. An echoing, and Godly, voiceover arrives a minute or so later which attempts to poetically give context to what we are seeing. But the short very much keeps this ambiguous and open to interpretation.

The music is a funky mix of electronica and music sequencer but I honestly didn’t get the feeling it really fit with the world. The synth genre could remain but the style felt far too positive and more akin to something you’d find on a YouTube compilation montage of “kind strangers”. So a bit too jarring for the subject matter and the “are we fallen angels” theme.

Especially noticeable at the start, some silence could have gone a long way to begin with and this small change in tone could have built some suspense and mystery to the circumstances we are viewing.

The idea however is solid though. An angel amongst a decaying city - the filmmaker uses colossal Midlands motorway icon Spaghetti Junction as its main location - is a superb motif worth exploring as we see two contrasting concepts in opposition. Yet our lead (the director) is also seen kicking his heels and climbing (rather ungracefully) over metal railings. Somewhat taking the shine off this angelic fable.

A strong idea gets combined with a really fantastic location but for me that music sadly doesn’t fit and some of the narrative poetry could have been expressed in more depth with some added visual cues.

That said, Fallen Angel ends as a very good idea that, although needs a bit more working on, provides a strong basis for the filmmaker to “develop the divine” in his future projects.

★★★

3 / 5

Michael Sales

Midlands Review of Non-Starter

Sat, 14 Sep 2024 07:29:15 GMT

Non-Starter

Directed by James Pyle

2024

Non-starter is the latest release from filmmaker James Pyle whose short sharp style and witty observations return once more in an unique short that showcases an end-of-the-pier entertainer.

Although known more for his animations here at Midlands Movies, Pyle has often combined live-action (often himself) into his films and here he plays the vaudevillian host on stage in a theatre.

Introducing, well, himself in an over the top manner, the well-dressed man receives a smattering of applause up top, as he speaks directly to the anticipating audience.

Often a one-man filmmaker, Pyle provides his solid acting chops to the old-fashioned stage-show singer with a pastel blue suit and large red carnation adding to his persona.

Demanding absolute silence from the audience, our host prepares to go into a song performance but after stifling one audience members’ cough, he takes a breath to begin but is interrupted once more - this time by far more people.

But moments later, he is also put off his show again - this time by a “jitterbug”. And it’s here where Pyle’s excellent animation comes to the forefront. A riff on Jiminy Cricket, our host pulls the animated insect from his pocket, and although he barges in, the cartoon bug actually provides comical asides and a few punchlines for the show.

Non-Starter is a little rough around the edges where a bit more polish, and perhaps filming in a real auditorium could add a bit of an authentic sheen. The idea of the host and animated sidekick is also a concept used by Pyle before but to be fair once again it works well here.

Pyle nails down the patter and banal mutterings of an outdated Butlins-style performer excellently, as his protagonist attempts to get his amateur stage show started. I’ve mentioned before I’d like to see a longer runtime from the filmmaker to develop his “sketches” further. But a big round of applause should go to Non-Starter as although too brief, for me, it’s a gentle, fun and wholesome short poking fun at some variety show shenanigans.

★★★

3 / 5

Michael Sales

Review of Didi

Sat, 07 Sep 2024 07:46:14 GMT

DÌDI (弟弟) (2024) Dir. Sean Wang

The film tells of the summer of 2008 where teenager Chris Wang, who's about to go into high school battles with friendship, love, and family in a beautifully moving coming-of-age story.

Straight away, if you are a fan of devastatingly amazing coming of age films, this one is for you. DÌDI (弟弟) is an excellent mashup of the best movies in the genre. ‘Lady Bird", "The Perks of Being a Wallflower" and "Eight Grade" all come to mind when viewing this film, but that's not to say it's unoriginal. This film is wonderfully unique, capturing the essence of what it was like to be a kid in the noughties during the emergence of the internet and filled to the brim with Paramore posters, cringe Facebook walls, and pop punk on the radio.

Furthermore, there are many layers that are effortlessly executed in this movie, including the idea of family trauma being passed down from generation to generation in an endless cycle, which was a compelling part of this story. The family feels authentic and real that it struck the hardest nerve. But perhaps the most prominent part is the theme of fitting in. The protagonist Chris tries his hardest to fit in but so much so that he starts self-destructing, burying parts of him to make people like him and doing things he shouldn't for approval. Which is a part of childhood that so many people experience.

The film showcases a star-making performance from Izaac Wang who plays Chris effortlessly and is able to execute subtle emotional changes and the complex mental state of a teen without having to rely on dialogue that spells things out. Paired with him is the mesmerising performance of his mum Joan (played by Chungsing Wang). Her struggling single mum is just trying her best, but with the weight of her family on her shoulders, she often bumps heads with her them. But she delivers a very sympathetic character with a performance allowing us to understand why she is the way she is.

The cinematography radiates nostalgia as warm golden hues are present throughout to make the audience feel cosy and transports us back in time to relive our own universal childhood experiences. The American suburban backdrops are heavily reminiscent of classic American teen comedies like Superbad. And the costuming's and environments all scream the early 2000s.

The 1.85:1 aspect ratio and close-ups feel immersive and personal, like a viewer is reliving all these experiences for the first time again.

DIDI is a harsh reminder that teenagers go through so much. Friends grow up into people you no longer want to be around and we feel like outcasts when transitioning into new chapters of life. But most importantly we can also lose ourselves when trying to move on.

The film is down-to-earth and unapologetic in the way it portrays teen life, and accurately shows the struggles so many teens go through daily. And all these emotions and feelings are packed tightly into an excellent 93-minute runtime and it manages to capture such an authentic moment in time that I couldn't help but applaud all its aspects.

★★★★½

4.5 / 5

Jacob Holmes

Instagram

Letterboxd

Sell-out anime film festival returns to Birmingham this autumn

Tue, 03 Sep 2024 10:47:47 GMT

The Birmingham Anime Film Festival (BAFF) returns to Birmingham this autumn following a sell-out first year in 2023.

For 2024, the main festival takes place over three weekends at The Mockingbird Cinema, in Digbeth and Midlands Arts Centre (MAC) in Edgbaston from Thursday 19th September through until Sunday 6th October 2024.

It features an eclectic mix of more than 30 films suitable for fans and casual movie goers alike including seminal classic ‘Redline’ by Takeshi Koike to Oscar-award-winning hit “The Boy and the Heron Name” by Studio Ghibli. Films from popular series like Cowboy Bebop, Dragon Ball and Jujustu Kaisen, to cult classics like Perfect Blue and Osamu Tezuka's Metropolis also feature throughout the festival.

Tickets start at less than £10 and can be found on the festival’s website alongside the full schedule.

Birmingham Anime Film Festival is organised by Birmingham-based media collective Geeky Brummie , Mockingbird Cinema and Midlands Arts Centre . Ryan Parish, Founder of Geeky Brummie says, “We had an incredible response to BAFF 2023 last autumn, and so are really pleased we could bring it back again. We want the festival to fly the flag for Anime in the Midlands region and show there’s an anime for everyone.”

Lee Nabbs, owner of The Mockingbird Cinema comments, “As the home of Commercial, Classic and Cult Cinema in Digbeth, we’re proud to come back with another barnstorming selection of anime to feast your eyes upon!”

And David Baldwin, Producer - Cinema & Screen, Midlands Art Centre adds, “As shown by the success of our 2023 festival, the world of anime is no longer some niche genre. MAC is very pleased to be a part of Birmingham Anime Film Festival, with a focus on some of the more unique titles from across the history of anime.”

Birmingham Anime Film Festival will run from 19 ^th September to 6 ^th October 2024 across Thursday to Sunday each week. Find out more at www.baff.uk

Review of The Italian Job (55th Anniversary reissue)

Wed, 28 Aug 2024 10:35:14 GMT

The Italian Job (1969) Dir. Peter Collinson

Shagadelic baby! Also getting a re-release in August 2024 is The Italian Job for its 55th anniversary. How does this Mini-Cooper crime caper stack up today? Well let’s check it out.

A quick plot cap for the uninitiated. Cockney criminal Charlie Croker (Michael Caine doing his best Michael Caine) is released from prison only to find his friend, and fellow thief, killed by Italian mobsters. However he is encouraged to fulfil the man’s plan to undertake a gold bullion heist over in Italy.

What happens next is Caine pulling a gang together, ensuring the pieces of the puzzle are planned and get the appropriate vehicles ready to get the stolen loot out of the country.

Looking at it now, the film couldn’t be more ‘Swinging Sixties’ if it tried. Almost to the point of cliché. But I for one was completely here for it. Jokes about fashion, mini-skirts, sexpot cads, cravats, tweed and Aston Martins take you back to an era aped by Austin Powers, but (mostly) without the irony.

It’s as English as a cup of tea (of which there are many in this film) with the film’s first half pulling an “Ocean’s Eleven”-style team up to engineer their blueprints before being whisked to beautiful Turin to undertake their dastardly heist.

The Minis are obviously the centre point but it’s also a car lovers’ dream in general. A Lamborghini Miura (from the excellent opening scene soundtracked by "On Days Like These" by Matt Monro) and an Aston Martin DB4 (suggesting a Bond influence on Charlie’s car kept in storage) are complemented by Jaguar E-Types, a Fiat Dino and of course the film’s iconic Mini Cooper S.

The build up gives us some broad character backgrounds to the loveable rogues and explains the plan all in anticipation of the big heist. It’s also much funnier than I remember with saucy innuendoes and clever wordplay. And although it's VERY MUCH of its time, there’s a bit of guilty fun revelling in its bygone hedonism.

It’s unapologetic patriotic (jingoistic?) with its nods to Rule Britannia, The British Grenadiers and “The Self Preservation Society” but it’s all part of its era-specific charm. Heck, it’s even got Benny Hill in it.

Although as much as most of the film is archaic, the computer hack to disrupt the traffic control centre in Turin seems pretty ahead of its time to me. They’re essentially conducting a DOS attack!

There’s of course the local connection too. The Midlands Job? Most of the chase sequences were filmed in Italy, all except for the shortcut through the sewer. This was filmed in the Sowe Valley Sewer Duplication system near the Stoke Aldermoor district of Coventry. (Bonus fact: the person who closes the gate at the end of the tunnel is director Peter Collinson!)

After the smash and grab raid and the well-filmed and edited car escape I don’t think it’s a spoiler these days to say it finishes on a fantastic “cliffhanger” ending - which itself was “solved” during a 2009 scientific competition it seems.

Very much influencing modern British crime cinema (especially Snatch & Lock Stock - heck most of Guy Ritchie’s career owes a debt to this film) the film’s legacy is already cemented beyond this latest release. It presents Italian smoothness against rugged English determination, to create a splendid vroom vroom vintage vehicle romp that showcases the bawdy best of sixties Britannia.

★★★★

4 / 5

Michael Sales

The 55th Anniversary 4K Reissue screens on 30th August in cinemas

Review of The Terminator (40th Anniversary reissue)

Tue, 27 Aug 2024 12:34:49 GMT

The Terminator (1984) Dir. James Cameron

“I’ll be back… in cinemas!” Very much launching James Cameron’s directorial career (yes, he did some Piranha 2), Arnold Schwarzenegger’s Hollywood fame (yes, he had done Conan) and the beginnings of a franchise behemoth - that was eventually ground into endoskeleton dust - this 2024 anniversary release of The Terminator confirms its place as a true milestone in cinema.

There’ll be few who don’t know the plot but the quickest of recaps. A cyborg killing machine is sent back in time to kill the mother of John Connor, the future leader of a resistance group trying to save what’s left of humanity. Also sent back to 1984 is a soldier who is ordered to protect her from this killer robot and thus begins a (violent) game of cat and mouse in the present.

Linda Hamilton is excellent as Sarah Connor, who moves from meek diner waitress to a resourceful survivalist and Michael Biehn as the man from the future is both an unhinged and formidable protector. It’s a shame that neither of them really achieved the long-term stardom the ace actors so clearly deserved.

Despite that, in essence, it’s not really a time-travel movie. The device (that got more convoluted as the sequels progressed) is mostly just to hang a slasher flick on with Arnie’s intimidating “serial killer” aping the unstoppable bloody force of Friday 13th’s Jason or Halloween’s Michael Myers.

But it very much shows the cinematic trademarks of James Cameron and from the fantastic lighting to quality music and action editing, we get to watch Los Angeles' grimy underbelly as car-chases, shoot-outs and fist-fights pile up. Arnie, Lance Henriksen, Bill Paxton, the VFX, the action and even the involvement of future (and subsequently divorced) wives became Cameron staples.

Arnie’s mute but physical performance is of course first-rate and its legacy saw it spawn endless low-budget imitations and Arnie action films but it’s not been bettered. Until T2 that is, in my opinion.

The rerelease shows up the film’s age - but 40 years will do that to you. There’s some VERY big hair and the electronic score heads towards rando b-movie synth territory. It’s all a bit more retro than I recall. See also phone-books and RCT monitors!

But Cameron’s excellent vision (“borrowed” from The Outer Limits) brings to life an apocalyptic future with awesome practical effects and model work. The story is a lean mean machine with no waste and there’s a huge amount of gore, blood and death - something sorely missing from the franchise’s later entries.

Another superb aspect is the film’s lighting. Obviously done on a tight budget, the glow of the city and the sweaty neon clubs are captured brilliantly. This is even better in Terminator 2 and the biggest disappointment is its absence from Cameron’s CGI-focused Avatar flicks.

A simple slasher at its core, I can’t recommend The Terminator enough. Before Skynet. Before the franchise’s fall from grace, the sci-fi horror is anything but mechanical in its execution. And its importance in cinema cannot be understated as the genesis (NOT Genisys) of the Terminator movies. Coming in at number 2 on my favourite Arnie films (guess what is number 1) it gave the bodybuilder his most iconic role, but more than that it’s an essential adult action movie with entertainment and thoughtful ideas coming out of every glorious frame of film.

★★★★½

4.5 / 5

Michael Sales

The 40th Anniversary 4K Restoration screens 30th August in cinemas

Review of The LEGO Batman Movie (Batman 85 year reissue)

Sun, 25 Aug 2024 14:28:53 GMT

The Lego Batman Movie (2017) Dir. Chris McKay

A spin-off from The Lego Movie (2014), that film's producers followed it up with another computer animated film, this time focusing on everyone’s favourite Dark Knight.

Will Arnett voices the caped crusader and is joined by a talented voice cast of Zach Galifianakis (The Joker), Michael Cera (Robin), Rosario Dawson (Batgirl) and Ralph Fiennes as Alfred. Focusing on Batman’s solitary world and reluctance to work as a team, the film uses a simple set-up to poke friendly fun at the DC Universe. And at the same time it throws in a satisfying dollop of emotion and other pop culture references.

As a personal fan of Nolan’s world and Burton’s ’89 incarnation, it's great to see the film wisely drawing upon not just those but all versions of Batman. This hilariously includes the shark repellent from the 60s show and even the hilariously bad Batman V Superman too. And it's all done with love and reverence to all the different takes during the character's 80-year history.

The plot is secondary to the visual spectacle and as per the other LEGO films, the bricks are created perfectly in CGI and the animation is both bold yet functional to the LEGO aesthetic and its use. The film’s references go full circle with Ralph Fiennes’ Alfred fighting LEGO Voldermort (whom he played in Harry Potter) and LEGO Bane having Tom Hardy’s voice from Dark Knight Rises.

The twist with the Joker being frustrated that he is not Batman’s main villain is a good one and he retaliates by entering the Phantom Zone to pull together a team of supervillains including Jaws, King Kong and Gremlins!

Billy Dee Williams as Two-Face is a great nod to the Burton/Schumacher era whilst 21 Jump Street’s Channing Tatum and Jonah Hill play Superman and Green Lantern respectively.

However, all these references are nicely woven into the fabric of the film rather than as a series of memes, and the jokes hit the mark far more times than they miss. A cool comic comedy, I’d certainly recommend this to anyone who loves Batman and his history over the years. And whilst younger kids may not get all the nods, the film is enough of a fun family romp to be enjoyed by any audience looking for lots of laughs.

★★★★

4/ 5

Michael Sales

Screens as part of Batman 85 Years season

Midlands Review of The Collector

midlandsmovies@yahoo.com — Fri, 23 Aug 2024 16:07:14 GMT

The Collector

Directed by Stuart Wheeldon

2024

Montsegur Films / Nine Ladies Film

A quote from Peter Blatty’s The Exorcist novel opens up a new 30-minute film from local filmmaker Stuart Wheeldon who hopes to deliver a similar sense of dread as the themes explored in that horror classic.

Influenced by the story’s religious angle, right off the bat the film introduces us to a man staring at a Jesus effigy at a church before visiting a graveyard.

We are then whisked to an American-accented Nigel Barber as Father Raymond. He is performing an exorcism of ‘Kathy’, who is self-harming but appears to be under the influence of an entity who speaks in a malevolent voice.

After this we head to a pub where a satanic voice chants “Sarah” as a woman (Rachel Prince) prepares her bar for business. When opened, our priest arrives to explain about the mysterious circumstances surrounding the previous owners’ encounters with voices but Sarah dismisses his concerns. What could be causing the disturbances we ask?

Well, we have to wait as we smash-cut to “8 months later” - although not before seeing a pint glass and bar stool spookily moving on their own.

One thing that sticks out about The Collector is an absence of 'build up' and could do with a bit of a polish. Character drama, backstory, dialogue - all this could provide some helpful basics of where we’re based and who these people are. This is essential world-building, but sadly we get thrown into loud music and a demonic possession that occur minutes into the film and we know don't really know anything of the context.

This is also true of the film’s music, which has horror flourishes that work nicely at times. But it’s overused and even from the start, this loud orchestral score is attached to multiple sequences throughout - including one of a man “walking about a bit”. It often seems somewhat unwarranted given the shots it aligns with.

Back in the story, as the voices and strange occurrences continue, Sarah is still reluctant to believe in anything unearthly, yet Father Raymond continues to warn her about possible impending doom. Despite her doubts though, she places a crucifix on her wall for protection and the nuisance phone calls get darker as an eerie voice describes how they want to “collect” her.

Despite The Collector using some fine actors and an interesting pub location, the story structure needs a bit of a rethink. The sound mix in particular requires some more attention as the bombastic score is almost constant throughout and when it does die down it’s replaced with voices and unnatural sounds before booming back in.

It’s even present for an intimate doctor’s office sequence where I was struggling to hear the dialogue. Moments of silence are crucial within the horror genre and The Collector requires some quieter sequences of dread to build up tension.

In the end, the film provides solid nods to its collection of influences and a spooky pub is ripe for haunting shenanigans. Father Raymond provides the final back-story to the supernatural goings-on, which involve a fiendish music box and everyone throws themselves into this project passionately. However, to raise the bar towards it’s obvious influences, the film could do with a big trim in the edit room and an even bigger turning down of the music volume knob, both of which would help it become a more effective horror tale.

★★½

2.5 / 5

Michael Sales

Midlands Review of Duskman

Mon, 05 Aug 2024 09:13:41 GMT

Duskman

Directed by Sam Winterton

2024

Filmmaker Sam Winterton is soon to premiere his Midlands Movies Awards-nominated feature Duskman, which has been recently reformatted into three parts for an online release. We take a look at a movie that mixes comic book fantasy with real-life drama and with an epic length, it requires an epic deep-dive, so “Holy review, Duskman”, let’s crack on…

Chapter 1

This first part introduces us to Jim (played by the director) as a quiet, but somewhat disturbed, man who experiences psychological episodes where he attempts to deal with his problems via visions of a superhero world filled with heroes and villains.

As he struggles with a boring day job and relationship woes, he wrestles with his mental health by visualising himself as a vigilante called ‘Duskman’. The opening uses extreme lighting and great VFX from Glenn McAllen-Finney to ape its most obvious influence - that being Tim Burton’s gothic Batman and the subsequent animated series.

Added to these sequences is an excellent score from Kirby Spencer who utilises the talents of the Leicester Symphony orchestra for Danny Elfman-style brass marches. More brilliant music comes in the form of the title track from Mary Singer, who delivers a beautiful melancholic ballad with a tinge of sadness in her superbly emotional voice.

Clever editing thrusts us from the comic book genre into the real world and the reveal that it’s a figment of the man’s imagination continues as scenes overlap between the two. The comic characters refer to real life which then bleeds over during crossover moments with these transitions handled well. One example has the lead hearing music (actually an alarm) which awakes him from his dreams (nightmares?)

The central idea is solid, allowing the production team to experiment with different cinematic techniques by combining two genres. You could add musical as well if you count the extended sequences which utilise talented local bands and artists!

Having seen the full feature version, the decision to split its overlong 2½ hour runtime is a solid one. That said, I’d go further with the cuts trimming more superfluous moments, credits, elongated montages and self-reflection sequences to perhaps find an optimal length of a regular TV-episode.

Yet the story continues as Jim visits a psychologist to help, whilst his colleague at work is equally supportive and useless. As his friends try to get him out of his game-playing rut, we continue the switching as a pastiche ‘Alfred’ butler tries to help our hero in the ‘Dusk-cave’. Yet the counselling seems to be failing and the introverted protagonist debates whether to socialise at a local gig.

And although there’s no real cliff-hanger (a result of the film’s split no doubt) there’s enough intrigue and plot thread breadcrumbs to investigate to round off the story as we go forward…

Chapter 2

The second part opens with a brief recap before the aforementioned gig takes place. More comic book nods occur with a 1960s Batman theme ringtone and the gig itself combines a heavy rock soundtrack with Jim’s friend dressed as a Robin-style sidekick in a fast-flowing action montage dream sequence. And the film sows the seeds of a bitter rivalry brewing with his ex’s new friends.

This middle deals with much more relationship drama as it explores Jim’s association with his ex-girlfriend (Kelly McCormack) - and a smidgen of hope begins to materialise in his life. Can he control his imagination enough to hold things together for their meet-up?

At an hour, sadly this section once again maintains a longer length than I’d personally prefer. Whether quicker editing is needed, or scenes and dialogue that repeat/confirm previously known information are trimmed, I’d take a Batarang (Dusk-a-rang?) to shave even more time off. Or perhaps split this part again to make it a 4 (or even 5)-part production.

Via flashbacks, the film starts to explore the past reasons of how Jim’s situation came to be and the eventual meeting with his ex moves from some awkward confessions to a love rekindled. Afterwards, we end on a brutal attack in an alleyway and the awakening of the Joker-esque “Smiler” which leads nicely into the final episode.

Chapter 3

The final instalment opens with Winterton having lots of fun playing the Smiler - imbuing the character with some well-acted and entertaining villainy in the day-glo nightmare world.

The fractured reality involves another foe called Janus (a nod to the god of doorways) who helps release Smiler from his confinement. And we also have Invidia (the name itself meaning resentment at seeing others’ success) and the filmmaker has ensured both rogues personify the emotions and feelings experienced by Jim.

And as the two worlds begin to collide more regularly, our lead begins to lose more of a grip and the filmmakers get to have their genre cake and eat it at the end - exploring sensitive emotional drama in the real world AND a big VFX comic-book clash.

Duskman has been clearly a colossal undertaking. Varied locations, drone shots, superhero costumes, visual effects, music video, action sequences and quieter dramatic moments all collide in a larger-than-life and extraordinary feature.

The filmmakers throughout have incorporated different genre staples, shooting styles, varied lighting and cinematography and a well structured story that blends the real and the unreal to demonstrate their proficient skills and talent.

For me, the film still feels like a director’s cut. It’s epic in scope for sure. Yet I still have some doubts about its effectiveness in engaging a local indie film audience in the best way - as the final part is also 50 minutes. A project, of course, is any length the filmmakers want it to be. There’s no “right” duration. It’s subjective and often just personal preference.

For me though, more cuts mean swifter and more precise sequences and therefore more impact. It’s easy to become precious with the amount of footage filmed but I can see how hard this would be given the massive efforts over the 4 years of making, which must have been a HUGE undertaking.

It explores the serious aspects of mental health, but does so via the superhero format and this structure helps give the film an accessible angle and a well-thought central motif to keep it focused. And with a flurry of very impressive technical elements, Duskman ends as a stupendous odyssey and first-class ‘mind-adventure’ and also a fantastic lesson of what can be achieved with endless hard work and an extremely passionate and talented team.

★★★★

4 / 5

Mike Sales

Duskman is released on 21st September on Amazon Prime and the film premieres on August 30th at Phoenix Leicester

Midlands Review of Culture Wars PLC

Sun, 04 Aug 2024 07:55:26 GMT

Culture Wars PLC

Directed by Richard Steele

2024

Brunosaurus Productions

Staffordshire director Richard Steele turns his satirical eye to ‘woke’ culture wars in his new short which sees the filmmaker tackle the hot topic within a mockumentary of real life.

Shot in a handheld interview style similar to Ricky Gervais’ The Office (no doubt intentionally given what is tackled later), we are introduced to an imagined business called Company Culture who specialise in “maximising traffic to websites”. And very quickly we are shown how they exploit online controversy to generate content, blog posts and replies to keep money coming in from ongoing arguments.

By stirring up the pot, the business attempts to increase engagement and at one point the film focuses on Tweets - often the hotbed platform of choice for those with the biggest, and often more extreme, viewpoints.

The subject matter the film takes a look at is interesting and relevant in today’s world for sure. Rather than against woke culter per se, the filmmaker delves into the phenomenon of the wider topic of counterfeit outrage and invented controversy. It possibly needs a more finely tuned message but it’s an honourable attempt to keep clear of the left-right culture war outright.

We see boardroom discussions and business meetings that explain to a new employee the workings of the company which allows the filmmaker to use a fly-on-the-wall style to get his message across. It’s a bit transparent at times as interviewees speak more of an essay than real dialogue though.

But despite this, the topic is engaging and the businesses’ goal to stoke “agitation” is a well-spotted reflection of online folk who throw around terms like ‘hidden narratives’ and ‘virtue signaling’. We also see behind the scenes clips of the business intentionally, and knowingly, take part in this practice.

At 25 minutes the unpolished nature of the film does sadly start to get a bit stale. The sound and visual style compound and I’m also not sure the narrative really warrants this screen time either. It’s a bit unwieldy, although kudos to the director for bringing my attention to the term “woke-flake” which made me chuckle.

Steele has emphasised this mockery in his previous films Local News Website Disorder and The Flaming Gazette and the filmmaker has already admitted it may be his last foray into similar themes. That seems like the best course of action as the films all have this certain tone and style and it would benefit Steele to dip toes into new techniques and topics.

Variation can be a quality unto itself and the familiarity is somewhat a distraction here despite some sparse but well-used phone-shot viral video moments. The very recent Meta Mum also explores the online world yet did so with a more captivating perspective.

In the end, Steele is a local filmmaker who definitely enjoys to engage with political and social issues and is never afraid to put it at the forefront of his shorts. Yet despite the absorbing topic, the film could add a dash of subtlety. Perhaps even some Spinal Tap improvisation could work, as its heavy-handedness and overlong runtime can wear thin - but adding an irreverent tone does allow the two “sides” to engage with its thoughts. Although whilst it is shot in Stoke, like the topics it covers, I'm sure Culture Wars PLC will actually more than likely stoke some contentious squabbles itself.

★★½

2.5 / 5

Mike Sales

Midlands Review of Meta Mum

Mon, 29 Jul 2024 10:53:19 GMT

Meta Mum

Directed by Kick Holman

2024

Door Stop Films

Kick Holman is a Film Studies student at De Montfort University in Leicester and for their final year project has tackled various social media phenomena in new short Meta Mum.

We open with Mumsy, an influencer on social media, who provides a montage video clip of highlights of her career so far. From the obligatory dancing, food eating, blogs and car-filmed selfie stories, the film brilliantly captures the mainstays of social media folk who share every (often vacuous beyond belief) part of their personal lives.

Too blunt? Well, the film soon takes a turn as her followers spot something in this uploaded video and begin posting replies suggesting she is a bad mother. We then see a clip of her trying to force her son to cry on camera at a funeral and all hell begins to break loose.

Meta Mum opens as a ‘Screenlife’ film, For the uninitiated, Screenlife is a form of filmmaking where events are portrayed on a computer or smartphone screen. Gaining popularity owing to the impact of the Internet and mobiles, you may have seen the style in Unfriended (2014), which popularised the format although was not the first. Others of note include Searching (2018) and horror movies Host (2018) and Dashcam (2021), both from Rob Savage.

Often used for the horror genre, the film here uses the style to explore the horror of a mum in desperate need for online clout and engagement, as well as a horrified audience looking for their own.

The expected online apology of course follows - itself a form of engagement - and the director hits all the social media beats it needs to. It briefly introduces other online personalities including “Mr. React” and “Not Joe Rogan” who create their own videos in response.

At times, the film moves away from the online screen with moments of offline life. This provides an important contrast within the story by showing the ‘real-life’ conflict between mother and son and the struggles of their relationship.

And as her audience continue in their attempts to cancel and unfollow her, we get the flipside of the viewer-creator dynamic too. As a contrast from the lifestyle she has carefully cultivated in the virtual world, she is now being tracked down and filmed intrusively on the street by others.

The film, although not as extreme in its themes, somewhat echoes the story of American YouTuber Ruby Franke . The online mum with millions of followers was convicted of child abuse after shocking discoveries of her life behind the camera were brought to light.

Unlike that abhorrent story though, the film offers some positivity towards the end. As so often seen, the audience will not accept any redemptive apologies, but Meta Mum does question those who hunt down and use controversy for their own content. And the final offline interactions between mother and son go someway to help 'reboot' their personal connection.

A clever, well-crafted and intelligent short, with themes that are also very much hot topics, Holman’s first-rate creativity in using the format helps it delve deep into all the issues in its short runtime. And Meta Mum successfully explores the online personification of many unpleasant human instincts. However, despite the grotty digital behaviour, it proposes some real hope in a world warped by being "overly online".

Follow. Subscribe. And smash that like button for Meta Mum.

★★★★★

5 / 5

Mike Sales

Review of Point Break (4k)

Sun, 28 Jul 2024 11:15:11 GMT

Point Break (Dir. Kathryn Bigelow)

4k Bluray release 2024

The five S’s of Point Break - surf, shoot outs, skydiving, sand and...surf.

Released for the first time on 4k Bluray, Point Break is a classic 90s actioner which sees Keanu Reeves’ young hot-shot tackle a gang of surfers who are intent on pushing him to the limits - both during their bank heists and on the ocean waves.

Upstart Reeves is FBI agent Johnny Utah (!) who arrives in LA, only to be partnered with a burnt out Gary Busey and together they investigate a series of robberies by the Ex-Presidents - a criminal group who use rubber masks of previous POTUSes to hide their identities.

In order to catch the elusive thieves, Reeves infiltrates a suspected gang of adrenaline junkies led by Bodhi (Patrick Swayze) in order to foil their summer spree of lawbreaking.

Bigelow’s film has certainly gained a reputation over the years and this new 4k disc shows her visual flair. The kinetic bank robberies are Heat-lite and quick cuts and whip-fast camera work captures the excitement of the intense action moments. A rock soundtrack gets the blood-pumping and you feel every rain drop and foamy wave as well as the slick sweaty heat of the city of angels.

Bigelow’s vibrant direction adds splashes onto to the camera lens to bring the action alive and although at times it’s very chaotic, it’s always understandable. It really highlights the frenetic but cheap shaky cam and unintelligible lightspeed edits of modern blockbusters.

Swayze is on-screen dynamite as always and although Keanu’s acting is as flat as the surfboard he carries, the film’s central rivalry is one of its best assets. Reeves’ cop starts to be tempted from his office of authority by an ocean of freedom, as he joins in the surfing, skydiving and even a heist.

Running bang on 2 hours, it’s the perfect length too and although the dialogue is (extremely) dumb - combining “beach-bum bro banter” and cod tantric philosophy - are we really here for that? Edgar Wright’s Hot Fuzz rightly noted it is full of clichés but it seems to have invented some of its own. *fires gun in air whilst screaming*

And Bigelow elevates all this by using a visual flair that captures everything from nighttime paddles to shimmering cityscapes as fires smoulder on the beach at daybreak.

It’s kinda the Red Hot Chilli Peppers of movies. Fun whilst it lasts but you don't need to spend any more time than necessary with it. RHCP singer Anthony Kiedis, who cameos here, ends up shooting himself in the foot and it is almost too perfect a metaphor.

Sadly though there’s no special features on the disc. None. Nadda. A shame given its changing reputation over the years. But with regards to the film itself, if the glistening soaked spandex haunches of Keanu and sweaty Swayze’s dyed golden barnet don’t engorge your entertainment gland then nothing will. And in the end, it doesn’t break the cop formula but the action sure is on point.

★★★★

4 / 5

Mike Sales

Point Break is on 4K UHD, Blu-ray, DVD and digital on demand 5 August from Icon Film Distribution

Local filmmaker launches crowdfunder for Midlands police drama

Sun, 28 Jul 2024 08:07:10 GMT

A local Midlands filmmaker is expanding upon their recently released proof-of-concept short to create something even more special as their production team launches a crowd-funder to develop his latest film project.

Director Scott Driver recently completed his (Midlands Movies Awards-nominated) short SOFT, a film exploring loyalty and its difficult ramifications.

Set in a greasy spoon diner, the film follows Isaac, a criminal turned police informant who meets with a friend and colleague Kev to debrief after a recent botched heist.

Driver has already seen considerable success with his previous films Hamster ( a ★★★★★ review on our website here ) as well as Venari and Cheeseburger and he hopes to continue his run with this new and improved version of his first-attempt.

With the campaign underway, the director is raising funds for the film’s production and is offering a number of exclusive perks for donors. These include names in credits, script copies, behind the scenes packages and premiere screening tickets.

You can follow the film’s progress via Instagram ( here ) and the filmmakers hope to begin production by the end of the year.

If you can contribute in any way or want to find out more head on over to the Official crowd-funding page on IndieGoGo right here:

https://igg.me/at/softfilm/x/34529087#/

And check out the director's latest announcement and update below:

Midlands Review of The Perfect Stranger

Sun, 28 Jul 2024 07:48:39 GMT

The Perfect Stranger

Directed by Jack Davies

2024

Door Stop Films

This week we take a look at a new romantic comedy from Jack Davies, a young filmmaker at De Montfort University. Directed in his spare time during studies, Jack had support from a small team and “a very low budget” to create a short that follows characters Steph and Kara through the early stages of a relationship.

The director uses a library for his meet-cute - a good location that reflects the search for meaning when trying to create some friendly rapport with a new person.

Kara struggles on a computer but receives some help from a student called Steph, a man who ultimately realises that it’s not plugged in. What is “plugged in” though is their instant connection.

A joke about Steph’s name (his mother wanted a girl) lightens the mood, and we get a bit of banter before cutting to Leicester’s Town Hall square where we see them enjoying time together. This is followed by a mini-musical-montage of the couple having good times at a coffee shop as seen in the best rom-coms over the years.

And from embarrassing neck scratches to sharing headphones, the film establishes their bond with sensitivity and little private moments of human behaviour.

Technical wise, I enjoyed the oft-moving camera moves. Low budget shorts have a tendency to stick cameras on tripods for every shot, whereas here the ‘floating’ camera provides a slice of life feel. It also adds much-needed energy too. And for those early on in their careers, check Steven Spielberg and Peter Jackson films where the camera barely stays still at all!

The sound mix could do with another pass. There’s some background buzz between cuts - a bit of room tone would even things out but, to be fair, maybe difficult for a library as there’s probably not much background noise in the first place. A small (and personal) preference would be to re-name the film which I found a bit unimaginative given the many positives contained within.

The film however does attempt to use images rather than dialogue to show how they are (literally) stepping closer to each other, and the quirky interactions between two strangers are handled well.

Is he introverted or suffering personally? We’re never given a lot of info, but the film moves the couple quickly back to a place of love as things come full circle.

Overall, despite a few tweaks technically, this student film provides a strong basis for the future with an understanding of the beats of the genre, combined with an energetic shooting style. Often using music as the connective centre of the relationship, it shows how understanding (and some well-established headphones) can bring people together.

★★★

3 / 5

Mike Sales

Herefordshire thriller Derelict to Premiere at FrightFest

Sat, 13 Jul 2024 14:46:40 GMT

‘DERELICT’ TO WORLD PREMIERE AT FRIGHTFEST IN LEICESTER SQUARE, LONDON

Midlands-made independent movie Derelict is a harrowing and violent thriller of revenge and empowerment and has announced its world premiere at Odeon, Leicester Square, London.

Screening as part of this year’s FrightFest Film Festival, which is celebrating its 25 ^th Anniversary, the film was filmed exclusively in Herefordshire on a budget of just £35k.

Derelict focuses on a daughter’s revenge and the circumstances that have led to the murder of her father. In the tradition of British film noir, a series of unusual characters are thrown into situations that will have repercussions beyond their imagination.

The synopsis tells of “Abigail who is a socially isolated, angry young woman who is struggling to come to terms with the brutal murder of her father some years prior. When she learns that one of her father's murderers is about to be released from prison, Abi sets herself on a path of revenge. Matt is a young man whose life gets turned upside down by the return of his brother Ewan. The destinies of these lost souls crosses in ways that will tragically shape their lives”.

FrightFest is the UK’s largest independent international thriller, fantasy and horror film festival and takes place from 22 ^nd to 26 ^th August at the Odeon cinema in Leicester Square.

The prestigious festival will screen over 80 films across two locations and Derelict will be shown on Sunday 25 ^th August at 6.15pm.

The film’s cast features Suzanne Fulton (Cold Feet, Mum Said), regular LBS Films contributors Mikey JL Coombes and Pete Bird (both Wyvern Hill), Dean Kilbey (Boiling Point, Manfish, Top Boy), Nick Cornwall (Devils, Sky Sharks), Corinne Strickett (Housewarming), Joe Nurse (Santa Baby), Darren James King (April, Essex Boys: Law Of Survival), Ben Manning (The Snarling, Cursed), and Stacey Coleman (Polterheist, Emmerdale).

Director Jonathan Zaurin says, “It’s an honour to be selected for a festival as respected and important as FrightFest and we can’t wait to show everybody what we’ve been working on for the last 2 years”

The film has also just premiered its 2 ^nd trailer which you can watch below.

For more information follow the film's latest news at Facebook: https://www.facebook.com/Derelictmovie2022

Midlands Review of Alien Love with Neil Doncaster

Thu, 11 Jul 2024 08:57:00 GMT

Alien Love: With Neil Doncaster

Directed by Andrew Fripp

Floating Cow Productions

A spoof of undercover and lifestyle documentary television shows, Alien Love: With Neil Doncaster riffs on the genre seen many times on our screens such as Ross Kemp: Extreme World (and Ross Kemp “on Pirates”, “on Gangs” and “in Afghanistan”) .

Here our host is Neil Doncaster who is looking to “unravel the mysteries of the human heart” within the universe. Beginning his search in Walsall, he goes to meet a man called Jason who recalls an encounter with an alien spaceship before it’s revealed the subsequent alien (“Zorag”) is now his partner living in a suburban home.

We get glimpses of their unconventional relationship and the mix of the alien and the domestic creates an amusing contrast between worlds, and becomes the source of most of the comedy throughout.

The style the director has used is a great parody of the genre. Overly-serious intro? Check. Shoddy flashback recreations? Check. Intense host asking inane questions? All these are present and more.

Along with the interviews, talking heads moments, voiceovers and the handheld camera on location, the 22-minute short excellently reproduces similar fare often seen on ITV.

We are also introduced to Paul, who lives next door and has an interest in the cosmos and the stars, as well as Sally, who is less favourable about her “blended” neighbours.

The film switches tone in its second half as an effort is made to create a metaphor where the couple’s situation is compared to mixed relationships. But although it never gets too serious, the discussion of others’ prejudices and stereotypical views are honourable. Although not particularly developed, as the film focuses on the humour, the comment on society is praiseworthy as we get thoughts on tolerance and acceptance.

Away from the message, the spoof continues as they face the animosity of Jason’s parents who refuse to visit but this results in turmoil and a final relationship crisis.

In the end Alien Love does well to move from a silly comedy premise to a more sober exploration of connection and overcoming differences. Its rough and ready filming style apes the fly-on-the-wall nature of these shows and although it’s certainly a playful mockumentary, it never mocks the power of love.

★★★½

3.5 / 5

Mike Sales

Review of Hundreds of Beavers

Tue, 09 Jul 2024 19:45:04 GMT

Hundreds of Beavers (2024) Dir. Mike Cheslik

With influences from the slapstick comedy of the 1920s and 30s, a peculiar new comedy comes from, and is set in, the winter wonderland of Wisconsin. The film’s co-writer Ryland Brickson Cole Tews stars as a man called Jean Kayak, an applejack maker whose farm is destroyed by beavers.

In a desperate effort to stay alive, he attempts to capture various woodland creatures before he notices a fur trapper making a tidy profit by selling carcasses to a local merchant.

With the merchant’s daughter hinting at a romantic interest in Jean, the man heads off with the fur trapper himself to learn the ways of the forest, before going it alone after an attack by some vicious wolves.

Essentially a silent film (there’s some minimal noises and sounds), the most obvious comparison for this weird and wonderful flick is to classic Warner Bros’ Looney Tunes and Disney’s Silly Symphony cartoons. The black and white cinematography of the freezing winter is effective and also evokes the Charlie Chaplin physical comedy of the film but it's the animation which plays a huge part in its success.

It mixes with real life and comes together as a successful whole, delivering a living and breathing collage of different techniques where simply no style, joke or 4th-wall breaking is off the table.

It's especially clear in Jean’s attempts to catch (and kill) beavers which mixes the stealthy hunting of Elmer Fudd and the desperation of Wile E. Coyote. Jean ends up creating increasingly ludicrous contraptions and Rube Goldberg machines which use a chain reaction of laughable undertakings to snare the animals.

And the animals themselves? Well, they’re made up of stop motion, animation and puppets - but for 95% of the time, they’re simply just people in large caricature animal outfits with literally no attempt to hide them as costumes. Visible zips on the back and heads close to falling off fit perfectly into the film's homemade and incredibly charming cut-out-collage style.

From the start, we see Jean chasing rabbits and creating snowmen traps, all to a 30s style jaunty score. The comedy continues and runs from clever to silly and everything in between with some gags more rude than others. However, the visual jokes hit so regularly that it’s so much fun to revisit this innocent childhood zaniness.

The filmmakers’ ingenuity and creativity really helps keep things interesting, clever and funny for the best part of 2 hours and no type of comedy is off limits. Sound gags, sight gags, pratfalls, clowning, prop comedy and much more all gel together to keep it swift yet impactful and each scene is an enjoyable sketch on its own. An animated map later helps the audience follow Jean within the natural environment and of course there’s even a Woody Woodpecker nod as well.

A fair few stunts and crude cock jokes reminded me of the simplistic violent pleasures of Jackass too. From a snow nappy and “plushy” animal entrails to dogs playing card games, the sometimes vulgar yet surreal comedy delivers an aesthetic that mixes German Expressionism with the extreme comic book monochrome of Sin City.

But as Jean becomes increasingly successful in killing more and more beavers, the film continues to surprise (with credits starting 30 minutes in and the film’s title appearing over an hour into the feature). And just when you think you’ve got a grip on it, it doesn’t do anything by the book and is all the better because of it.

With these efforts in consistently throwing the audience off, it ensures it stays fresh throughout. And when you feel every single joke has been exhausted, an ending involving Sherlock Holmes and Watson beavers, a big speeder-bike/sledge action sequence, a mecha-beaver and a court case comes along, ensuring the finale cranks everything up to 11.

Some may call the film an animation, a drama, a farce, a tragicomedy, a romance, a detective story, a parody, a loving homage or many other things in fact. But for me I’d simply call it one of the most unique and funny films I’ve seen in a very long time with hundreds of reasons to recommend it.

★★★★

4 / 5

Michael Sales

Midlands Review of Dig Me No Grave

Wed, 03 Jul 2024 08:12:04 GMT

Dig Me No Grave

Directed by Ranjeet S. Marwa

2024

We’ve hunted down a new Midlands feature this month which tells a dark story of redemption and survival as one man tries to escape a dire predicament he has found himself in.

Warren Lee Hicks stars as Scott Parker, a married hunter in the woods who spends his day shooting animals amongst the forest. An almost silent opening sees him miss a deer before heading back to meet his wife (Shally Tria Amanda as Linda Parker) at home.

The filmmaker does well to set up the rural location, capturing some nice greens and browns of nature and the subsequent story makes the most of its setting, becoming a key part of the narrative. Thankfully it avoids being a Star Wars fan-film where shooting in the woods is simply the cheapest option.

A decision has also been made for the cast to use American accents. I can see the commercial appeal of this and all the actors give it a very good go, but for me it’s mostly unnecessary. (And the local telephone number on a vehicle door reminds us it’s the Midlands anyway).

Our protagonist returns again to the woods but is surprised when he is confronted by a bear. There’s a decent bit of CGI for this attack, and although it’s no The Revenant, it’s done very well considering the limitations and as good as anything on TV.

The outcome of the fight leaves the bear dead and the man trapped under its hulking lifeless body. Drifting in and out of consciousness with added flashbacks to past events, when the man does fully awake he finds himself in a cabin in the woods (oo-er). Oh, and he’s missing his legs!

Scared and out of his mind, it is revealed he has been captured by Pat Gunther (a very psychotic turn from James Bryhan) who keeps him injected with sedatives but ignores his pleas for help.

Dig Me No Grave does very well at positioning all its characters and despite some clunky American dialogue, is extremely polished as it clearly sets up the story and everyone's motivations and goals.

The film cuts admirably between his concerned wife and friend who go looking for him, flashbacks to fill out the backstory and the main conflict between victim and perpetrator back in the cabin. This keeps the story interesting as we put together the various strands, and the director also throws in some exciting and tension-filled escape attempts too.

And as these parts slowly come together as we head towards its conclusion, the film reveals some links to a military past, a case of mistaken identity and a tragedy that sowed the seeds of revenge.

James Bryhan as the cold and calculated antagonist is a particular highlight. His ghoulish kidnapper echoes the extreme actions of Annie Wilkes from 1990's Misery, who similarly torments an incapacitated man. However, he's given more of a history that makes even this repugnant character have a few reasons for what he's done.

But he, along with a solid cast, combine with the film’s impressive technical aspects, a slick 90-minute runtime and a host of well-planned dramatic and action sequences, to make Dig Me No Grave a barnstorming and nail-biting local thriller exploring distrust and atonement.

★★★★½

4.5 / 5

Mike Sales

Stoke Connected screens new documentary by student filmmaker

Tue, 02 Jul 2024 14:03:41 GMT

Stoke on Trent College are launching a temporary exhibition at The Potteries Museum & Art Gallery in Stoke-on-Trent from Thursday 4 ^th July called Stoke Connected, showcasing work of Digital & Creative students.

One of their students has shot a short documentary about the National Garden Festival 1986, held in Festival Park, which will be screened as part of the exhibition.

The National Garden Festival, directed by Stoke on Trent College Digital & Creative student George Smith-Briggs, documents the story of the esteemed event that became a catalyst for tourism in the city.

The documentary will have its premiere at The Potteries Museum & Art Gallery on Wednesday 3 ^rd July 2024 and features as part of the Stoke Connected exhibition at the Museum, which runs until 1 ^st September 2024.

Stoke Connected is an exhibition of a variety of work from Digital & Creative students at Stoke on Trent College and visitors will be able to experience astounding ceramic designs, street, architectural and Portraiture photography and fascinating documentaries plus visual arts, digital designs and so much more.

The college prides itself as the largest provider of further education in Stoke and North Staffordshire, with around 5,000 students and study programmes, apprenticeships, professional qualifications and university-level courses available for up and coming creatives.

The documentary itself follows the 1986 Stoke-on-Trent National Garden Festival which was the second of Britain's national garden festivals. It was held in the city from 1 ^st May to 26 ^th October that year and was opened by the Queen.

The event’s host, the Potteries Museum & Art Gallery, is part of the Stoke-on-Trent Museums Service established in 1911 and in 1998, the largest museum in the service, the Hanley Museum & Art Gallery was rebranded as the current Potteries Museum & Art Gallery (PMAG).

The museum’s collection of Staffordshire pottery is widely acknowledged as the finest in the world and the recent 2021 Midlands film The Colour Room ( our review ) directed by Claire McCarthy was based on the life of 1920s/30s ceramic artist Clarice Cliff and was filmed in the area.

Check out more information at https://www.stokemuseums.org.uk

Stoke Connected

04/07/2024 - 01/09/2024 (All Day)

The Potteries Museum & Art Gallery

Bethesda Street, Hanley, Stoke-on-Trent, ST1 3DW

Midlands Review of Last Respects and The Life and Times of Norman Ondoby

Tue, 02 Jul 2024 09:45:40 GMT

Midlands Movies' Matt Tilt takes a look at two new Midlands shorts from filmmaker Andrew Hindle.

Last Respects

Directed by Andrew Hindle

2024

Perhaps the biggest shock of Andrew Hindle’s Last Respects is the appearance of Peter Andre, who puts in a passable performance throughout. Andre plays a small but pivotal role in this gangster short, and while his more threatening moments are more likely to elicit guffaws from the audience, it’s certainly not the worst performance a pop star has ever delivered on screen.

Hindle’s short sees notorious gangster Vinny (Mark Pegg) on his deathbed, with three of his most loyal associates (Sean Cronin, Shah Hussain and Chris Davis) waiting to pay their last respects. Only loyal might not be the right word for them, as one by one they admit transgressions to their dying boss.

It’s a simple but effective setup, with Hindle (along with co-writer Niroomand Shahryar) choosing not to stretch the gangster genre with the dialogue – this is all very cliched Kray style stuff – but instead taking some tongue in cheek risks with the narrative.

Once the three have made their confessions, the storyline splits, with three different endings, all revolving around Andre’s suspicious looking doctor and the hospital nurse (Megan Joy Hillis). It’s a neat twist that elevates the material somewhat. Add to that the moments of dry humour dotted throughout, and Last Respects becomes an entertaining lark, although one that is unlikely to stick with you for very long.

★★★
3 / 5

The Life and Times of Norman Ondoby

Directed by Andrew Hindle

2024

Perhaps better representing Andrew Hindle’s dry, very British sense of humour is the mockumentary The Life and Times of Norman Ondoby. It follows a television personality (Karl Brookes) and his presents a sort of This is Your Life programme about the titular Norman (Keith Minshull) – only to find out that Norman might be the dullest man who ever lived.

It's a silly but effective setup for a film. We’ve all watched those primetime, tearjerker documentaries about the average guy and wondered what the studio would do if the subject was simply too boring to be of interest.

Through interviews with Norman’s family, colleagues and friends, we discover that any excitement in his life often came through misunderstanding. Indeed, the only truly exciting thing that happened to Norman was winning the lottery; an event so stunning that it killed him outright.

But Hindle isn’t looking to mock the Black Country characters that populate the film. The humour is gentle and rather sweet, allowing you look past some of the ropier performances from the non-professional cast.

Despite being just 13 minutes, there a few moments that could have been cut out, with perhaps a tighter, ten-minute runtime keeping the flow of jokes a little more even, but Hindle has developed something here that will illicit laughs from anyone who had had to watch ITV or BBC at teatime on a weekend.

★★★★

4 / 5

Matthew Tilt

X (Twitter) @Matthew_Tilt

Midlands Review of Neutral

Tue, 02 Jul 2024 09:34:19 GMT

Neutral

Directed by Paul J. Farrell

2017

With his latest directorial effort, Blondi’s War, being nominated for two Midlands Movies Awards this year (and taking home one win), it’s clear that Lee Dilley has some serious talent.

For Neutral (made in 2017) he takes a co-writer credit, working with director Paul J. Farrell to tell this touching story about two ex-lovers who reconnect over a car journey to pay their respects to a deceased friend.

Both Hannah Lederer and Adam Horvath are excellent as Abbey and Alex respectively, perfectly capturing the awkwardness of meeting your ex, especially under an emotionally fraught time such as grieving. It’s a good job too because the camera is on them for every second of this.

The script from Dilley and Farrel gently coaxes the emotions out of the characters, as the conversation leads from small talk, to their friend and then finally, inevitably, to the reasons why they split it up. It’s similar in a lot of ways to Locke (2013, Steven Knight) in the way it deftly builds its story using little more than dialogue.

It's possibly a little too neatly wrapped up at the end, putting aide the unresolved issues to allow the characters to comfort each other in their loss.

But Neutral remains a stunning showcase not just for Farrell as a director and Dilley as a writer, but for the two young leads trusted to carry this film through its difficult subject.

★★★★½

4.5 / 5

Matthew Tilt

X (Twitter) @Matthew_Tilt

Midlands Review of Treble Me This

Sat, 29 Jun 2024 07:48:34 GMT

Treble Me This

Directed by Guy NIcholls

2024

Treble Me This is the sixth short film written and directed by Guy Nicholls and this murder mystery will leave you scratching your head as we bear witness to three crime scenes. But could the victims be linked?

Well, we begin our journey alongside Christian Dapp as Frank Winters, a heavy smoking and drinking detective who shows up at a country manor hotel to investigate the discovery of two dead bodies.

As he interviews a hotel maid, we are told of a mysterious man in black and some weird jelly baby sweets found nearby as he scribbles all these clues into his notebook. He then visits two more locations where a knife and gun lay close by and as the bodies stack up, the intrigue deepens.

From crime scene photos, investigating potential witnesses and an almost silent detective, the director uses traditional genre staples we’ve seen before, but this does help pull you into the mystery early on.

The use of voiceover with little dialogue shows good use of visual storytelling and provides a wealth of detail as to how we got here - but is it a little too much? There’s almost 10 minutes dedicated to the background of the situation, which wears a little thin but the information provided is key to the plot, even if a bit overabundant and dragged out.

Back at a (very underlit) police station, Winters chats to his shady colleague Bill Cotton played by Lennon Widdows. And Nicholls wisely moves from his static back-and-forth conversation camera set-up to cleverly constructed flashbacks filling in even more gaps.

An excellent supporting turn from Midlands Movies Awards winner Emily Drewett as another hotel maid is a joy to watch. And she, along with her partner, discuss an expensive painting, and as the chat moves on to expected inheritance, it is revealed as a possible motive for at least one of the crimes.

But as she lies about her work, a man warns her partner she is not what she seems and the suspicions between all these characters begin to rise.

Treble Me This certainly provides a lot of food for thought. The acting is great but it’s very exposition heavy. The film tries its best with flashbacks, voiceovers and discussions but there’s a lot to wade through I found.

The structure could do with some tightening too. The set up means we kind of jump from the introduction to the end without really a second (dramatic) act. The film however provides its own chapters and its announcement of Act II at 28 minutes (of a 38-minute film) again suggests a front-heavy structure that could do with a trim here and there.

But the final section is where the fun really starts. Whatever preconceptions or theories we’ve arrived at by this point are upended as the filmmaker discloses the real reasons behind this set of circumstances. Which I won’t spoil here other than to say it was a very well put together part of the film which reminded me of Memento as certain revelations upend previously shown scenes. Great technique.

Treble Me This is a stylish police mystery with many positive aspects. I also thoroughly enjoyed the odd bit of dark comedy - including a pug painting, frog alarm clock and an important owl statuette.

And although the exposition is heavy, that’s quite common with the genre and the director does their best to try and make the convoluted story understandable. Nicholls use of excellent cinematography, interesting narrative techniques and a devilish string score all help set the right atmosphere.

But as it portrays cases of mistaken identities, there’s no mistake that Treble Me This has all the aspects of the best whodunits with a well-put together cast and plenty of secrets to solve.

★★★★

4 / 5

Mike Sales

Midlands Review of The Amazing Lives of Great Crested Grebes

Tue, 25 Jun 2024 09:44:46 GMT

The Amazing Lives of Great Crested Grebes

Directed by Peter J Durnall AACI

2024

A niche documentary arrives in the Midlands this month with a deep dive into the world of one of the UK’s most interesting and distinctive freshwater birds.

The Amazing Lives of Great Crested Grebes comes from Peter Durnall, an amateur filmmaker who has been making wildlife films for over a decade.

The 15-minute documentary was filmed over 9 months in Staffordshire and is narrated by Geraldine Outhwaite who gives some much required context as we begin our nature journey during the month of February.

We are told the birds pair together for just one season and the voiceover provides the appropriate background about nesting and the bird’s territory.

We are also informed the (now protected) birds were hunted almost to extinction as their head plumes were used to decorate ladies' hats and garments.

Its slow and subtle pace accurately and excellently reflects the natural world we are observing and echoes the patience needed to view and study such animals in detail.

As a documentary, the short definitely fills out the casual viewer’s knowledge of a quite obscure part of the British wildlife. What could do with some improvement however is the story wrapped around it.

The voiceover is quite dry and unfortunately brings attention to how well David Attenborough’s wildlife shows cleverly weave a narrative alongside footage. Sometimes even anthropomorphising different creatures to make them relatable.

As it is, the documentary continues with some sweet sequences of “humbugs” (the grebe’s chicks) and how they ride on their parent’s back before fleeing the nest to care for themselves. And it goes on to take a measured look at their lives as we go through each month of the year.

In the end, you’ve got to admire the film’s efforts to get the footage and kudos should go to the filmmaker’s hard work as these documentaries must be incredibly difficult to create. Much enjoyment may depend on your interest in the subject matter, yet for the passing fan it doesn’t quite bring the birds or their stories alive. However, as a mellow and composed exploration at a particular aspect of British wildlife, it provides an informative look at the filmmaker’s passions.

★★½

2.5 / 5

Mike Sales

Midlands Review of Light

Tue, 25 Jun 2024 08:57:50 GMT

Light

Directed by Ted Clarke

2024

Apollo Productions

A pulsating electronic sound provides a suitably eerie ambience to open new sci-fi horror thriller Light, written and directed by Ted Clarke and a production team made up of De Montfort University students.

After showing an ID card to a CCTV camera, we open with a security guard (River Sandhu) who is let into a building by his colleague (Harish Gogna) to begin a night shift at an office block.

When his silent colleague ignores his request to switch shifts and leaves, our protagonist is left to kill time. He does so by playing with a flashlight, drinking soft drinks and even play-acting by pretending to catch an imaginary intruder, such is his boredom during this long dull work.

His colleague however, informs him over the radio that there have been a number of power cuts at the building to look out for. And when one of the CCTV cameras goes down in an apparent white-out, the guard goes off to investigate.

Light begins well by setting up its scenario efficiently with visual cues and just a few lines of relevant dialogue. This is complemented with some great music from Thomas Pearce. His score is intense and serious which creates a suitable mood for a short that wants to create suspense and a sense of strangeness as this mystery deepens.

Our lead then arrives at a computer room which has the faulty camera, but discovers a glowing orb that gives off a blinding white light, before a group of monitors suddenly flicker into life. But it goes as soon as it has arrived and despite trying to wake his off-duty colleague over walk-talkie, he is none the wiser to the weird goings-on.

Light has a great concept for a short. With a limited time frame, an easily-filmed one-building location is a perfect setting for filmmakers’ often limited resources. What could do with a tweak, ironically, is the technical aspect around the lighting.

Too often it is dark and muggy. And although I get the vibe they are going for, you still need to cleverly create some illumination even in dark scenes. Often filmmakers can resort to a blue filter as a quick win, but here there are a number of shots where barely much can be seen at times.

The opening seems to suggest it’s clearly day outside too, so why not open the room blinds even. However, the lighting improves immensely in the film’s second half. Corridors, stairwell lights and good use of silhouettes give over a much better visual style whilst conveying the same tone.

In a montage of quick cuts, there’s a suggestion of darker forces at work with one screen even showing a man running. I reckon it’s footage from the filmmaker’s previous short Run ( our review ). A cinematic universe perhaps? Intriguing.

As we creep towards the short's conclusion, further enquiries lead the guard outside to a huge ball of light and the revelation that his colleague may know much more about these unusual forces than we previously thought.

Overall, Light is a well-paced and edited mystery short. A bit more care and attention to film lighting techniques would have been good, especially in a short whose main theme is centred around that concept. However, with an end that hints at some terrible consequences beyond the initial set-up and an enigmatic theme at its core, Light shows that bar a few minor elements to improve these young filmmakers have a bright future indeed.

★★★

3 / 5

Mike Sales

Midlands Review of Blood Demons

Mon, 24 Jun 2024 20:15:39 GMT

Blood Demons

Directed by Kieran Edwards

2024

Severed Head Entertainment

Murder, magic and a vampire cult is the order of the day in a new Midlands-made feature from Kieran Edwards that hopes to guzzle on the lifeblood tropes from the b-movie comedy genre.

We open with Goldie Lookin’ Chain (yes, those Welsh rapper guys) smoking drugs by the coast before a mysterious hooded ghoul appears to drain the tasty red sauce from their necks

Viewers are then introduced to Jake, an often-angry drug dealer who wakes to find that his cannabis crop has been destroyed much to the annoyance of his steampunk gangster boss Mr. P.

Mr. P and his henchman grab Jake and his mates and, after a little bit of torture including some excellent nasty gore effects (fingernail removal is always wince-inducing), the boys agree to go to an island to find a particular potent drug to make up for their mistakes.

You may think at this point we’re 10 minutes in and ready to begin a darkly comic island horror adventure. Sadly though, we’re actually at the 40-minute mark and we get to the main sticking point of the movie. Its length.

It’s unfortunately way too long for what it is. At 2 hours-13 minutes it begins to feel quite a slog early on, which is a concern for the homemade style, rough around the edges acting and overall genre.

B-movie horrors have a history of late-night double-bills which meant they were relatively short to fit both movies on the bill. But here you feel every minute like you’ve been sent to limbo in Inception.

That said, there’s actually fun to be had if you’ve got the patience. Writer-director’s own stint as Mr. P. delivers a suitably snide calm-then-manic villain. Drug-induced psychedelic sequences also add some nice visual variety and there’s some good practical SFX by Martyn Kilvert and very well done make-up and prosthetics from Rachael Painter.

And a few of the over-the-top characters also work well in the context of the film. It swings for some absurd fences in performances but the good ones are never dull.

However, it comes back to that length problem. You’ve got to go and work hard to find these nuggets and there’s a huge amount of time wasted between them on screen.

Filmed around Kidderminster, the Black Country, Leicestershire and parts of Worcestershire, finishing a feature movie is a thankless yet epic undertaking and it’s tough to criticise such efforts when you have such limited resources.

But as a filmmaker you’ve got to be cruel to be kind. Even with your mates. If something isn’t working or you need to move the plot quicker then simply chop it.

The slightly sloppy execution therefore pushes aside some of the later neat touches like split-screen sequences, great use of spooky and unsettling rural locations and the eventual reveal of the gruesome cult entities.

Once these appear in the final third, it starts to pick up pace with its survival story providing intense thrills, cave-based action and a nice appearance from the always pleasing actress-model Dani Thompson (last seen in the similar Midlands cult horror parody One Night Rental ).

In the end, it’s the kind of fun project you make with mates and family, show it at a local premiere and everyone gets back to their day job having had a cracking time through the production. But whilst this drug-fueled comedy was probably a huge laugh to make, too little of that translates to the screen and it requires a stimulating dose of editing to make it more accessible for us mere “recreational users”.

The positive to take away is that there’s a solid stoner-fright-flick buried deep amongst the footage that makes up Blood Demons. But with the structure and editing needing some real sharpening, it’s time to get those virtual scissors out and chop the unnecessary flesh footage from this overlong horror.

★★

2/5

Mike Sales

Watch the new trailer for Blood Demons below:

Midlands Review of Whistling Dixie

Wed, 19 Jun 2024 10:58:12 GMT

Whistling Dixie

Directed by Jacob T McClean

2024

Son of Gillean Productions

The bright big city lights and red carpet of Hollywood are combined with its sleazy underbelly in a brand new film from Midlands director Jacob T McClean.

Taking its cue from the 1930s style, this black and white short sees a riff on the stereotypical and well-known tale of a small-town girl heading to L.A. to seek fame and finding out it’s not all glitz and glamour.

Here we get Oklahoman Betty Murphy (Abbie May Wilson) who meets a film producer (Josh Vinten as Frank Anderson) and straight away we witness him tailoring, and manipulating, her to suit the requirements of the studio system.

From the outset, the filmmaker has chosen very much the techniques from the era to take us back to the golden age of cinema. The black and white cinematography combines well with some jaunty piano and the opening credits really look the part. (It’s also one of the few short films where opening credits are even relevant to be fair).

A 4:3 old-style aspect ratio, rear projection car shots and the American accents also show they’ve very much done their Hollywood homework.

The theatrical staging of the shots work too, but some use of close-ups, cutaways and handheld camera break the period illusion and I felt a bit more added film grain would have helped sell the visuals even further.

The story continues however with Betty asked to alter her name by the studio mogul, before it takes an even darker tone as she is “prescribed” pills to help (force) her to lose some weight.

Her name change to Dixie Donay (an alliterative play on Marilyn Monroe perhaps) and the body shape issues (akin to Judy Garland’s Wizard of Oz experiences) appear to ape career moments from those two famous starlets.

The film is a little unoriginal, obviously taking its influences from dozens of stories covering similar subject matter. Ones closer to the period like Sunset Boulevard, as well as more recent fare like Babylon.

Michel Hazanavicius‘ The Artist (2011) also covered this ground but perhaps Whistling Dixie has more in common with David Fincher’s Mank (2020). This utilised black and white visuals and some staples of the genre but wasn’t a slave to “copying” the exact style of a movie from the era.

Whistling Dixie even leaves the monochrome palette behind towards the end with another Marilyn Monroe inspired set-piece. We in fact shift to colour and get a full sultry musical number, which was an unexpected but satisfying expansion of the film's style.

Made on just a £100 budget that came from his own pocket, it’s a brave choice for a Leicester filmmaker to tackle so much, but being so different in style helps make it stand out against the many contemporary drama shorts.

And whilst the idea of the casting couch and a “boulevard of broken dreams” is hardly unique, there’s enough loving homage to maintain interest. It even poses a kind of mini-Mulholland Drive-esque question at its conclusion too.

It throws a lot at the wall, and the majority does stick, so even with a few rough edges and having a slightly over-worn tale, Whistling Dixie is a celluloid success with a lot of heart for the period style - but it also wisely questions the very grubby antics of this less-than-golden era.

★★★½

3.5 / 5

Mike Sales

Watch Midlands Movies Awards 2024 films

midlandsmovies@yahoo.com — Mon, 17 Jun 2024 09:30:31 GMT

With a brilliant range of films in a variety of genres submitted to the Midlands Movies Awards 2024 we are very pleased to share with you a number of those films who were nominated and some who went on to win an award.

The full list of nominees can be found here and the eventual winners can be found here .

Please take a look at the amazing and fantastic talent we have in the Midlands by watching the shorts & trailers below.

The One Note Man directed by George C. Siougas

Winner of Best Short Film

Winner of Best Music

Nominated for Best Director

Nominated for Best Sound

Nominated for Best Editing

Dig Me No Grave directed by Ranjeet Singh Marwa

Winner of Best Feature Film

Winner of Best Actor in a Supporting Role

Treble Me This directed by Guy Nicholls

Winner of Best Actress in a Supporting Role

Blondi's War directed by Lee Dilley

Winner of Best Sound

Just James Directed by Matt Hickinbottom

Nominated for Best Animated Film

Twin Leaps directed by Wayne Kelly

Nominated for Best Actress in a Supporting Role

All Roads Lead to Home directed by Darren Scott

Nominated for Best Actress in a Leading Role

Nominated for Best Music (Score or song)

Nominated for Best Feature

Everybody is Wrong directed by Chris Sasha Devey

Nominated for Best Animated Film

Visible Mending directed by Samantha Moore

Winner of Best Animated Film

Alph-FUN-a-bet! with Imagination Jack directed by James Pyle

Nominated for Best Animated Feature

Review of Boy Kills World

Mon, 17 Jun 2024 09:01:12 GMT

Boy Kills World (2024) Dir. Moritz Mohr

Fans of bloody action, martial arts and irreverent humour may find a lot of violent fun in this new post-apocalyptic actioner starring Bill Skarsgård.

We open with a deaf-mute boy (called “Boy” throughout) who is being trained as a fighter in a jungle by a mysterious shaman (The Raid’s Yayan Ruhian). Over the years the man teaches him, the boy fixates on taking revenge on the corrupt matriarch of a post-apocalyptic world who killed his family - including his young sister.

We soon jump forward in time and the now fully fist-trained Bill Skarsgård heads into the dystopian city where the authorities are rounding up civilians to be part of The Culling. This annual execution event attempts to keep the population in line with its oppressive regime.

From the outset, there’s a fair few familiar aspects ‘culled’ from other totalitarian and sci-fi movies. The most obvious is The Purge and Hunger Games but there’s moments similar to What Happened to Monday, Elysium and even echoes of the slums in District 9. Speaking of which, a very welcome appearance from Sharlto Copley again confirms that his presence can give even the most derivative of films a boost.

A like-it-or-loath-it voiceover may be a deal-breaker from some viewers though. The mute boy has a running quirky narration provided throughout by comedian H. Jon Benjamin. As a huge fan of his lead performances in adult animations Archer and Bob’s Burger’s his voice is so recognisable (and brilliant) that I wish there was even more of it.

Benjamin's snarky comments also add a lot of dark comedy and much-needed laughter to offset the brutal blood and gore. The action is steadily delivered throughout the narrative as Boy accidentally joins the resistance and begins to travel towards his revenge goal at the homes of the powers that be.

Skarsgård’s physicality (already used well in many flicks, notably IT) is a huge benefit to the film. Here he delivers the film’s many fight and shoot-out scenes admirably - with kitchen bust-ups and skirmishes on a kids TV set being both bloody but also funny with murderous cereal mascots and death by camera thrown into the mix.

An unknown woman “mystery” revealed late in the game is obvious 5-minutes into the film and although the moving camera and well choreographed fights scenes are impressive, the humour may not work for everyone.

The film certainly needs a trim - 2 hours for a post-apocalyptic revenge actioner seems overkill - but it’s not without its ferocious charms. Get yourself into a Saturday-night-popcorn-with-mates mood as Boy Kills World would be a good addition to a movie marathon alongside similar unrelenting smashers like Crank and Gunz Akimbo. For the rest, I suspect it will turn off as many as it turns on, but action aficionados will enjoy the non-stop carnage and fun mayhem thrills.

★★★

3 / 5

Mike Sales

Midlands Review of Visible Mending

Sun, 16 Jun 2024 15:42:50 GMT

Visible Mending

Directed by Samantha Moore

2024

Stitching together real-life audio and innovative stop-motion animation, Visible Mending is a new 8-minute short from filmmaker Samantha Moore.

Made at Second Home studios in Birmingham, Moore has collected sound clips from interviews with a number of knitting hobbyists and subsequently aligned these with interesting creative choices to present their personal stories.

The audio and visuals intertwine as the speaking we hear starts to parallel on-screen actions. At times demonstrating the calming nature of the pastime, but also speeding up the sometimes measured and slow-paced activity as the passionate talk sees knitted objects getting created in seconds.

There are also cues to illuminate the interviewees thoughts on relaxing into the craft as well as exploring the nature of the rhythm and pace of knitting. Moore once again uses her deft skills to personify the pursuit using a variety of cinematic techniques.

The director has also explained that interviewees are represented by a knitted or crocheted object of their choice, and the collaboration between the two certainly gives the film added life and passion.

On a purely technical level, the act of animating pre-recorded chats reminded me of Aardman’s famous Creature Comforts (1989) which was also distinctive as it juxtaposed real-life dialogue and animated creatures.

Here, the intimate stories from the personalised voices blend expertly with the images as we witness jumpers unravelling, a mathematician’s logical paperwork becoming an origami bear, whilst a discussion about patterns is brilliantly represented in hand-drawn colours.

The therapeutic nature of knitting is the short’s main thrust and the presence of small creatures from teddy bears to mice and even birds on a wire are used to show how, far from a solitary act, it’s a community activity that can tie people together.

Moore excellently balances the simplicity and complexity of the craft alongside the poignant memories shared by the narrators. A key scene towards the end presents a “healing of wounds” metaphor that’s incredibly apt and relevant to the stories we hear.

Heartfelt and profound, in the end Visible Mending is a masterfully crafted yarn where cottony characters are brought to life by Moore using a fascinating range of accomplished animation methods. And for all its furnishings, the film’s most impressive aspect is the delicate sharing of tough life lessons and a potential to comfort through soft and sensitive approaches.

★★★★★

5 / 5

Mike Sales

Midlands Review of Twin Leaps

Thu, 13 Jun 2024 11:37:01 GMT

Twin Leaps

Directed by Wayne Kelly

2024

KLENS UK and Spoon Jar Films

A fun opening parody of 80s workout videos (think Mr. Motivator, or if you’re old enough, “Mad” Lizzie) set to synth music is a more than appropriate introduction to new comedy short Twin Leaps from Wayne Kelly.

In their day-glo gymwear and tight cycling shorts, we are introduced to overly-tanned brothers Jimmy and Timmy Trim (both Gabriel Lockwood) who run through exercises, before we jump to the present where Jimmy is now out of shape and slobbing on the sofa.

Reduced to day-dreaming about his former glories, he is scolded by his wife Pavi (Rita Jagpal-Mohan) even as his still successful - and in shape - brother is on local TV news promoting his physical fitness.

The short does well with its set up, placing the characters in an entertaining situation, plus we get an added dash of mystery as to why the brothers fell out and their paths went in different directions in the first place.

And the comedy is suitably broad with visual jokes, some over-the-top acting and a few nice puns for good measure.

But whilst being interviewed Timmy takes sole credit for his health regime much to the chagrin of his personal trainer. She is played by Lauren Cornelius in a splendid turn as the brilliantly-named “Rhonda Gauntlet”.

A chance encounter in a park between wife Pavi and an angry Rhonda, leads to the women hatching a plot to payback Timmy. They hope to return the out-of-shape Jimmy to his former glory and sabotage his brother’s book launch.

The film to be fair isn’t about fancy cinematography as the style is much more sitcom-based given the thick layers of heavy humour it delivers. But the technical elements are still solid with fine editing and cuts to keep the jovial pace up and the jokes come sprinting at you from the start.

There’s even a well put together (and obligatory given the nods to the 1980s) musical montage showing Jimmy working out - rocking guitars, pumping drums and all. Albeit this one is less “sweating in the Rocky gymnasium” and far more running in suburban streets with some added baked goods from Greggs thrown in.

And as we head towards the final confrontation, the build up then leads to a surprising revelation from Rhonda who has engineered some ulterior (and much darker) plans for her selfish benefit.

Away from the camera, Twin Leaps was inspired by the producer Keith Large’s own battle with weight loss. And this honourable goal translates well in this well-meaning story and comes across in the script and the quality delivery by the cast.

Lauren Cornelius’ turn as Rhonda is a particular highlight - earning herself a nomination at our very own Midlands Movies Awards for Best Supporting Actress. The actress moves effortlessly as a scorned - then revenge-seeking - personal trainer and it’s a delight to see her manipulation and bursts of anger come alive on screen.

In the end, Twin Leaps is a bit of a “Ronseal” short of sorts - it does what it says on the tin. Never jumping (jack) beyond its humorous station, comedy often has a tough time getting the respect it deserves. But here, with plenty of silly Midlands playfulness, viewers could do far worse than enjoying the (six-pack) belly laughs of this fun fitness film.

★★★★

4 / 5

Mike Sales

Midlands Review of Everybody Is Wrong

Wed, 12 Jun 2024 14:21:48 GMT

Everybody Is Wrong

Directed by Chris Sasha Devey (she/her)

2024

Everybody Is Wrong is a single from Midlands based Mulk - a UK rock band formed in 2020 featuring Sasha Swift and friends - and their new song has a uniquely animated music video.

The short film is directed and animated by Sasha Swift who also provides guitar, bass, drums, synth, music and lyrics (!) to the track. Guesting on vocals and providing additional lyrics is singer (and one-time Midlands Movies comic-con contributor) Liz Marriott.

The song’s electro-rock-tinged sound is accompanied by the visuals which mix real-life filmed footage of the duo, alongside more animated elements ripped from the pages of a notebook.

Live gig photos, stickers and printed text give the video a suitable scrapbook feel with many of the lyrics being expertly delivered by scrawled pencil handwriting.

Polaroid photos add to its diary feeling, and they work well with certain lyrics like “I need to find myself” which read like an entry into a private memoir.

The animation also turns the two leads’ performances into animated characters as well - again using a pencil-drawn style. In many (good) ways, the film has a similarity to the end credits of Spider-Man: Homecoming which also uses a scrapbook of techniques to infuse a youthful energy and tone.

And at times, the pure white lines combined with wild sketching also reminded me of the famous A-ha “Take On Me” video as well. Which is no bad thing.

As we get to a more instrumental section, the filmmaker has spliced in footage from live show gigs. And we wrap up with another neat technique where more lyrics are highlighted from printed text cribbed from the torn-out page of a what looks like a novel.

For general audiences, the video may depend highly on your taste in the musical style of the band. But whether that’s your thing or not, there’s certainly a great variety in styles and techniques that bring the song alive through what we're seeing - more so at times than its tepid tempo.

Everybody Is Wrong is an excellent visual experience that complements the band’s song, creating an enigmatic written-biography of sorts. Its clever combo of styles also deliver a snapshot of well-edited clippings and keepsakes, which pleasingly helps establish the band’s eclectic ambience and punky outlook.

★★★

3 / 5

Mike Sales

Find out more about the filmmaker at www.sashadevey.com

Midlands Review of Alph-FUN-a-bet with Imagination Jack

Tue, 11 Jun 2024 14:01:09 GMT

Alph-FUN-a-bet! with Imagination Jack

Directed by James Pyle

2024

James Pyle’s prolific output has seen the filmmaker dip his toe into a number of animated pools and genres over the years and he returns once more with comedy sketch short Alph-FUN-a-bet! with Imagination Jack.

In this new 3-minute film, James Pyle stars as a live-action character called Imagination Jack - a role what can only be described as an over-the-top (annoying?) American children’s TV presenter.

Jack is here to teach kids their ABCs, starting with ‘A’ and including as many words (as difficult as they would be for a preschooler) beginning with that letter.

And before long, he’s become “Jumpin’ Jack” - as a cartoon army drill instructor demands some physical activity from the put-upon host. Although, it has to be said, the Army man doesn’t last too long indeed as he’s annihilated in an A-Bomb attack.

A regular nominee and a 2021 award-winner at our very own Midlands Movies Awards, James’ skill is as much about his acting and voices as it is about the animated drawing. And here he combines both to excellent effect with added body comedy too.

With a wide-range of classic and modern influences, the filmmaker’s humour continues to be very much tongue-in-cheek with a big slice of parody on the side.

And with Pyle’s mad blonde wig, saucy red pantaloons and innuendo-strewn performance, it is a lot of fun and apes the overly sincere yet blathering presenters of the past.

On the technical side, Pyle gets his real-life actor to interact with the drawings which works well. And a VHS-overlay effect provides a suitable 70s/80s videotape vibe on top of this - one that’s probably been recorded and re-recorded over and over again.

In the end, it’s a fun and pleasing USA-infused 3-minutes mixing a seedy Sesame Street with added inappropriate American Army antics . And it successfully combines his usual satirical skills with a unique take on a particular genre, to once more create a nother a ce a nd a bsurd a nimation.

★★★½

3.5 / 5

Mike Sales

Also check out James Pyle’s interview with Midlands Movies right here:

https://www.midlandsmovies.com/interview-with-midlands-animator-james-pyle

Midlands Review of Just James

midlandsmovies@yahoo.com — Tue, 11 Jun 2024 13:05:55 GMT

Just James

Directed by Matt Hickinbottom

2024

Nominated at the 2024 Midlands Movies Awards for Best Animated Film, Just James is written by Carmen Capuano and animated by previous Midlands Movies Award-winner Matthew Hickinbottom with music by Meiling Zhong.

The 4-minute short tells of a shy man who gets on a bus and makes eye contact with a seated lady, yet his awkwardness gets the better of him and can only admire her from afar.

He then imagines what could be if he could get up the courage to speak to her as we are transported to his idyllic daydream. But back in reality on the bus, the woman disembarks yet leaves her scarf behind. Could this be the moment James strikes up a conversation?

Unfortunately, he is unable to find her and returns to his apartment. And back home uses the scarf to create a makeshift companion - out of his broom no less - to tide over his loneliness. But sometime later, a coincidence on the bus involving a lady in matching clothes implies the future may not be so bleak for James after all.

Made in a Pixar-esque 3-D style, the animation is a step-up from Hickinbottom’s previous feature. The lead James, and I mean this in an animation sense, has a Shrek-like quality which ensures the character doesn’t look like a “floaty” sprite either.

Another good technical aspect is the use of camera focus giving the world some real dimension and raising its visuals above certain TV-standard fare. The excellent music too is used to give a good tone to the tale and has a twinkle of Toy Story’s Randy Newman with its sweet piano and gentle strings.

My one worry is that despite the cheery music and obvious narrative purpose, James’ making–a-woman-from-a-mop felt slightly more Todd Phillips’ Joker than jokey. However, the good intentions are present and the short appears to be exploring more than honourable issues of loneliness, isolation and sensitive social interactions.

Also without any dialogue in the short, the trio of creatives behind Just James have collaborated well to pool their talents to focus on images and melodies to get their story across and they again do this well.

Just James definitely shows that animation is still very much a hotbed of creativity in the Midlands. And its outlook is certainly very promising when a homemade CGI short can be produced with such great passion and skill.

★★★★

4 / 5

Mike Sales

Review of Arcadian

Mon, 10 Jun 2024 07:00:00 GMT

Arcadian (2024) Dir. Ben Brewer

A post-war Earth inhabited by an monstrous terror is the stage for Arcadian, a new chiller that has a few echoes of a similar recent horror seeing a family tormented at night by an unknown evil.

Nic Cage plays Paul, a father of two squabbling boys as they all try to maintain a normal life in the countryside. But as the sun goes down, they methodically lockdown their home to protect themselves from whatever lurks outside.

With blood and scratches on the door, the audience is left wondering what is attacking. The authorities? Local people? Or something worse.

Well, it’s something worse.

The film sets up its world without too many explanations. The real focus is the family dynamic with Cage trying to maintain a close unit with strict curfews and stern words. Trying to make keep his kids safe and secure, the boys however deal with regular sibling rivalry, teenage love issues and try to live as much as a normal life as possible.

Whilst Cage chastises them with “are we not men” as they argue at the dinner table, the mix of military style rules whilst attempting to provide regular activities like driving lessons shows despite their efforts, there’s really no room for childhood.

The film’s attempts at larger family themes are honourable but it really takes an age to get going. There’s far less tension being built than it is slightly tedious. Eventually we get a few attacks after the first third, a later cave-based sequence is more-than-solid and there is one particularly gross scene I enjoyed. But I was crying out for more.

The movie has corresponding themes to It Comes At Night with Joel Edgerton. But the real problem is this: it’s A Quiet Place. To me it’s such a straight up copy of its ideas and themes that all I could do is constantly think of how that film did everything better.

The farm location. An attempt to set up a rural paradise. The unknown assailants that turn out to be monsters. The creatures’ weird shaking. A family unit held together by a father figure. Wayward children trying to maintain normalcy. A family member sacrifice. It’s all here. And it’s all the same.

The naturalistic filming is a positive (the action is sometimes incomprehensible though) and there’s some Covid-parallels I noticed, but the admittedly good acting is in service of very little. And an 83% Rotten Tomatoes score? Get outta here.

Unfortunately it’s neither the artistic/subtle Cage of Pig and Dream Scenario nor the crazy Cage of Mandy and Mom & Dad. In fact, don’t get your hopes high at all as he practically disappears for 60% of the movie.

In the end, like ordering A Quiet Place through Temu, it mostly feels a dour duplicate of a film that will still be in most people’s recent memory. And this overfamiliarity ends up harming so many of its positive aspects leading to a disappointing experience.

★★½

2.5 / 5

Mike Sales

Arcadian is in cinemas 14 June

@AltCurrentPR I alternate-current.com

Midlands Movies Awards 2024 red carpet photos

Sun, 09 Jun 2024 17:19:27 GMT

Photo Gallery - Midlands Movies Awards 2024

Please check out the guests, filmmakers, cast, crew, nominees & winners from our 2024 Awards below. All photos courtesy of POYNER & MEE PHOTOGRAPHY (click for link)

Please get in touch for higher quality versions, missing photos or alternate copies at midlandsmovies@yahoo.com

Midlands Movies Awards 2024 winners

Sun, 09 Jun 2024 10:06:32 GMT

Midlands Movies Awards 2024 Winners

On Saturday 8th June the Midlands Movies Awards 2024 took place at the Y Theatre in Leicester. The nominations for the awards can be found here and the winners are announced below:

Best Actress in a Supporting Role

Emily Drewett for Treble Me This

Best Sound (Editing or Mixing)

Giovanni Tria for Blondi’s War

Best Documentary SPONSORED BY PINBOARD MEDIA

City on Screen by Matthew R. Ford

Best Visual Effects

Simon Gibbs for A Brighter Blue

Best Writing (Original or adapted screenplay)

Shane Grant for Bunny Jake is Missing

Best Actor in a Leading Role

Ian Gelder for Ticker

Best Editing

Lisa Rustage for Plaggy Bag

Best Feature

Dig Me No Grave by Ranjeet Singh Marwa

Best Music (Score or song)

Stephen Warbeck for The One Note Man

Best Director

Evie Fehilly for Period Drama

Best Actress in a Leading Role

Sherice Banton for Fade In: To Murder

Best Animated Film

Visible Mending by Samantha Moore

Best Actor in a Supporting Role

James Bryhan for Dig Me No Grave

Best Cinematography

Lou Murrall for Kamerad

Best Costume & Makeup & Hairstyling

Daniel Hall for Period Drama

Best Short Film

The One Note Man by George C. Siougas

Midlands Review of Suspect

Fri, 31 May 2024 14:59:43 GMT

Suspect

Directed by Ollie Killip

2024

Vision Tower Productions

Suspect is a new short drama from a group of students studying at Leicester’s De Montfort University who have created a 20-minute thriller as part of their graduation film.

The story opens with an introduction to Thomas (Tyler Astley), a police detective whose voiceover tells us how jaded he has become with police work and the tough cases he’s facing. After this brief preamble, Thomas heads into a police station and enters an interview room where a lady called Grace (Angelina Vancheri) is told her boyfriend is dead and their main suspect is currently her.

As someone who watches a lot of interrogation videos, a bit of rapport building before the police’s accusation could add a touch of realism as well as dramatic beat that turns the tables on the story. A small improvement in the script – which could do with a bit of polish too – would also help the opening exchange by omitting some of repeated questions. However, t’s understandable that a voiceover can provide a lot of information especially in the limited amount of time you get in a short film.

What is an improvement is the story construction. The film flashbacks to earlier moments and it is this structure that helps put events into a thought-provoking context, slowly revealing layers rather than an over-reliance on dialogue. And in one of these we witness Grace and her boyfriend Mika, played by Logan Grendon, are having a drink and a chat at a coffee shop.

The cinematography is more than solid as there are some great shots of Leicester (our own hometown) and weirdly, I used to live above the coffee shop seen in the film! The handheld camera style used is also a great way to add some energy to filming. And I am often surprised more low budget filmmakers don’t use this quite easy technique. As an example, watch Peter Jackson films to see how rarely he uses a static “grounded” camera.

As Mika succumbs to poison and stumbles on the street, Grace drags him back to her flat and starts to feel strange herself. We are then taken back to the interview once more and Grace starts to tell her side of the story, providing as she does some suggested explanations.

There are a few technical nit-picks such as a spending a bit more time on sound, but the use of interrogation footage adds variation to the shots and keeps the film visually appealing. A tighter edit, my most common bugbear, is probably just a subjective preference but some quicker back-and-forth could have provided something more akin to the intensity and stake-raising seen in the best interrogation scenes (e.g. The Dark Knight).

As Thomas’ voiceover explains how people are tracked and that “eyes are everywhere” in the modern age, the film delivers a final rug pull which throws a spanner into the expected narrative. Personally, I would have loved to have this a bit more drip-fed throughout. I went back to “stop and observe” but the person wasn’t in the previous scenes. As it is, it feels a bit like it came out of nowhere and this Dexter-style twist didn’t quite work for me.

One of the true standouts in Suspect though is the performance from Angelina Vancheri herself. A naturalist actor, Vancheri sells the role brilliantly and has a flair in front of the camera with a polished style that helps the portrayal of the character.

With everything being said, despite a few minor drawbacks here and there, Suspect shows a passionate team displaying their first-rate filmmaking skills to create an intriguing film with a solid mystery at its core. And I very much suspect the director, the cast and crew will use this as a great introduction to their combined talent in the future.

★★★★

4 / 5

Mike Sales

Review of The Promised Land

Tue, 28 May 2024 17:32:17 GMT

The Promised Land (2024) Dir. Nikolaj Arcel

Director Nikolaj Arcel once again returns to 18th century feuds with collaborator Mads Mikkelsen, after the duo previously teamed up for Danish period drama A Royal Affair. But here they shift from elegant courtly romance to gritty rural back-stabbing in a fantastic film exploring legacy, family and duty.

Mikkelsen plays Ludwig Kahlen, a recently-retired army veteran who gains permission to try and cultivate land in the desolate Jutland moorland. Hoping to establish a colony he immediately has to face a ruthless landowner (Simon Bennebjerg as the very nasty Frederich Schinkel) who also claims ownership of the land.

The establishing narrative may seem ripe for a slow paced Euro-drama but although the beginning is certainly measured, the two men’s goals increasingly come into conflict and their confrontations raise the stakes making for fascinating viewing.

As they fight over the local workforce, Schinkel also has to deal with a less-than-keen bride-to-be whose betrothal is simply one of convenience. Kahlen isn’t immune to the tit-for-tat actions of this rivalry either. He illegally employs Romani travelers to toil on his farm and threatens a small girl from the group, reinforcing his military makeup even though this war is for harvesting.

Visually, The Promised Land is an absolute lavish feast for the eyes. Sumptuous multi-coloured manor house interiors are expertly lit with candles - Barry Lyndon-style. And the brutal rustic landscapes are captured in bleak muddy browns, but they also have their own natural elegance. And it is this gorgeous cinematography contrasting the opulence of the gentry against the stark windy heath that perfectly draws you into the two sides’ motivations.

The narrative continues with Schinkel torturing those below him, whilst his King John antics are in stark contrast to Kahlen’s Robin Hood community building. The duality continues as the death surrounding Schinkel is in opposition to the agriculture life Kahlen tries to nurture.

And a number of people he utilises to facilitate his personal employment plans, soon become a makeshift, and much-needed, family to him. Bringing as they do warmth and compassion to Kahlen’s cold and severe outlook. Sometimes screaming in frustration but never giving up the promise, there's both heartbreak and heartwarming going on in his life also. We witness the success of finally delivering a bag of potatoes to his sceptical commanders, as well as the gut-wrenching decisions he decides to make as well..

For me, Mads Mikkelsen is simply one of the finest actors working today. From villainous schemers (James Bond, Dr. Strange, Hannibal) to the put-upon everyman (The Hunt, Another Round), his striking looks combined with a dexterity to infuse each role with a captivating gruffness is once again on show here. Mikkelsen also has an uncanny knack to delve deep into the souls of isolated and tormented ex-military men (Riders of Justice) and he more than delivers in this film.

And he’s helped by an excellent support cast who provide exactly the right subtle richness to help bring the audience into this very specific world. And Simon Bennebjerg as the vicious opponent is brilliantly vile and loathsome as he should be. Together the whole cast take some stock characters and give them real emotional weight as the film scrutinizes devotion, hope and commitment in all their forms.

But for me, it’s once again the magnificent Mads moments that take root in this story. A working man fighting a classist battle against the odds will never be the most original story, but The Promised Land is an engaging, thoughtful, emotional and hugely satisfying historic drama harvesting the many talents Mikkelsen has to offer.

★★★★

4 / 5

Michael Sales

Review of Ferrari

Fri, 24 May 2024 09:15:37 GMT

Ferrari (2023) Dir. Michael Mann

Ferrari? A name that conjures luxurious performance in the sun, smooth and sleek extravagance and a tightly constructed machine with all parts working in harmony. A rapid dynamo of creativity, delivering opulence and machismo captured in one word.

Ferrari (the movie) however is unfortunately far too little of that

Michael Mann returns after 8 years away from the screen with a movie that makes his flawed Public Enemies look quite good and that length is sadly how long Ferrari's first two-thirds feels whilst watching it.

Adam Driver (Logan Lucky, Rise of Skywalker) stars as the Italian car founder Enzo Ferrari who, during the summer of 1957 prepares his racing team for the Mille Miglia. Struggling with the engineering and disasters, this is compounded by the tension with his estranged wife, played by Penélope Cruz, and his many infidelities.

Driver as Enzo is admittedly excellent, yet playing a man whose real-life involves World War 2, a stint as a journalist and a racer himself, other than some speedy car moments, it’s often just lackluster family and business drama in dull brown rooms.

Enzo’s well-known perfectionism IS on display yet watching him discuss the minutiae of racing engineering may work for some - but I’d wager that's a very specific (and tiny) part of general audiences. It also gets off the grid slowly, with a tired and measured pace for at least the first hour. And during that period, the always watchable Driver and Cruz seem wasted on an exposition and business-heavy script.

Mann throws in some heavy-handed religious analogies and some kind of confessional booth metaphor but for all its flaws, at least Ridley Scott’s The House of Gucci (also starring Driver) had some Italian flair and passion (even Jared Leto was “doing a Mario”). And not even some badly filmed Latin love got my petrol flowing.

Towards the end though we get some much-anticipated and very exciting racing action which is well filmed in some gorgeous city and rural locations. And this finally adds an overdue turbo boost of fast editing and neat camera moves. As it gains momentum, a suitably shocking moment leaves us questioning Enzo's obsessiveness and desire to win at any cost too. Thankfully, this section wisely avoids Mann’s earlier narrative mantra of “slow and steady wins the race”. In fact, it's really bloody good. But it’s all just a little bit too late.

Motor vehicle gear heads and car aficionados will probably find much more satisfaction in Ferrari's detailed analysis of the car-maker's history in that struggling first-half.

But for a casual viewer like me, so much of it feels like a broken machine limping around a tiresome narrative track. It's too often stuck behind a slow-paced safety car of drama, before delivering a final amazing one-lap record, but then retiring from the race altogether. Very much a missed opportunity.

★★½

2 .5 / 5

Michael Sales

Summer screenings with Adventure Cinema return for 2024

Wed, 22 May 2024 16:49:34 GMT

Pack a picnic as Adventure cinema returns to the Midlands!

Tickets are now available for the 2024 Adventure Cinema season which will be visiting some of the most picturesque locations across the UK – including many right here in our region.

With over 300 outdoor cinema shows planned, all you have to do is buy a ticket, pack your picnic, camping chairs and blanket and join other film fans in a host of amazing outside landscapes.

Whether under the stars at breathtaking National Trust houses, medieval castles or beautiful country estates, their shows offer an unforgettable experience and with their summer shows across the region you’re never gone be too far from an outdoor cinema night.

So take a step back in time at sites nestled away all over the countryside as these stately homes and grand houses will create a unique backdrop for a truly unique film watch-along.

As always, they bring you an eclectic mix of classics, musicals, big blockbusters and family films to enjoy under the sun and stars including hit favourites like Mama Mia, Pretty Woman, Harry Potter, Top Gun, Dirty Dancing & tons more.

Flexibly, attendees can also bring their own food and snacks to all Adventure Cinema events but be warned – all events are outdoor and will go ahead whether rain or shine!

Check the full list of shows that are coming the Midlands below and grab tickets at the official website: https://www.adventurecinema.co.uk/venues

ATTINGHAM PARK, SHREWSBURY 29 Aug – 1 Sept
BOUGHTON HOUSE, NORTHAMPTONSHIRE 12 July – 14 July
CALKE ABBEY, DERBY 8 Aug – 11 Aug
COOMBE ABBEY PARK, COVENTRY 12 July – 14 July
COUGHTON COURT, WARWICKSHIRE 28 June – 30 June
CROOME COURT, WORCESTERSHIRE 6 Sept – 8 Sept
ELVASTON CASTLE, DERBY 21 June – 23 June
GRIMSTHORPE CASTLE, LINCOLNSHIRE 30 Aug – 1 Sept
HARDWICK HALL, DERBYSHIRE 8 Aug – 11 Aug
LUDLOW CASTLE, LUDLOW 20 Sept – 22 Sept
NEWSTEAD ABBEY, NOTTINGHAMSHIRE 26 July – 28 July
PRESTWOLD HALL, LEICESTERSHIRE 28 May – 30 May
SHUGBOROUGH ESTATE STAFFORDSHIRE 14 June – 16 June

Campaign generating big support to save Birmingham cinema

Wed, 22 May 2024 06:02:39 GMT

Steven Knight, the Osbournes, and Brian Cox are among the industry voices throwing their weight behind a campaign to save Birmingham’s iconic Electric cinema amidst uncertainty over the future of Station Street, home to some of the city’s most famous cultural venues.

The ‘Save Station Street’ campaign was mounted upon the sudden closure of the much-loved Electric Cinema in February of this year. The 115 year old Art Deco building known as the UK’s oldest working cinema ceased trading due to development proposals intending to demolish a significant section of Birmingham’s Station Street and replace it with a 50-floor tower block.

Station Street, located near Birmingham’s New Street Station is also home to two Grade II listed buildings with great cultural significance; The Crown, the former pub often billed as the ‘birthplace of heavy metal’ where Black Sabbath played their first gig, and The Old Rep, Britain's oldest rep theatre which opened in 1913. The Crown closed in 2014 and projects to restore it as a live music venue have been unsuccessful to date, whilst the Old Rep is currently operational it also faces an uncertain future as its current lease is due to expire.

Peaky Blinders creator Steven Knight was one of the first names to lend this support to the campaign, saying; “It would be reckless vandalisation to destroy Station Street. This is a jewel in the crown of Birmingham’s history… These heritage places are not a luxury, a city is identified by its cultural history and historical landmarks. When you think of Paris you think of the Eiffel Tower, not a block of flats. Birmingham must stop disrespecting itself and selling itself to the highest bidder.”

Upon hearing that these famous Birmingham venues could be under threat, the legendary hellraiser and lead singer of Black Sabbath, Ozzy Osbourne, and his wife TV personality, Sharon Osbourne sent campaign organisers a video of support discussing the need to protect the culture and heritage of Birmingham and shared their concerns that developers would be; “Taking the soul from the city. Taking its history”. Ozzy and Sharon’s heartfelt message ended with them offering to come back to Birmingham to demonstrate.

Succession star, Brian Cox is one of many esteemed actors including Albert Finney and Sir Lawrence Olivier who began their theatre careers on stage at the Old Rep. As a patron of the venue, Cox recently spoke out on the issue; “What is really important is the historic significance of the Birmingham Old Rep… It was designed beautifully, with the raking such that there is no bad seat in the house and it would be tragic to lose such a wonderful and historically important venue.”

As the campaign has gathered momentum in recent weeks further Birmingham celebrities have rallied to the cause including actor David Harewood, comedian Joe Lycett, TV personality Alison Hammond, and musician Toyah Willcox and over 20,000 people have signed an online petition , asking Birmingham leaders to ‘Designate Birmingham's Station Street a Historic, Cultural and Civic Asset’ and ensure the protection of these historic venues.

The petition was started by local resident Darren John who hopes the campaign will lead to the regeneration of the area as a cultural hub; “Station Street has had an incredible impact on global popular culture, so many superstars of the arts world have walked through the doors of these historic venues as unknowns and emerged as world-leading artists.

The fact that Ozzy and many others have spoken out in horror at potential plans to destroy what makes this street so special speaks volumes of its importance. Their voices join nearly 21,000 Brummies who are demanding Station Street be recognised for its incredible cultural impact and given new life again.”

More information on the campaign can be found here: https://savetheelectriccinema.com/

Leicester Film Club are throwing a House Party

Wed, 22 May 2024 05:52:53 GMT

Leicester Film Club: House Party (1990)

The Leicester Film Club are returning to the 90s this summer with a rare screening of joyous hip hop classic House Party, written and directed by Reginald Hudlin.

The film tells of Kid wants to go to his friend Play's house party but must dodge cops, bullies and his pops to get there. Neither of them can predict what's in store on what could be the wildest night of their lives.

Running cult nights for over two years now, LFC already puts fun at the forefront of their cult screenings and this will be no different with 90s outfits and dance moves being very welcome.

Once more, the film is being show at regular LFC host (and good MM friends) Firebug Bar at 1 Millstone Lane in Leicester city centre.

And show up to this party on June 23rd from 4:30pm where the doors open for music and trailers before the main film screens at 5pm. An intermission will allow guests to refill their drinks and socialise before a planned finish time of 7pm calls this party to an end.

Tickets are £5.50 in advance and £6 on the door (if available) and there's an over-18s policy given the film's rating. Grab them here: https://www.ticketsource.co.uk/leicester-film-club

Also in their 90s Summer Season there will be a screening of Sly Stallone action classic Demolition Man (1993) on 11th August!

Leicester Film Club is a city centre pop up cinema night screening cult, horror and classic movies. A chance to ditch the streaming services for an evening to watch films with other movie nerds, meet new people and learn more about cinema in relaxed environment.

Limited tickets available for each screening and please follow on social media for further updates:

facebook.com/LeicesterFilmClub
instagram.com/leicesterfilmclub

Review of The Coffee Table

Mon, 20 May 2024 08:30:00 GMT

The Coffee Table (2024) Dir. Caye Casas

Pascal Laugier’s 2015 French film Martyrs is one of my favourite horrors of all time, and for me, is the yardstick for all extreme fright flicks I have subsequently watched. But for the first time in many years, a new challenger attempts to take its crown - this time in the form of Spanish movie The Coffee Table.

And right off the bat, it’s not as brutally violent as Laugier’s mighty movie but this film will take the strongest of stomachs to persevere with.

The film opens in a banal situation comedy set-up of domestic familiarity, as a couple argue over the purchase of an “ugly” table for their new apartment. The furniture salesman claims it is unbreakable and this well-written back-and-forth exchange lulls an audience into a false sense of tonal security as the couple's petty squabbles provoke dark laughs.

The couple are played by an excellent David Pareja (Amigo) and Estefanía de los Santos (Jaulas) who also have their new baby in tow, before the husband eventually wins out and they purchase the gaudy object.

Once back at their flat, a missing screw sees a telephone call to the store and whilst they wait, the mother heads to the shop for groceries. Yet as Amigo tries to calm his crying baby we are witness of sorts (it happens off-screen thankfully) to a horrendous accident involving the child.

NARRATIVE SPOILER ALERT. There’s literally no way of explaining this next part (but it is the main thread of the film), other than to say the baby is decapitated and its head rolls under an armchair. Whoa. But even just describing (or thinking about describing it) churns the stomach and rightly so. This isn't the introductory horror of a Blumhouse movie!

The awful accident is edited against the neighbourly banter and chit-chat of the mother and her friend in a supermarket aisle. And the film begins to increase its tension as Amigo shockingly decides to cover up what he can by cleaning up, yet cannot face the horror under the chair itself.

Once Jualas returns, she is told the baby is sleeping so not to disturb him and the movie then ratchets up the tension as the audience are aware of the terrible situation with most characters none the wiser.

There’s a whole religious angle to The Coffee Table too. It's obviously on the nose but infuses a great biblical tone to the suburban piece. His Jesus-based email address, the carrying of a “crucifix” (the table) on his back, red wine, a nail (screw), and stigmata-like blood on his palm all alluding to wider themes of unrighteousness and spirituality.

The film’s mixture of tones and story threads are one of its best assets and at 90 minutes, it crams a lot in without ever over-staying its welcome. And as it reaches its denouement, further complications see an infatuated girl next door (and even the shopkeeper) adding to his troubles - before his brother and new wife (who has her own news to share) arrive at the flat for a dinner party.

It takes some intense dread to make me feel queasy these days but The Coffee Table is as macabre as they come - full of revulsion and shock. And as with a lot of Euro-horror, the matter-of-fact tone, style and shot choices make the repugnant qualities all the more real and chilling.

Its exceptional blend of ideas leads to unbearable and excruciating tension and its brilliance lies in showing almost nothing but hinting at everything. It’s an understatement to say this film is “not for everyone”, but if you’re willing to go down a gruesome journey, you may be (un)pleasantly surprised to find out how good this allegorical indie terror truly is.

★★★★

Mike Sales

Review of The Colour Room

midlandsmovies@yahoo.com — Mon, 13 May 2024 21:03:19 GMT

The Colour Room (2022) Dir. Claire McCarthy

Director Claire McCarthy brings cera micist Clarice Cliff’s story to life, looking at the creative and business endeavours of a woman who pioneered so much in the pottery world but is known so little elsewhere.

The film takes us to 1920s industrial Stoke with Bridgerton’s Phoebe Dynevor taking the starring role as the young woman finding her own passionate path in a world some feel she does not belong to.

The film has a beautiful sense of time and place with factory chimneys puffing out plumes of smoke across the town but Clarice and her work standout amongst the barriers she faces. Even her colourful clothing is at odds with the earthy browns and reds of the pottery factories and the dirty aprons of the male employees.

After being accused of stealing clay from the factory she works at, Clarice crosses paths with Colley Shorter (Matthew Goode) who spots her design flair. She is moved under the wing of David Morrissey as Fred Ridgeway, who is less of a mentor than an “encourager” of her work, knowing her talent lies in her unconventional approach.

Her education and skills cause upset in this patriarchal pottery world but her brave choices pay off with persistence – and Dynevor also imbues her with a fair amount of depreciating humour. And before long Clarice is bucking more trends by not specialising in one specific skill but learning many tricks of the trade and winning further favour with Mr. Shorter.

After an accident leaves the business with an abundance of unused stock, Clarice launches her new “Bizarre” range which repurposes old items with her daring, new, and non-traditional designs.

Eventually the two embark on a romantic relationship but the film doesn’t shy from this difficult subject as it explores all facets of her character even the tricky issue of an illicit affair with a married man.

But with family tragedy and orders non-existent, the obstacles pile up but this plucky working-class rebel digs deep and continues fighting for her chance to succeed. The film’s warm cinematography captures a nostalgic kiln-like glow but, like the art-deco designs, also includes flashes of bright colour and radiant lighting.

An influencer and innovator, Clarice’s contemporary work spoke to women but her business practices also helped her commercial success and the film captures this spirit perfectly.

In the end, The Colour Room moulds an engaging portrayal of a pioneering lady who forged a career in a traditionally oppressive environment with a unique story and a great central performance. And the film successfully shows how Clarice’s bold and exciting creations were as ground-breaking and risky as the battles she fought in the workplace to get them made.

★★★½☆

Michael Sales

Midlands Review of Nothing Goes

Sun, 12 May 2024 12:19:16 GMT

Nothing Goes

Directed by Jordan-Kane Lewis

2024

There’s a breathless energy to Jordan-Kane Lewis’ Nothing Goes, suggesting a rather substantial influence from the Safdie Brothers, as well as Aneil Karia’s 2020 film Surge. In a similar style to those influences, Nothing Goes starts with a single decision that the protagonist hopes will improve their situation, but one that is abundantly clear to the audience will only make matters worse.

Aiden James plays Alex, a university student living with his aunt and struggling for money. His girlfriend Lexy (Katie Walker) is also finding it hard to make ends meet, so when Peach (Steven Wardle) suggests a robbery with no supposed victims, it seems like the ideal solution. Alex is reluctant at first but eventually agrees.

The problem is that the people they are robbing are retired gangsters, who meet up at an isolated pub to gamble their ill-gotten gains in a few rounds of cards, and when Steven resorts to violence during the theft, the trio find themselves having to lay low for a few weeks.

All three leads put in excellent performances, especially James who layers his performance with a real vulnerability. Alex isn’t a tough kid; he’s a young creative looking for any way out of the cost-of-living crisis. He dabbles in bad behaviour like any student, but his main goal is to build a life for him and Lexi. As the inter-personal relationships become more complex, Alex finds himself abandoned in Scotland (cleverly shot in Derbyshire and South Yorkshire, but convincing enough).

Lewis shows himself to be a real talent here, keeping the script tight and runtime short to maximise the tension. The editing style harks back to 90s indie scene, chopping back and forth to keep that momentum going. There’s only the briefest moment of respite as the trio enjoy their time in Scotland before the house of cards starts to wobble once again.

It all builds to an incredibly bleak ending, with James’ performance as Alex reaching new heights. The vulnerability on show here would have traditionally been put at the feet of a female character. In an interview at Paracinema after a screening of the film, Lewis noted that the film was about naivety but there are also clear themes about the lengths that people are forced to go to when under financial pressure.

I found it interesting that these young characters choose to rob a bunch of retired gangsters. As a culture we simultaneously revile and idolise organised crime. Filmmakers seem to have an awe for the culture of respect that is used a visage for these violent criminals, and at the same time we liken politicians (those who have placed the financial restraints on us) to criminals and gangsters. In some ways, there could be no clearer example of trying to breakout of our circumstances than attacking those who used to have influence.

In this way, Nothing Goes felt quite political, adding another layer of bleakness to its ending. Lewis is reportedly working on a vampiric horror film next, adding in his interview that genre cinema, rather than hybrid films, sell better to distributors and producers. I only hope that he is able to layer a genre film in the same way, because with Nothing Goes he has created an interesting, exciting thriller.

★★★★

4/5

Matthew Tilt

X @Matthew_Tilt

Review of The Blair Witch Project

Sat, 11 May 2024 14:15:05 GMT

The Blair Witch (1999) Dir. Eduardo Sánchez & Daniel Myrick

The Blair Witch Project is one of those films that becomes divisive due to the amount of discussion around it. First off there’s the innovative marketing, which utilised the internet to convince moviegoers that what they were going to see was real.

While found footage certainly wasn’t new – in her talk at Paracinema, Sarah Appleton noted that The Last Broadcast used similar techniques to The Blair Witch Project the year before – this was the film that really caught the imagine of audiences, making it one of the profitable films of all time.

So, 25 years on, with a sequel, a reboot and now another film in the making, not to mention the seismic shifts we’ve seen in found footage from the likes of Paranormal Activity and Host, how does The Blair Witch Project hold up?

Like all films that rely on a single scare at the end, the power of this has been diminished. It’s also one of those rare films – a little like Host – that doesn’t benefit from being on the big screen. It makes it feel too official, too polished, whereas a home viewing adds to that idea that this is videotape footage made by people we could know.

Still, it’s hard to deny the ingenuity of Daniel Myrick and Eduardo Sánchez, or the performances of Heather Donahue, Michael C. Williams and Joshua Leonard. As the three budding documentarians head into the woods, their chemistry is clear from the off and the deterioration of their friendship as they find themselves deeper in the woods and haunted by the Blair Witch is realistically cut together – with each of them having moments of utter despair before rallying and trying to push the others forward.

That’s one of the real benefits of a rewatch of The Blair Witch Project, and a reason why it holds up better than Adam Wingard’s 2016 reboot. A rewatch allows us to appreciate the character moments. So much has been said in the last 25 years that we’re all aware that filming was essentially Myrick and Sánchez leading the cast to a location, not telling them anything and then psychologically torturing them throughout the night. This naturally creates a bond between the three leads that is very apparent on screen.

Another positive that can be missed on a first watch is the depth of the lore that was created before they even step into the woods. While the Blair Witch is the focus of the team’s documentary, the more disturbing aspects come from the stories of Rustin Parr – a child killer supposedly possessed by the mythical witch. This addition of a human, tangible threat to the team, and the disturbing way in which he killed his victims, gives the ending a huge amount of power – even if it’s lessened slightly by knowing what’s coming.

Finally, The Blair Witch Project trusts its audience. Not to pile onto Wingard’s reboot, which was a perfectly passable film, revealing the unworldly creature at the end of that destroys the mythos of the Blair Witch. Here Myrick and Sánchez give the audience just enough information to let them imagine something far worse than what could be produced on screen.

This is one of the main reasons why nothing has been able to reproduce the exact formula of The Blair Witch Project and why it remains so celebrated a quarter of a century later.

★★★★

4/5

Matthew Tilt

Twitter/X @Matthew_Tilt

Mission Accomplished offers new training for young Midlands filmmakers

Wed, 08 May 2024 13:29:10 GMT

Have you always wanted to earn your living making TV shows and Films but not known how to get started?

Are you aged 19 or over?

Are you a resident in the West Midlands Combined Authority (WMCA)* region?

If you answered yes to these questions, then you can attend a brand new FREE film training course in the West Midlands.

Mission Accomplished are excited to introduce their TV and Film Fusion course developed in partnership with BOA Stage and Screen Production Academy with the support of the British Film Institute (BFI) awarding National Lottery funding and West Midlands Combined Authority.

The course is for those intrigued by the creative and technical aspects of film and television production. No experience or previous qualifications are required - just a passion to work in TV and Film in the West Midlands region.

This free training is available to individuals 19 and over who reside in the WMCA region. This includes residents of Birmingham City Council, Coventry City Council, Dudley Metro Borough Council, Sandwell Metro Borough Council, Solihull Metro Borough Council, Walsall Council and City of Wolverhampton.

What are the roles and opportunities for me in TV and Film ?

The course will help young learners explore all types and genres of TV and film productions as well as understand the workflow of different genres, from single-camera setups to studio productions and big budget dramas.

In addition, learners can hope to gain practical technical skills for entry-level positions in the TV and Film industry and build an industry focused CV.

As well as the above, the course will provide an opportunity to meet local industry professionals who are looking for new-entrants on their up coming productions.

You can find out more information about this course here: https://www.mission.guru/event/tv-and-film-fusion

Mission Accomplished have also arranged an open event at BOA Stage and Screen Academy, 48 Stour Street, Birmingham B18 7AJ on Monday 29 ^th April 2024

More details here: https://www.eventbrite.co.uk/e/tv-and-film-fusion-open-event-tickets-876651216387

TV and Film Fusion

June 19 - July 18

APPLY FOR COURSE

Apply by 17th May 2024

Fright-fully good terror pleasures at Paracinema 2024 (part 2)

Tue, 07 May 2024 12:08:29 GMT

The unwieldy wordcount of my Part One review of Paracinema meant that I missed out details of one talk, which took place on the second day. And I must include something on it, as Editor Mike is a huge Star Wars fan – he’s even written in defence of The Phantom Menace - and the festival was running over the May 4th weekend.

Taking a tongue-in-cheek look at the host of rip-offs that flooded the market after the release of Star Wars in 1977, film historian Darrell Buxton regaled the audience with tales of Hardware Wars, Battlestar Galactica and, ahem, Turkish Star Wars. It was a light and very funny talk, but not without its nuggets of information. It was fascinating to see how quickly producers jumped on the science fiction trend once Star Wars had released, and how close to the copyright lines they moved to get their films made.

Of course, we couldn’t talk about Star Wars without looking at the films that George Lucas lifted from to create it, and Darrell was sure to shout out Kurosawa’s The Hidden Fortress, Anderson’s The Dam Busters, and the serials of Flash Gordon and Buck Rodgers.

Back to the features, and day three of Paracinema provided a host of British made features, starting with Dan Gould’s Interlopers . This low budget zombie thriller is split into three parts, each taking influence from classics of the genre but all coming together in a cohesive way. This is more impressive given that it was shot over a three-year period, with each part treated as a separate production – the bulk of the second part being shot in Derbyshire, while the rest was filmed around Manchester.

Working with the Farewell Theatre Company, Gould is lucky to have an excellent cast on hand and while the story – involving big pharmaceutical companies zombifying the population to bring about the next stage of evolution – is convoluted, it’s delivered in a way that keeps you engaged. Credit should also be given to the crew, who manage to maximise the low budget to create a credible dystopian world.

Tom Lee Rutter’s The Pocket Film of Superstitions was up next, which I’ve already reviewed here . Needless to say, it was great to see this inventive horror flick on the big screen. Also reviewed separately is Jordan Kane-Lewis’ white-knuckle thriller Nothing Goes, which kept the audience on the edge of their seats for the 50-minute runtime.

Rounding out the day of British features was Michael Fausti’s Burnt Flowers ; an ambitious thriller spanning three different time periods as Detective Franc Alban’s (Amber Doug-Thorne) investigation into a missing person puts her on the trial of a 1960’s serial killer and a notorious London gangster (Fausti) who has just escaped from prison.

Fausti’s creativity is clear to see, and he manages to differentiate the time periods clearly and distinctly. In fact, it’s clear that the 60s sequences are where most of the attention has gone, as these stand out from the rest of the film. Fausti noted that he was inspired by the unsolved ‘Jack the Stripper’ killings that took place in 1960s London, but stylistically the murders on screen owe more to Powell’s Peeping Tom, and perhaps Hitchcock’s Frenzy – shot from the point of view of the killer to keep their identity a secret from the audience. Unfortunately, the modern parts feel lacklustre in comparison. Doug-Thorne is good in the lead role, but is given very little agency, instead being buffeted between various other characters, and often finding herself in her underwear, in the middle of another lesbian tryst, but without any plot armour or chemistry to justify it.

The last day of Paracinema kicked off with its biggest round of short films. The Darker Horizons programme was a varied selection, kicking off with The Dead of Winter , from Stephen Graves. This was a neat little morality tale, with good performances from the cast, which maximises the impact of its runtime, even as it does nothing new with it. Leaning more into comedy was Paul Hendry’s The Choice , with an excellent supporting performance from Alex Macqueen. Following a TV celebrity forced to make a terrible decision, it’s a darkly funny take on our desires to be famous.

Unfortunately, Aaron and Aiden Truss’ short Pareidolia was less impressive. Featuring a host of recognisable faces, it’s certainly an interesting idea – whether the patterns we impose onto objects could be entities looking to haunt us – but it’s weakly executed, with forgettable performances and a dragging central section despite the short run time. Brandon Auman’s Sleepwalker suffers due to its predictability, though it is lifted somewhat by the strong performances and good visual effects.

The impact of John R. Dilworth’s Howl if You Love Me will very much depend on how in-tune you are with the humour. It’s a neat little animation, harking back to Looney Tunes, and a fresh take on the werewolf mythos. Running away from the pack quality wise was Michael Granberry’s Les Betes , a lovingly produced stop motion epic that felt like a Grimm’s fairy tale and is so meticulously put together that it’s hard not to be blown away by it.

Finally, there was Breakfast from Shaun Munro, which played like Sam Riami directing a TV talk show cooking segment, as a malevolent spirit makes the simple act of putting together breakfast absolute hell. A very funny debut.

Joel Stern’s Bored Games was the first feature of the day, following three couples who find themselves trapped in a bunker after London falls to rioting and man-eating foxes. With only a selection of board games to keep them entertained and dwindling food supplies, paranoia soon gets the best of them. This was a genuinely hilarious film, with well-rounded, realistic characters and some very silly moments. The cast put in some game performances, especially Lorna Rose Treen as the conniving Lindsey, and while the ending stretches the credulity just a little bit, this is a seriously impressive piece of low budget filmmaking.

Staying with the nerdy stuff and the documentary Earthbound, USA follows the hardcore fanbase of the Japanese RPG Mother 2 and the trials and tribulations they face getting the rest of the franchise released in the West. Even if you don’t have much interest or knowledge of video games, Jazzy Boho’s documentary manages to draw you in thanks to the likeable interviewees and the passion that is clearly driving them. The film follows the personal lives of the fans as well, showing how Earthbound (as Mother 2 was known in the USA) brought them together and influenced all areas of their lives. It skims over a few of the darker practises of Nintendo, who have never been shy to send out a cease and desist or a lawsuit, but Earthbound, USA is far more interested in the impact that the game had.

And here we are. Four packed days of genre cinema comes to an end, and unfortunately, the organisers saved the worst until last. Despite roping in genre legends such as Tony Todd and Kane Hodder, as well as Sean Young, Nicolas Gyeney’s The Activated Man takes the worst aspects of 90s horror and crams them into two hours (although you could have told me it was three hours and I would have believed you).

Jamie Costa plays Ors Gabriel, who after losing his dog finds out that his psychic powers have been activated and that he must take on The Fedora Man (Edward Michael Scott) with help from his neighbour Jeffrey Bowman (Todd). It’s somehow more ridiculous than that brief synopsis suggests, with Costa’s CGI powers making him look like a psychic Power Ranger at times. It got plenty of laughs from the audience, but not because it was meant to be funny.

Matthew Tilt

X @Matthew_Tilt

Plenty of high spirits at Paracinema 2024

Mon, 06 May 2024 15:14:08 GMT

Derby Quad’s celebration of the weird and wonderful, Paracinema, returned to its original May timeslot this year, with four days of short films, international previews, anniversary screenings and dark, often funny, features.

Kicking off day one, we got the Strange Visions short film programme. The Concierge at the Sunrise Inn , directed by Calum Weir and written by Joe Dore, was a great indicator of the quality we’d see over the next few days. Sam MacGregor plays the titular concierge, stuck in a sleepless loop as he tries to maintain the hotel. While there are moments of humour at the start, the arrival of a late-night guest (Diana Feng) sees the film take a sharp left turn into something darker and more emotive, with excellent performances from both leads.

Michael Bartolomeo’s Fed is an inventive stop-motion short, following a chef (Kirra Hughes) who is tackling personal pressures and a fussy food critic (Angelica Gomez). The stop-motion is very impressive, but this was a little too light to make a real impression. The same could be said for Re-Birth , written and directed by William Brooke, which feels like an out-of-context clip from a longer film. There are good performances, but the script felt cliched and the story never got out of second gear.

The shorts programme concluded with Tobias Enevoldsen’s Lovecraftian short Tranquilizer , which just about stays on the right side of repetitive, and showcases some impressive, but restrained use of CGI. There’s a decent atmosphere and a dark, ambiguous ending.

The first feature was Amanda Nell Eu’s debut Tiger Stripes , a Malaysian-language body horror film that has made headlines after being censored in Malaysia while simultaneously being put forward as the country’s Oscar nomination. Eu successfully overcame clear budget limitations to tell an affecting coming-of-age story about a girl starting her period while at a conservative all-girls school.

The performances from the three young leads (Zafreen Zairizal, Deena Ezral and Piqa) are excellent, and Eu balances the light body horror with commentary on misogynistic views of menstruation. It runs a little long but this is an assured debut that tackles culture and gender politics in a clever way and should be discussed in the same breath as Ana Lily Amirpour’s A Girl Walks Home Alone at Night.

The first night ended with a 25th anniversary screening of The Blair Witch Project which I’ve reviewed in full ( click the link here ), which tied in nicely with a talk from Sarah Appleton on the second day. Appleton, who has directed The Found Footage Phenomenon and the upcoming The J-Horror Virus, both for Shudder, presented a host of clips covering the genre from its very beginnings with Orson Welle’s 1938 radio broadcast of War of the Worlds, through Powell’s Peeping Tom and Deodato’s Cannibal Holocaust, some lesser known experiments with the genre, including the 1988 Japanese horror Psychic Vision: Jaganrei, and finally the explosion of found footage films that have continued to permeate cinema since The Blair Witch Project.

With so much to get through, Appleton couldn’t stop to focus on any one thing, but she made several interesting points about how found footage subverts the horror genre. Instead of rooting for the lead characters, we watch found footage with the knowledge that these people are already dead. While originally used by directors like Michael Powell to make the audience complicit in the violence on screen, this has now been watered down to a morbid curiosity, with the viewer seeing the scares through the eyes of the lead.

There were a few issues with the shorts programme on the second day, with Eiichi Takahashi’s Sakura cutting out halfway through, and Jimi Holmberg’s Genre Hopper appearing with no subtitles. This meant that the Dead Funny programme was a very British affair, kicking off with the stellar Free Spirits from George Moore (with co-writers Stuart Armstrong and Ben Bovington-Key). Spencer Jones stars as an introverted reverend who finds himself caught between a conservative village council and a nudist camp haunted by a poltergeist. There are some great visual gags alongside the strong performances, making this a genuine highlight of the festival.

There were also plenty of laughs in Collection Only from Alun Rhys Morgan. Mixing some very funny dialogue with some particularly gory practical effects, this will make people think twice about any ‘collection only’ items on Freecycle. RoButler was another Welsh effort, this time from James Button, made in just 48 hours, and was a very silly, but entertaining eight minutes as a mail-order robotic butler causes havoc for an overworked call centre employee. Even shorter was Tony Hipwell’s two minute The Lure , which honestly has to be seen due to its length but does a lot in just 120 seconds.

Craig Theiman’s Suicide for Beginners continued the comedy-horror theme, taking its incredibly dark premise of a man writing a suicide note for the girl he is in love with, and letting it spiral as the body count starts to build. There are some great performances here, with cameos from Sid Haig (his last role) and Corey Feldman, and a standout central sequence that provides ample laughs and gore in equal measure.

Things took a turn for the serious with Zarrar Kahn’s Urdu-language horror In Flames which follows a young woman (Ramesha Nawal, putting in an incredible, vulnerable performance) and her mother (Bakhtawar Mazhar) as they cope with the death of the family patriarch and find themselves haunted by ghosts of the past.

This was an excellent debut from Kahn, perfectly balancing the realistic household drama, the conservative, patriarchal values of Pakistan and the supernatural elements. Not focusing on scares, it focuses on building real tension until its satisfying payoff.

The audience will have had severe genre whiplash, moving from In Flames to a screening of Repo! The Genetic Opera , held in association with the Cult Film Club. This very silly rock opera managed to pull together a fairly decent cast, including Alexa Vega, Anthony Head and Sarah Brightman, but is a tonal mess, with nearly every cast member giving a performance that clashes with their co-stars, dodgy CGI even by 2008 standards, and some pretty poor songs.

In his introduction, Cult Film Club host Johann Chipol noted that the film was based on a one-act play focused on the Graverobber (Terrance Zdunich), something that’s abundantly clear as the only real highlight of this is the Graverobber’s Zydrate Anatomy track. Thank Christ we didn’t get the proposed trilogy.

Rounding out the second day was Chad Ferrin’s HP Lovecraft’s The Old Ones . While obviously influenced by Stuart Gordon and Brian Yuzna’s 1980s Lovecraft adaptations, with its practical effects, humour and gore, this was a far more in-depth picture. Ferrin has a clear love for the source material, and the script is steeped in Lovecraftian lore.

It means that while audiences can enjoy the film passively, following Russel Marsh (Robert Miano) and Gideon (Benjamin Philip) on their mission to reverse the acts of the Esoteric Order of Dagon, understanding a lot of the context requires a much deeper knowledge of Lovecraft’s work.

It certainly won’t be for everyone, but this mix of B-movie visuals and literary scriptwriting struck the right chord to mark the halfway point of Paracinema.

Matthew Tilt

X @Matthew_Tilt

Review of Love Lies Bleeding

Tue, 30 Apr 2024 11:15:39 GMT

Love Lies Bleeding (2024) Dir. Rose Glass

When Rose Glass wrote and directed her feature debut Saint Maud, she showed a real skill at building dread through small, realistic character moments. While the film escalated to a somewhat wonky finish, it’s sharp dialogue and an incredible central performance from Morfydd Clark established Glass as a director to watch.

And it was exciting when her next project wasn’t another horror, but something completely different. This queer, neo-noir made it clear from the off that it wasn’t going to shy away from the dingy and the grotesque, delving into the seedy underbelly of 1980s America, but it has a swagger befitting of its neon glow setting.

Lou (Kristen Stewart) manages a rundown gym, while half-heartedly batting of the advances of Daisy (Anna Baryshnikov) and keeping her distance from her gun trafficking dad, Lou Sr (Ed Harris). Things change when Jackie (Katy O’Brian) comes into the gym while hitchhiking to a bodybuilding competition. They share an instant connection, one that quickly becomes a passionate love affair and through an increasingly dark series of events, drags them into Lou Sr’s criminal activities.

The film is bolstered by excellent performances as well. Stewart and O’Brian have real chemistry as Lou and Jackie (comfortably slotting Love Lies Bleeding into the current trend of sexually liberated, horny cinema), and they are amply backed up by the supporting players of Dave Franco (on particularly sleazy form) and Jena Malone. Harris is clearly having fun as Lou Sr, though it occasionally verges on cartoon villainy, especially as he’s the least developed character in the film.

But where Saint Maud was a tight feature that developed gradually and realistically, Love Lies Bleeding is likely to lose people as it reaches the climax. Glass and co-writer Weronika Tofilska integrate some interesting themes into the film, linking trauma and rage to body transformations through the character of Jackie.

Throughout the first half of the film, this is portrayed through brief scenes of muscles bulging when Jackie is climaxing, or under extreme stress, but this is played up to a ridiculous extent towards the end of the film. I won’t spoil anything, but if A24 is developing a reputation for marmite moments in its films, then Love Lies Bleeding will only perpetuate this.

There’s a real lack of self-editing at parts here, which derails what is, for the most part, a bloody, exciting crime thriller. The finale leaves such a bad taste in your mouth that it undoes pretty much everything that has come before, despite the great acting and directing.

Glass is still an exciting creator, but this is a quintessential difficult second film.

★★½

2.5/5

Matthew Tilt

Twitter/X @Matthew_Tilt

Midlands Movies Awards 2024 - Full nominations

Sun, 21 Apr 2024 16:28:55 GMT

Midlands Movies Awards 2024 - Full nominations

On Sunday 21st April Midlands Movies Editor Michael Sales & awards ceremony co-host Ed Stagg (BBC Radio) announced the nominations for the 2024 Midlands Movies Awards live from the Queen of Bradgate Vintage Cinema in Leicester.

A big thanks was given to the entire Jury Panel of industry experts who gave up their precious time to watch a huge selection of over 120 films and had such a hugely difficult time choosing from the excellent number of films from the region.

You can read the full list of nominations across all 16 categories below and watch our announcement videos via Facebook live at www.facebook.com/midlandsmovies

And please check out our great partner Pinboard Media

Best Documentary (sponsored by Pinboard Media)

The Black Country Cowboy by Ryan Davis

Red Black Green by Naphat Boonyaprapa

City on Screen by Matthew R. Ford

Lisa Lashes; Feeling Frequencies by Sarah Michelle Durrant

Project Fashion Fixed by Jessica Tooth

Best Actress in a Leading Role

Sherice Banton for Fade In: To Murder

Madeleine Hutchinson for Plaggy Bag

Cherrelle Skeete' for Rushed

Kaja Chan for Period Drama

Imogen Archer for All Roads Lead to Home

Best Animated Film

Just James by Matt Hickinbottom

Alph-FUN-a-bet! with Imagination Jack by James Pyle

Me & the Boys by Matt Hickinbottom

Everybody is Wrong by Chris Sasha Devey

Visible Mending by Samantha Moore

Best Director

Alex Withers for Plaggy Bag

Toby Kearton for Kamerad

George C. Siougas for The One Note Man

Siobhán Cannon-Brownlie for Witches

Evie Fehilly for Period Drama

Best Sound (Editing or Mixing)

Giovanni Tria for Blondi’s War

Michael Leigh for The One Note Man

Esme Crast & Stuart Ankers for Men Only

Jen Cale, Hannah Snowden & their team for The Yellow Wallpaper

Andrea Gobbi for False Front

Best Actor in a Supporting Role

Andre Pierre for Baby on Board

Zak Douglas for The Space Between

Will Brown for Period Drama

Pablo Raybould for Dirty Dutch

James Jaysen Bryhan for Dig Me No Grave

Best Visual Effects

Simon Gibbs for A Brighter Blue

Glenn McAllen-Finney for Duskman

Olgaç Öke, Lisa Rustage & Taly Emmanuela for Plaggy Bag

Anthony Michael Winson & team for Terrorvision

Anthony Wright, Louis Jackson, Alfie Hagan & Eve Murray For Masked Conspiracy

Best Cinematography

Nikodem Trzcinowicz for Ugly People

Lou Murrall for Kamerad

George S. Evans for English Rose

Ash Connaughton for Rushed

Kai-Yan Lai for Beautiful Meadow

(Categories continue below...)

Best Costume & Makeup & Hairstyling

Daniel Hall for Period Drama

Amy Jelfs for Kamerad

Francesca Valentina Wilkinson & Emma Caseley-Kirk for Witches

Alyssia Marsh, Jonathan Hawes & Stanley Roubaix for The Morgue Party

Bob Cheshire & his team for Only Sky Above

Best Actor in a Leading Role

Tarik Badwan for Beautiful Meadow

Ian Gelder for Ticker

Joseph Sean-Lyons for Soft

Darren McAree for Watch Me Sleep

Joe Warriner for Down in the Basement

Best Editing

Russell Beeden for The One Note Man

Lisa Rustage for Plaggy Bag

Alasdair Gretton for Masked Conspiracy

Keir Black for Men Only

Lewis Clements, Matt Amison, Joe Shirley, Andy Wilcox for The Unusuals

Best Music (Score or song)

Adrián Berenguer for The Cloud

Kirby Spencer for Duskman

Stephen Warbeck for The One Note Man

I Wish I Didn't Wish My Life Away by Jason Havard (performed by Imogen Archer) for All Roads Lead to Home

Tom Jeeves for Treble Me This

Best Actress in a Supporting Role

Emma Humpston for Plaggy Bag

Sabrina Sandhu for Witches

Lauren Cornelius for Twin Leaps

Emily Drewett for Treble Me This

Carolina Lopes for False Front

Best Feature

All Roads Lead to Home by Darren Scott

Duskman by Sam Winterton

Watch Me Sleep by John Williams

Dig Me No Grave by Ranjeet Singh Marwa

False Front by Alastair Railton

Best Writing (Original or adapted screenplay)

Stephen Volk for Baby on Board

Shane Grant for Bunny Jake is Missing

Thom Petty for Ticker

Evie Fehilly and Katherine Tozer for Period Drama

Jim Reeves for Snickered

Best Short (winner to be chosen by DI Ray, E.R. and Bend It Like Beckham star - VIP jury member Parminder Nagra)

The One Note Man by George C. Siougas

Blondi's War by Lee Dilley

Plaggy Bag by Alex Withers

Barricade by Alice Johannessen

Kamerad by Toby Kearton

Bunny Jake Is Missing by Shane Grant

Ticker by Thom Petty

Rushed by Nadine O'Mahony

Awards tickets to the ceremony are now available here https://www.midlandsmovies.com/awards-tickets

Why The Phantom Menace is still the best Star Wars prequel

Mon, 15 Apr 2024 16:56:34 GMT

A long time ago in a cinema far far away from the Midlands, like the rest of the globe I was in a queue and excitedly anticipating watching the first Star Wars film to be released in 16 years.

But very much like the rest of the globe too, it was soon very clear that this wasn’t the Star Wars we grew up with.

A messy film seemingly without focus, an egregiously unfunny comedy sidekick and a plot about federation trade routes, The Phantom Menace did actually receive some positive reviews on its release ( 4 star in Total Film ) but it’d be extremely generous to say it’s fared less well with fans and critics since.

But there’s always been something about it that, for me, still makes it the best of the three prequels George Lucas gave us at the turn of the millennium.

I’ll try not to cover too much old ground in this re-visit, as the films have been analysed and re-analysed to death. And this is definitely not a reassessment of the film as some kind of overlooked masterpiece. It’s not even close. Yet I have felt this way since 2005 when the turgid trilogy ended and although at no point do I consider TPM to be good cinema, it’s the one that stands out against the others. But why?

Red Letter Media’s Mr. Plinkett breakdown is still the gold standard for a film-based critique of its flaws but I do believe it to be interesting and the best of, pardon the Star Wars pun, the bad batch. Although to be fair, best of the prequels is like best of the turds I’ve shat.

But why would I even consider such a spicy take? Well, there’s a few reasons, but the foremost is that it’s the only one that’s memorable. That’s right. When asked what people like about the prequels, it’s almost entirely elements from The Phantom Menace.

The Podrace. Darth Maul. Duel of the Fates. Costumes and locations. Production Design. It’s all here and it’s all very good. Its huge cultural impact again is why I like it the most. We haven’t memory-holed this film like Avatar. Whether for good or bad it’s still the only prequel I can really remember much about. Clones? Endless animated CGI. Revenge of the Sith? The final Vader breath. Anything else? Not really.

But there’s more than just that. When the DVD was released it contained perhaps one of the best Making Of featurettes ever seen. The amazing behind the scenes footage from casting to spaceship model work laid bare the tremendous passion that went into the production. But it also had the kind of intimate exposé you don’t really get anymore. From Lucas’ over-tinkering in the editing room, to the first rough-cut viewing disappointment, it revealed the team’s frustrations and problems far more than the back-slapping self-congratulatory snippets we are fed today.

And it even created a few memes that stuck in the cultural sphere too. “It’s like poetry, it rhymes”, “He’s a funnier character than we’ve ever had before” and “I may have gone too far in some places”. They’ve not reached “jump-the-shark”-like status in our lexicon yet, but if you’re a fan you’ll know them.

But the Making Of also presented the authentic thinking behind some of the genuinely good parts – the intricate costumes, the sumptuous production and model design (led by the now legendary Doug Chiang) and the location shooting all showed the outstanding level of creativity involved.

Shooting on location would soon be a rarity in the Star Wars films until JJ Abrams’ The Force Awakens. Unfortunately, Lucas favoured the flexibility (and ease) of the increasingly cartoon-like computer generated imagery from the comfort of his director’s chair. But do check out the huge amount of innovative puppetry, tangible practical effects and detailed sets, buildings and locations from this film in these 150 behind the scenes photos .

The action is often exhilarating and the well-received Podrace was said to have been inspired by Ben Hur – but also take a look at this George Lucas student film involving a sports car below. Now THIS is Podracing!

The sequence itself pushed forward digital and traditional matte painting work as well as animatics to help pre-edit sequences. But it also retained the tangible practical models that made the original such a visually pleasing experience. Sadly, this look ended when Lucas moved to shooting the next two episodes on digital cameras instead of normal film stock.

And its legacy continues to this day. The Podrace’s Beggar’s Canyon is mentioned as the place Luke hunts womp rats in A New Hope as well as the place Din Djarin (“Mando”) tries out his Naboo starfighter in The Book of Boba Fett and also where Obi-Wan rides into at the end of Kenobi. Seen much of planet Utapau recently?

Another highlight is composer John Williams’ stirring score, written in just 4 months. Whilst Annakin’s theme contained musical clues from Vader’s motif, did you recognise the end celebration theme with Chancellor Palpatine? Well it’s Williams’ dark side theme sped up and put into a major key! And The Duel of the Fates is timeless Star Wars with the only shame being that this intense choral symphony masterpiece has rarely been used since.

The musical sounds were complimented by Oscar-winning Ben Burtt’s 1000+ sound effects mixed at Skywalker Ranch. Languages, robot voices and an update of the lightsaber “buzz” (an accidental noise Burtt stumbled across 20 years previously when a microphone got too close to a television set) all help create the world-building required. Specifically, the Podracer’s gear-shifting and propellor noises are a standout.

The film had the most amazing trailer too. I remember awaiting its showing on ITV’s GM-TV in 1998 and only being able to watch it once on my 14” Sanyo CRT as I didn’t have a blank VHS to hand to record it.

And I still want to see the film that this promised - as the one we got didn't seem connected to the exciting clips featured in the teaser. Yet, it was still a game-changer in promotion and generated huge hype for the film.

Before the dark times, before the Empire and before the internet (for me at least), there were reports at the time which shared the news that cinemas reported a 75% increase in ticket sales during the trailer’s release. Turns out the public were paying full price for a movie, then walking out after TPM trailer was shown! Now that's fan commitment you don't get with a social media trailer drop.

But for those with access in the early days of the world wide web, it was a huge milestone for the internet. 6.4 million downloads of the trailer took place in just three weeks. With Steve Jobs describing it as "the biggest Internet download event in history".

The actors (not the acting) are fantastic, but admittedly not even they could do anything with the material they were given. Yet each came off the back of some of the most amazing films of the 90s.

Natalie Portman (Leon) and Liam Neeson (Oscar-nominated for Schindler’s List) were hot properties. Ewan McGregor was coming off Trainspotting (and being the nephew of Denis “Wedge in the original film” Lawson wouldn’t have harmed), whilst Samuel L Jackson had Pulp Fiction on his CV. Jackson even asked to be in Star Wars in an interview during a 1997 episode of Channel 4’s show TFI Friday. (I’ve searched the web for the interview without success – I do remember watching it at the time though and we have this short clip, which does prove he was at least on the show ).

The sad treatment of the young Jake Lloyd as Anakin Skywalker was indefensible though. The actor received a huge amount of unjustified criticism for someone at such an age and his subsequent personal troubles – exacerbated by sci-fi bullies – still represent a huge blot on the SW fandom.

The Rise of Fanfilmers

Also in the positive column for creativity was the film kickstarting the expansion in the home-grown re-edit. Fans upset with Lucas’ interpretation of the galaxy used the new DVD format to get their hands on digital elements where they could re-cut, re-edit and re-score their own versions. Hoping to improve the movie, many did their best to remove unfunny alien Jar Jar Binks or take care of the many narrative structural problems. The unseen Topher Grace cut is apparently pretty decent (trimming the film to a brisk 85 minutes) and the actor/hobby-editor even continues to test this format many years later .

Personally I’ve seen just one fan edit of the movie which removed 20 minutes of utter nonsense making it perhaps 10% better. You can’t polish a turd, it seems.

We also saw the return of (the jedi) artist Drew Struzan who had worked on the covers of the 1997 Special Edition re-release posters (and also famed for the Indiana Jones, Back to the Future, The Thing & Harry Potter posters amongst dozens of other classics too). He delivered another iconic worldwide poster – painted in his imitable style – but even more memorable was the brilliant minimalist Vader-shadow one sheet. Again, a unique image that was replaced, almost universally in blockbusters, by the Photoshopped floating heads-style.

But let’s not overegg this. It has some truly horrendous qualities of course. The acting is abysmal at best (the strange monotone cod-English accent delivery is still a massive mystery to me), the film’s structure is all over the shop (do we even have a central character?) and the dialogue is atrocious (“storm’s coming, Ani”, “Yippee” and “Mesa going home”). This despite the rumour Carrie Fisher worked as a script doctor to polish the script and refine dialogue.

And none of us can forget Jar Jar Binks, the horrible Gungan in the room. Ahmed Best (one of the nicest guys in the industry) wasn’t given a chance really and I feel for him. His unappreciated pioneering embodiment of a CGI character had its thunder stolen by Andy Serkis’ excellent turn as Gollum just a few years later.

And fuck me, Ben Quadinaros may just be the stupidest-looking character in any SW media – one friend of mine simply describing him as a “crisp with legs”.

Attack of the Clones

And as so often, the film industry took the wrong lessons from any of the film’s more positive elements. CGI cities, unnecessary grand operatic universes and attempts at fully computer-generated characters soon became a theme of subsequent blockbusters. Lucas’ fantastic innovations were used to their worst possible excesses in cinematic dirge like Chronicles of Riddick (2004), Dungeons and Dragons (2000) and Battlefield Earth (2000).

But do check out the hilarious clip of Peter Serafinowicz who provided Darth Maul’s voice (who only actually has 3 lines in the movie) as he talks with podcaster and comedian Richard Herring about his experience on the film. It's pure gold as Serafinowicz describes George Lucas being in his audio recording booth, how he had to pay for himself and friends to go to the movie’s premiere (!), throwing some shade at (an incredibly creepy) Terence Stamp and then being so obviously disappointed when reading the opening crawl.

And with the re-release hitting cinemas in just a few weeks – not on May the Fourth (be with you) but one day before on May 3 ^rd (my birthday by the way) – I’ve already got my tickets ready to be disappointed in whole new ways. One thing I wasn’t disappointed about though was a recent visit to Italy last month. I visited Reggia di Caserta just outside Napoli. This opulent building has been used in many productions, including Angels & Demons, but may be most well known as Queen Amidala’s Naboo palace in Episode I. Highly recommended even if you don’t like Star Wars I assure you.

So, as mentioned up top, Star Wars Episode I: The Phantom Menace is not a great film. It’s not even a good one. But this article wasn’t trying to explore that in particular. Just that it's better than the rest. And for me, I think its positive elements far outweigh the CGI romance-mess that was Episode II and the overblown try-to-course-correct faux-seriousness of Episode III.

But of course, everyone already had their own version of what this series should be in their minds. These were built up from the few hints we all remember in the original trilogy. Knights. A fall to the Dark side. A peaceful time before the Empire. We had all conjured up a prequel in our heads as kids long before these movies were released.

Rather obviously then, a 20-year build up couldn’t be anything but a disappointment really. Yet, I still can't shake the feeling that with some (perhaps a lot) of tweaks, Lucas could have really set a new standard with this one. And to this day, it's clearly the best of the 3 prequels he made. Mesa sure of it.

Michael Sales

Review of Imaginary and Baghead

Sat, 13 Apr 2024 16:55:44 GMT

We take a look at 2 new movies coming to cinemas and UK home release this month in April 2024. Check out our thoughts on horrors Imaginary and Baghead.

Imaginary (2024) Dir. Jeff Wadlow

Jessica (DeWanda Wise) is an author plagued by horrific nightmares of Simon the Spider from her children’s books and it’s this fear of made-up childhood friends (and fears) that permeate throughout this new Blumhouse frightener. With her two daughters, Alice and Taylor, the whole family move into Jessica’s childhood home but soon Alice heads to the basement to uncover Chaucey - a lonesome scruffy teddy bear in need of some love. She promptly bonds with the ‘loveable’ plaything, but as these things tend to go, what seems like harmless toy fun develops into a more disturbing relationship. And with Alice soon requiring the intervention of a child psychologist, the link between our young and old lives - and perhaps other worlds altogether - begin to blur.

But although it plods along with its fine concept, it soon jumps the shark with the introduction of the Never Ever realm and I have to be honest, it lost me completely. It also looks like they ran out of money too, with cheap sets and frankly terrible lighting. Monsters range from the great (a very creepy spider) to bad (a giant ted who looks like one of the Banana Splits). And looking at Wadlow’s previous directing outings (Non-Stop, Bloodshot, Truth or Dare), I’d “imagine” that if you lost your director for any reason, then you’d ask him to come in and finish off your film knowing you’re in a safe pair of hands. However, that safety is far too bland for this flavourless frightener. Here’s hoping that John Krasinski’s more comedy-focused IF (Imaginary Friends) may be the Finding Nemo to this Shark Tale. Less Drop Dead Fred than Stop the bed ted.

★½

1.5 / 5

Baghead (2024) Dir. Alberto Corredor

This UK chiller sees a young woman (The Witcher’s Freya Allan as Iris) inherit a pub after her father (Peter Mullan, Tyrannosaur) passes away, but all is not as it seems after the discovery of a she-devil contained in the bar’s basement. This Baghead - cos it has a bag on its head, see? - is a demonic entity that is able to shape-shift into dead people for just a couple of minutes and Iris sees a business opportunity to make some dough from grieving loved ones.

But a stipulation that limits these encounters to 2 minutes means there could be deadly consequences if you overrun the time, which of course happens almost immediately. Baghead has a number of positives in its favour. There are particularly good effects on the monster’s creepy hands and an unsettling neck stretch was a gory gruesome highlight. The concept is solid and the whole thing well shot with effective moody lighting. Aside from that though it’s a rather deflating experience. The croaky dialogue exacerbates the non-existent character development and no action or drama seems the slightest bit realistic. It’s a good third into the film before anyone asks why there is a woman in the basement. And once discovered no one seems the slightest bit concerned.

Apparently an expansion of the director’s short, it unfortunately probably should have remained one. A dry escape room of a film, a fan of interesting creature designs may find they can overlook the film’s flaws but in general it’s a rather baggy affair indeed.

★★

2 / 5

Mike Sales

Midlands Review of Ship of the Damned

Fri, 05 Apr 2024 07:30:00 GMT

Ship of the Damned

Directed by Steve Lawson

2024

Creativ Studios

Not every film needs to have a deep message or do something earth shatteringly original. In fact, I would argue that one of the biggest problems with modern filmmaking is the complete lack of 90-minute thrill rides. You look back to the 70s, 80s and 90s and there were countless well-made, quick action and horror flicks that didn’t bring anything new to the industry, but which were entertaining and often gave young screenwriters and directors the chance to cut their teeth.

Nor is there an issue with jumping on trends and turning around fast turnaround, low budget films. This was the style of Roger Corman – without whom we might not have some of the greatest directors and actors of the last generation.

Credit then to Steve Lawson, who has headed up Creativ Studios in Leicestershire since 2008, and worked with High Fliers Films to put out an extensive catalogue of films – which have made their way onto streaming services and physical media. It’s something that a lot of UK-based, independent writers and directors would kill for.

You can almost feel that ‘but’ coming can’t you? But Lawson is missing some of the key ingredients that make this plucky, independent production dream work. For starters, Ship of the Damned, the latest film to come out of the studio is pretty poor. The script is bogged down with exposition and plot holes and the direction is lazy – often reusing simple shots that add nothing to the film.

The paper-thin plot involves a 17 ^th century pirate ship cursed to sail the seas forever with its immortal, cannibalistic crew. After being found by the coastguard and dragged into port at a nameless seaside town, the crew takes maritime expert Elena (Hannaj Bang Bendz) and coastguard desk jockey Michael (Jacob Anderton) hostage, aiming to procreate with one and eat the other.

That’s it essentially. There are some minor points about Elena and Micheal’s past relationship – only added in, it seems, to give the characters something to discuss between the incredibly short action sequences. The various fight scenes make up about five minutes of the total runtime.

What’s particularly annoying is the fact that Bendz and Ben Manning (who plays Jacob, the captain of the ship) both bring a decent amount of physicality to their roles. Lawson could have easily filled a chunk of the running time with extended fight scenes. These don’t have to be big CGI extravaganzas – in fact it would surely be more appropriate for the themes of the film for them to fight primarily by hand, or with swords.

Instead, Lawson includes massive stretches of talking, often reiterating many of the same plot points, or having characters discover things that have been blatantly obvious for most of the film. The cast do their best with the script – Bendz is a highlight and carries much of the film – but there’s little here to recommend.

It's such a shame because Lawson has a toolbox that many would kill for. And there are moments of flair here. Despite filming in landlocked Leicestershire, the use of physical effects and CGI does make the ship convincing, but that’s really the best thing that can be said about it. Lawson’s insistence on following a rather stale formula with his films means that Ship of the Damned is another missed opportunity for the filmmaker.

★

1 / 5

Matthew Tilt

Twitter @Matthew_Tilt

Previous Midlands Movies Awards winners and nominations

Wed, 03 Apr 2024 16:21:24 GMT

Click links below for full lists of previous Midlands Movies Awards winners and nominees

2024 Midlands Movies Awards full nominations (click here)

2023 Midlands Movies Awards full nominations (click here)

2022 Midlands Movies Awards full nominations (click here)

2021 Midlands Movies Awards full nominations (click here)

2020 Midlands Movies Awards full nominations (click here)

2019 Midlands Movies Awards full nominations (click here)

Midlands Movies Awards 2024 jury panel

Wed, 03 Apr 2024 16:08:56 GMT

Every season the nominations and eventual winners are chosen by an experienced jury made up of a wide-range of industry experts. Previous jury panel members include Shane Meadows (This Is England director), Debbie Isitt (BAFTA-award winning director of Nativity films), Steve Oram (actor/writer), Richard Billingham (Turner prize nominee & director of Ray & Liz), James Luxford (Radio Times film critic), Becky Adams (CEO Screen Northants), Dharmesh Rajput (Head of Birmingham Indian Film Festival) and Pin Cushion director Deborah Haywood.

Midlands Movies Awards 2024 Jury Panel

PARMINDER NAGRA

VIP JURY PANEL MEMBER

PARMINDER WILL CHOOSE THE WINNER OF 2024 BEST SHORT FILM CATEGORY

Parminder Nagra is a British actress best known for her star-making role as ‘Jess Bhambra’ in the film BEND IT LIKE BECKHAM, as well as ‘Dr Neela Rasgotra’ in the Emmy Award-winning TV drama series, ER. Born and raised in Leicester, Parminder got her start after joining the theatre company, Hathi Productions, which led to various roles in theatre, television, and film. She is also well known for her appearances in THE BLACKLIST for NBC, J.J Abrams’ ALCATRAZ, and more recently, her starring role in the female driven medical series, MATERNAL, for ITV. Other notable credits include Netflix’s BIRD BOX, Marvel’s AGENTS OF S.H.I.E.L.D., and 13 REASONS WHY for Netflix. This past July, Parminder completed the second installment as the titular character of the ITV series, DI RAY.

Sophie Ivanova (Birmingham Film & TV Market) is an award-winning producer, actor, multi-platform businesswoman and owner of Inspirit Productions Ltd. She is one of three filmmakers that launch the Birmingham Film & TV Market, an industry event that connects commissioners and distributors with writers and producers at any stage of their career. Over the years, she has worked closely with several film bodies in the Midlands towards the mutual goal of strengthening the film infrastructure in the region.

Matt Tilt (What's In a Scene film critic) is a freelance film journalist and co-founder & editor of What’s In a Scene - a weekly newsletter exploring the greatest scenes in cinema history. From classics and cult movies to underappreciated gems, Matthew has in-depth experience of film history and criticism & is committed to raising the profile of regional indie filmmakers through regular reviews, interviews & festival coverage at Midlands Movies, where he shares his passion for the local film community.

Michael Ellis (Award-winning filmmaker) is a Birmingham filmmaker who has written and directed a range of short films, including Corrupt which won Best Short Film (chosen by Shane Meadows) at the Midlands Movies Awards 2021. He also won Best Thriller Short for his film Breakdown at the Padova 4th Wall Indie Filmmaker Festival. Michael graduated Birmingham City University and immerses himself in world cinema and sees film as a tool for highlighting social issues and positive change.

Lee Nabbs (Mockingbird Cinema) is the Cinema Programmer at The Mockingbird Cinema in Birmingham & responsible for scheduling films to ensure a diverse line-up for movie-goers. His experience and for film has established the cinema as a main hub for independent film in the Midlands. Lee is also a founding member of the Birmingham Youth Film Network & Reel Brum – networks which support local filmmaking talent by providing resources and opportunities to creatives.

Poppy Abbott (Nexus Cast & Crew Network) is an actor and writer based in Birmingham and her debut play Blackout was performed at The Old Joint Stock and The Old Rep Theatre in Brum before being adapted into a short film (supported by the Birmingham Short Film Fund). Poppy is also Head of Marketing for Nexus Cast & Crew Network CIC as well as the co-founder of Untamed, a community supporting creatives and performers. And she also works as an acting tutor and facilitator.

Michael Sales (Midlands Movies) is the founder and editor of Midlands Movies. Set up in 2013, Midlands Movies is a hub which showcases a wide variety of talent from the region’s film industry. Mike has regularly appeared on BBC Radio Leicester and Derby and has provided support for filmmakers on the BACK IN programme in Birmingham. Based in Leicester, Mike is passionate that the Midlands Movies Awards are once again a place to honour and celebrate the best local film-making creatives in the region.

Midlands Review of Creek Encounters

Tue, 02 Apr 2024 07:59:37 GMT

Creek Encounters

Directed by Jason Brown

2024

Tricky Pictures

I’ll make no excuses for going into Creek Encounters with a high level of anticipation. I was lucky enough to review Jason Brown’s previous feature, Morris (now known as Ghost Track), which maximised its low budget with clever framing and subtle scares. With it’s far more ambitious plot, I was excited to see how Creek Encounters turned out.

To be honest, Brown has improved some areas but taken a small step back in others. Combining elements of The Faculty (Robert Rodriguez, 1998), The Thing (John Carpenter, 1982) and even some of the chemistry-based warfare of Breaking Bad, the budget limitations feel far more detrimental here than they did in Morris.

An alien spaceship crashes outside of Creek High, causing the staff and students to be trapped inside as the government shuts down the local area. When one of the intergalactic spiders from the ship finds its way into the school, it starts turning the humans into alien drones and the survivors are forced to band together to try and battle the attacking force.

There were moments where it felt like Creek Encounters should have perhaps been a 40-minute mini-feature. That’s a difficult thing to suggest, as the market clearly favours full-length films, and Brown has had success on Amazon Prime with Morris and is pitching this film to streaming services as well. However, cutting the runtime back would have allowed him to focus on the tense action sequences without stretching the limited budget to breaking point.

Instead, we have a lot of scenes of the cast discussing the alien invasion. Having brought many of the cast members from Morris over to this, there’s a good chemistry between them but some of these scenes feel like they have been spliced into the film out of order – with characters switching from hysterical to focused and ready for action, and occasionally re-discovering plot points that appeared obvious.

Some tightening of the script would have benefitted this film, as would have playing with the sound design a little more. You can tell that Brown really wants to show the aliens but as he proved with Morris, sometimes just hinting at a presence can have a greater impact.

The cast are good though – especially the younger cast members who throw themselves into the film. They have a great connection with the adult stars, meaning that where the occasional line is flubbed, the cast easily move around it, creating a down-to-earth atmosphere. A special mention should also go to Charlotte Wallis, who is genuinely unsettling as Maxine – the human form of the alien leader.

And Brown still has a real eye for his shots. Some of the fight scenes between the taken-over drones and the survivors are thrilling, with great practical effects – including a disturbing, melted lower face that has more power than some of the CGI effects in the film.

There’s so much talent on show here, and with a larger budget Brown could make an incredible sci-fi movie that does everything he clearly wants to do. Creek Encounters comes so close but has just a few too many limitations placed on it.

★★½

2.5 / 5

Matthew Tilt

Twitter @Matthew_Tilt

Review of Concrete Utopia

Sat, 30 Mar 2024 09:00:00 GMT

Concrete Utopia (2024) Dir. Tae-hwa Eom

This big budget extravaganza from South Korea was a box office smash in its domestic market, and was quickly picked up for a sequel – Badland Hunters – by Netflix. Directed by Tae-hwa Eom, who also co-wrote the film with Lee Shin-ji and Kim Soong-nyung, it follows the survivors of a devastating earthquake in Seoul as they try and group together in the only tower block still standing.

Much of the film follows Min-sung (Park Seo-joon) and his wife Myung-hwa (Park Bo-young). When the earthquake hits, Min-sung is drawn into the circle of Yeong-tak (Lee Byung-hun) who takes control of the tower block and implements increasingly conservative rules to keep outsiders out and the residents fed and watered.

While Concrete Utopia tackles some big themes, showing the residents of the tower block give in to their baser instincts when times are hard, Tae-hwa Eom never forgets to make the film entertaining and he masterfully switches between genres. There are some genuinely funny moments as the residents interact, and the moment when the earthquake hits (shown from multiple perspectives at different points throughout the film) is a showstopping set piece that feels both epic and terrifying in equal measure.

At the heart of the film though is a thriller-esque tale of survival, as the survivors group together. Rumours of cannibalism take hold; dark secrets are uncovered, and tensions rise to breaking point. There’s a point about two-thirds of the way through when you start wishing for a resolution, believing that the film has started to overstay its welcome, but there’s a final plot reveal that brings you back around by the end.

The film is bookended by socio-political statements about the nature of high-rise tower blocks, and the base nature of human beings. The ending in particular feels very on the nose, spoon-feeding the audience, but its not enough to negatively impact the overall piece, which gives the Hollywood machine a run for its money in terms of special effects and excitement.

★★★★

4 / 5

Concrete Utopia is on digital platforms 1st April

Matthew Tilt

Twitter/X @Matthew_Tilt

Midlands Review of One Night Rental

Tue, 26 Mar 2024 17:30:12 GMT

One Night Rental

Directed by Chris Annable

2024

GluBob Production

The heyday of 80s movies and culture are the inspiration behind a new feature film set at Alfreton’s real-life 80s Video Shop – a business specialising in the glory days of the video rental era.

Starring Bobby Furnis (as co-owner Chris) and actual co-owner Rob Lane, One Night Rental sees the exploits of the two men as they deal with the eclectic clientele who peruse the shelves of their video shop.

From seeking recommendations to checking out the latest action splatter-fest (or softcore porno), the place provides a hub for some passionate obsessives, all of whom revel in their love of retro flicks.

Fun will be had spotting all the references – not just the props and posters in the shop itself, but in the dialogue and subtle (and some not so subtle) nods to 80s films including The Terminator, American Werewolf in London and the Ewok film Caravan of Courage.

And from Rusty Lee to TV-am’s “Mad Lizzie” Webb via SNES video games and the Teenage Mutant Ninja Turtles, the script delivers a ton of fun cultural nods throughout.

Off the bat, One Night Rental is certainly a passionate project for the filmmakers and cast. Its closest cousin is probably Kevin Smith’s 1994 indie film Clerks which follows two store workers and the interactions they have during their day.

Much like that film, it’s shot in the filmmaker’s actual place of work and it’s a small-scale movie made with what feels like a lot of willing friends. This gives the film a very welcoming Midlands flavour yet does cause a few problems with the acting being *ahem* “unpolished”. It can therefore become a tough watch when many scenes involve a lot of film trivia being shared - and combined with a lack of a lead character per se, it’s a bit of a shaky production.

Despite some fun musical numbers, an escape room side quest, and a couple of inept criminals a bit more focus across the board could really help push the film, and especially its narrative, forward. At 80 minutes, I also don’t think much plot would be lost by trimming half an hour and speeding the whole thing up.

When a gangster (Rick Mallin) shows up quite late in the film, he donates a collection of tapes containing torture, which then forces the double act to get sucked into a far more dangerous world.

It’s also here where actress, model and scream queen Dani Thompson arrives to add plenty of much-needed cult glamour as the sultry but violent Mrs. Philby. And the film does ramp up towards the end with hostages, blood and guns and tense standoffs.

The film also includes a great soundtrack of rock anthems and mixes influences such as Wayne’s World, Spinal Tap and Be Kind Rewind which similarly revel in their own comedy chaos and haphazardness.

But its cheesy vibe and slightly ramshackle construction does provide some warm laughs and allows viewers to wallow in, and be a part of, the old-school recollections on offer.

Although it’s pretty slapdash, much like the VHS rental shop in Alfreton that inspired it, there’s a lot of heart and retro-love for the 80s gone into creating One Night Rental. If you’re a fan of the era and want some well-meaning skits dedicated to the time period, then you may find some throwback fun in its heaps of vintage video nostalgia.

★★★

Mike Sales

Review of The Borderlands, To Fire You Come at Last and The Moor

Tue, 26 Mar 2024 10:36:33 GMT

Midlands Movies writer Matt Tilt headed off for a day of features and shorts at Derby Quad's Darkness in the Fields festival in March 2024. Check out his reviews of the day's short films by clicking here .

But kicking off the day’s features was Paul Duane’s All You Need is Death – an effective and occasionally gruesome horror flick that is steeped in Irish folklore and read Matt's full review by clicking here. . For the rest, continuing reading below!

The Borderlands (2023) Dir. Elliot Goldner

A film that has become something of a modern cult classic in the decade since its release (and is now receiving the special edition treatment from Second Sight Films), The Borderlands had a difficult road to release. Uncredited co-writer Sean Hogan introduced the film, explaining how he was brought onboard to punch up the script after the poor response to the initial cut.

The one positive of that first cut Hogan highlighted was the chemistry between the two leads: Gordon Kennedy as the tortured, cynical Vatican investigator Deacon and Robin Hill as the easily spooked, jovial tech-guy Gray. And it’s really this relationship that makes the film. The banter between the two elevates the first half of the film above its found footage style (which by 2013 was already becoming something of a shorthand for quick, cash grabs).

Deacon and Gray have been tasked to investigate a remote church, which the priest believes is the site of miraculous happenings. Deacon is jaded from his time working for Vatican, quick to point out fakeries, while Gray is burdened with babysitting Deacon, whose past experiences have led to a drinking habit.

Once the scares do start to creep into the story, Goldner resists the urge to rely on jump scares. There are some, but these are primarily played for laughs, jolting a genre-literate audience with non-sequiturs that disarm them and allow the more subtle moments to take effect. The location and the use of analog equipment and sound throughout the story harkens back to Nigel Kneale’s The Stone Tape, and that same sense of ancient horror is imbued here.

However, the success of The Borderlands really does come down to the performances of Kennedy and Hill. Their developing relationship – from begrudging co-workers to friends – feels so real that when the film moves to its finale, the audience are 100% invested in the characters. Add to this one of the most unsettling and claustrophobic endings in recent memory, and The Borderlands more than earns its cult status as one of the best found-footage, nay, one of the best modern horror films. ★★★★★ (5/5)

To Fire You Come at Last (2023) Dir: Sean Hogan

Sean Hogan pulled double-duty at the event, following on his introduction to The Borderlands by introducing his own mini-feature To Fire You Come at Last which was produced by Severin Films. Hogan said that he had already been researching the mythology around corpse roads when Kier-La Janisse approached him – a serendipitous turn of events that led to the creation of this 40-minute black and white piece.

Of all the films shown on the day, this was arguably the most traditional folk horror piece – similarly to The Wyrm of Bwlch Pen Barras earlier in the day, it builds suspense through the unknown as the four characters (Mark Carlisle as Squire Marlow, Harry Roebuck as Holt, Richard Rowden as Pike and James Swanton as Ransley) carry the body of Aldis Marlow for burial.

It's a stunning film. The rich black and white cinematography adds a real depth to the darkness. When characters step out of the small circle of light afforded by the lanterns, they are completely swallowed up and this makes To Fire You Come at Last hugely atmospheric. Hogan is not interested in blatant scares, instead building tension through the dense script, which blends folklore, character backstory and class conflict into a verbose but highly entertaining stew. There are few surprises here; the plot moves towards an ending that has been clear from the outset. The joy here is seeing four excellent actors put their own spin on Hogan’s excellent script work. ★★★½ (3.5/5)

The Moor (2023) Dir: Chris Cronin

Rounding out Darkness in the Fields is Chris Cronin’s feature debut The Moor, working from a script by Paul Thomas. During the introduction to the film, Cronin noted that the original treatment had been in the vein of a found footage movie, something that Cronin had not wanted to do. It’s hard to argue that it was the right decision to strip away that style of horror filmmaking – apparent only in a few key scenes – as The Moor deals with some deeply disturbing material.

Clearly influenced by the crimes of Ian Brady and Myra Hindley, the film deals with the aftermath of a serial killer. Over two decades after the crimes, the killer is behind bars but the bodies of his victims have never been found. Bill (David Edward-Roberts), the grieving father of one of the children killed, has never stopped searching the moors and enlists the help of Claire (Sophia La Porta), who knew his son as a child, as well as the father and daughter psychics Alex and Eleanor (Mark Peachey and Elizabeth Dormer-Phillips).

The film’s strength is its earnestness. Cronin and Thomas treat both the true crime aspects of the story, and the more overt supernatural parts with equal respect. While its similarities to real life crimes are on the nose, The Moor does not revel in detail – a tragedy has happened, at a place that presents its own dangers and mythos.

Performances across the board are excellent, with both Porta and Edward-Roberts portraying the backstories of their characters with subtle expressions, quickly covered up by a determination to find the truth. However, the real standout is Dormer-Phillips, who is tasked with bridging the supernatural parts of the story. Her performance is incredibly mature and subtle – her character is a child forced to see things that they should not have to, but she also brings a certain innocence to the quieter scenes that give the audience a moment to catch their breath.

Cronin himself warned the audience that there would be no definitive answers in The Moor and he was right. While not a bad thing per se, there are some plot threads that are introduced in the very final moments, that are not only unresolved, but which feel thrown together – like there was supposed to be another twenty minutes to continue building up tension. It’s a rare low point in what is a stunning first effort, and those weaker moments in the final act are quickly overshadowed by an absolute gut punch of an ending. ★★★★½ (4.5/5)

Matthew Tilt

Twitter @Matthew_Tilt

Folking good horror - Darkness in the Fields Fest review

Tue, 26 Mar 2024 10:00:17 GMT

Always a reliable venue for genre showcases, Derby’s Quad cinema held the first in-person Darkness in the Fields event on the 23 ^rd of March, bringing together a host of modern examples from one of the oldest, and harder-to-define genre offshoots: folk horror.

The day kicked off with a short film showcase, bookended with two films that were faithful with their modernisation of folk horror tropes, with two shorts in between that integrated humour between the scares.

Sarah Laita’s BecoME is a neat little chamber piece that follows two friends, Toya and Sophie, played by Amber Goman and Funso Foluso-Henry respectively, who take a trip into the Lapland wilderness to disconnect from technology and track the Northern Lights.

Following a dose of LSD, Toya’s ulterior motives start to come to the fore, with Laita showing a knack for developing a sense of dread from the opening moments. Both leads also have an easy, believable chemistry, and while the film isn’t given enough time to fully build on the folklore that informs the plot, or the backstory of Toya which obviously plays a role in proceedings, it’s an effective short that set the tone for the day. ★★★ (3/5)

Blackthorn , from director Christopher Ratcliff, plays with the theme of outsiders, moving its plot to the leafy suburbs. Sidsel Rostrup plays Tobi, who is more reluctant to leave her city lifestyle than her husband Wes (Kahmal Seasley), but she makes an effort when the neighbours invite them to a get-together.

Ratcliff injects the plot with a very British sense of politeness, as Tobi feels unable to refuse the strange requests of the locals but has little intention of following through. This provides well-placed moments of humour throughout but never at the detriment to the tension, which subtly builds right up until the last moments. ★★★★ (4/5)

(continues...)

Focusing on the comedy, Blight from Craig Sinclair, follows a medieval farmer cursed with hiccups after urinating on a witch’s hovel. Chris Jenkins and Frankie Gold put in game performances as the afflicted farmer and his long-suffering wife and, for the most part, the film manages to balance its humour with a clear love for the genre.

As events become more absurd, the humour becomes broader, often resorting to gross-out bodily functions, which will no doubt take some people out of it. However, look beyond this and there is a real attention-to-detail, with period-accurate clothing, great use of the locations and a genuinely creepy performance from Izzie Major as the curse-flinging Mother Goose. ★★★ (3/5)

I’d been lucky enough to see the Welsh-language horror short, The Wyrm of Bwlch Pen Barras by Craig Williams before as part of Arrow Player’s short film collection, and it was a joy to see it on the big screen. Shooting on Kodak 16mm film, Williams’ short already looks and feels like a lost-classic from the 60s and 70s and builds an almost unbearable level of dread as three men (Bryn Fôn, Seán Carlsen and Morgan Hopkins) are tasked with leading a sacrifice up the Bwlch Pen Barras mountain pass to appease an evil entity.

While we never know exactly what the sacrifices are appeasing, the dialogue informs us that this is a regular occurrence; one that for some reason is becoming more frequent. It's a genuinely stunning piece of work, never revealing too much and instead relying on clever, tight scripting to build dread. ★★★★★ (5/5)

Matthew Tilt

Twitter @Matthew_Tilt

Click here to read Matt's thoughts on the day's feature films

Review of The Origin of Evil

Mon, 25 Mar 2024 17:00:00 GMT

The Origin of Evil (2024) Dir. Sébastien Marnier

The fight over inherited wealth is a theme that has seen a resurgence lately especially with the excellent TV show Succession alongside recent movies Knives Out, The Fortress and The Estate. The Origin of Evil sits alongside these - particularly as they all have the same family portrait poster design (!) - and tries to include a few new twists in an attempt to stick out from this busy crowd.

But does it though? Well, partly. The film stars Laure Calamy as Nathalie whose lover is in prison. But she assumes her identity as her partner is the real but estranged daughter of a wealthy businessman.

Nathalie makes contact with the rich patriarch Serge Dumontet (as sleazy Jacques Weber) who invites her to his mansion and she has to battle the prying eyes of his daughters who view her with suspicion as they play their own games against their obnoxious dad.

From the outset, Nathalie begins to stick out as despite her claim to be a rich business owner herself, gives herself away as she tries to help the family’s maid and displays her kindness to others. How could she be the real daughter or part of this family if she’s not such a shit?

Well, as this occurs, the father meanwhile seemingly does everything he can to be despised by his live-in daughters from stating he “wanted sons” to lashing out violently and belittling them at every opportunity. As an outsider with a particular agenda, Nathalie however cozies up to him with the audience questioning how far she will be willing to go in her ruse.

But the influence of the house and its hidden secrets means nothing is as it seems. Shotguns on walls hint at a murderous streak in their shared history, whilst the opulent house and extravagant wine cellar appear to hide all kind of dark clues. And as Nathalie ingratiates herself in the home, the father's initial warm welcome is undercut with scathing remarks (“gold-digging”) and a subtle hint, or unsubtle in a particularly uncomfortable leg massage scene, that she is not the only one playing dubious games.

The film tries to increase the intrigue as Nathalie’s plans begin to fall apart and again Laure Calamy shows why she is such a fantastic actress with a mesmerising screen presence - as she was in Full Time ( our review ) - as she plays a desperate woman holding her own as a crazy world spins around her uncontrollably.

But like the suspicions and doubts raised within the family dynamics, the film also feels a little “off” too. The twists and turns are never really that surprising and the fact we are told explicitly early on that Nathalie is an imposter takes much of the mystery away.

And despite the cast delivering what’s on the page well, the plot on the page isn’t well translated into some kind of indefinable narrative ‘energy’ that truly engages and propels the story forward.

The Origin of Evil ends as well shot and acted slow-burn French drama-thriller that mostly entertains for a few hours in a harmless way. But the most frustrating aspect is the potential it hints upon but never really comes to deliver. Not an entirely wasted opportunity, and the eccentric characters will pull you through until the (slightly ludicrous) conclusion, but I just wished I liked it more. If this doesn't sound up your street then stick with Succession.

★★★

3/5

Michael Sales

The Origin of Evil is in cinemas 29 March

Review of All You Need is Death

Mon, 25 Mar 2024 11:16:29 GMT

All You Need is Death (2024) Dir. Paul Duane

Paul Duane’s All You Need is Death explores one of the more difficult to film aspects of folk horror – how these tales are passed through the generations. It follows Anna and Aleks (Simone Collins and Charlie Maher) who travel around Ireland collecting rare folk ballads.

When they encounter Rita Concannon (Olwen Fouéré), who performs an ancient song that has been passed down through word of mouth, they – along with Agnes (Catherine Siggins) – unwittingly unleash an evil being.

Duane is clearly not short of ideas with this picture, and as such there are some plot threads that are not fully explored. One is the shadowy organization that Anna and Aleks are selling these ballads to – a quirk in the story that disappears after one scene. The entity brought into the world is also a little inconsistent, appearing as a physical, malevolent spirit in some cases, and then possessing others. It’s never egregious but dropping a few scenes to better explain this would have benefitted the film overall.

That isn’t to say the lore feels lacking – in fact mining the rich history of folk balladry provides a very tangible point for the film to build on. It also delves into the Irish language itself, which phrases love as something that possesses a person, rather than something that can be simply felt for another.

This love manifests itself differently in the characters, with good performances in particular from Collins and Siggins. Another standout performance comes from Nigel O’Neill, who plays Rita’s son. His role starts as an overly aggressive antagonist, but cleverly shifts as Duane explores the character’s childhood trauma. It’s a neat piece of character acting, which adds real depth to the film.

There are some bumps in the road as the film rattles towards its climax, but it makes up for this with some excellent practical effects as it veers into body horror. It might not always stand up to scrutiny, but All You Need is Death is a smart, at times very gruesome, horror movie.

★★★★

4 / 5

Matthew Tilt

Twitter @Matthew_Tilt

All You Need Is Death is in cinemas 19 April

Midlands Review of The Brutalist

Mon, 25 Mar 2024 10:23:50 GMT

The Brutalist

Directed & written by Joe Burden

2024

1950s Brutalist architecture emerged in the UK amid reconstruction projects of the post-war era and showcase a minimalist style without fancy decoration. And whilst the exposed unpainted concrete and plain geometric shapes of the movement may not seem an obvious focus for a film, Northampton writer-director Joe Burden has used it as a jumping off point in his new short The Brutalist.

The story sees Marcus (Ken Ogborn) as a somewhat arrogant aficionado of Leicester’s Brutalist landmarks, who looks into the world of the past as part of his love of photography.

As he shoots with his old-school camera in a park, he is joined by Diane (Paige Kimberley) who attempts to bond with him over their shared photography hobby.

But as she pulls out her camera phone, he accuses her of not being a professional, yet she gives as good as she gets in return. They then go their separate ways, neither convinced of the others’ argument about traditional film versus digital expression.

After a monologue about the Lee Circle car park – once the largest in Europe we are told – Marcus laments the lack of love and changing attitudes of this style over time.

The director sets up the first half in an artistic way shooting these building in a colour hue almost as monochrome as the stark constructions themselves. Shadows, sharply defined camera angles and many static shots convey a clear-cut comparison to these harsh buildings.

Yet for all his harsh facts, we see Marcus standing outside in the cold before noticing the woman from before as he looks through a pub window. But a coarse salutation sees Marcus being dismissed as quickly as he did with Diane.

The Brutalist is an interesting short with a very specific story to tell. A mix of discussion points about how the past and present are “structured” balances nicely with unconventional themes and there could even be a slight nod towards the ongoing debate about the film versus digital discourse in cinema.

For me, the ending lost its way and tone a little compared to what came before. Perhaps a moment of reconciliation may suggest that these two views can live side by side. No doubt the director wanted to show the lack of empathy from both sides, but it has unfortunately resulted in that negative tone being applied to both characters themselves.

As it is, both protagonists aren’t exactly the most likeable of souls, their feet stuck in concrete on their respective views. However, much like the ever-changing architectural attitudes over time, Burden mixes bleak beauty with a well-constructed short story suggesting that if we can’t build bridges with each other then the outcomes are brutal for all involved.

★★★½

Michael Sales

Find out more about the filmmaker at www.jbscripts.co.uk

And watch the full short on their YouTube channel below:

Midlands Review of All Roads Lead to Home

Sun, 24 Mar 2024 14:34:02 GMT

All Roads Lead to Home

Directed by Darren Scott

Positive Space Pictures

2024

All Roads Lead to Home, the latest feature from writer and director Darren Scott, is a feel-good comedy/drama that follows two aspiring musicians – Amy (Imogen Archer) and Matt (Frederick Szkoda) – who meet when both are going through a calamitous period of their lives and embark on a road trip together to find themselves.

It’s a bit of a bumpy path to get into film. Despite the excellent performance from Imogen Archer, who carries the opening segments, much of the scripting feels a touch too broad; exaggerating the calamities that befall Amy to the point where it strips a little bit of the pathos from the film.

The film recovers, eventually becoming a well-made, if predictable, platonic dramedy about embracing our wants and needs. But there is a sense that Scott had the middle and end of his film planned out perfectly and struggled with the opening gambit of bringing the two leads together.

Once the dissatisfied and jilted Amy eventually meets grieving, down-on-his-luck musician Matt their chemistry together binds the film. It’s easy to get drawn into the pair’s budding friendship and Matt’s earnest desire to follow in his parents’ footsteps provides a gentle, entertaining backdrop.

As All Roads Lead to Home is focused on the musical aspirations of its leads – as much as their own personal growth – the soundtrack plays a key part in the enjoyment of the role. Luckily, it’s here where the film really shines. The songs, primarily written by Darren Scott and Jason Havard, are genuinely good, and performed well by the cast.

The tracks avoid the cloying, tweeness of similarly musical films like God Help the Girl (Stuart Murdoch, 2014) and instead go some way to drive the narrative forward.

As we build to the finale, there are a few roadblocks. Primarily these are some bizarre choices for the character of Matt, including checking Amy’s phone, which happens twice but is never believable. While no doubt designed to highlight his insecurities, the excellent performance from Szkoda negates much of this.

It’s possible that the script would have benefited from some minor tweaks, especially after seeing the chemistry between the two, and instead had Amy’s own feelings towards her cheating ex – which have been built up more fully – drive the temporary wedge between the two leads.

Still All Roads Lead to Home is a gentle and satisfying film on balance, which achieves pretty much everything it set out to do. Once the plot is fully underway, it overcomes the more artificial-feeling conflict points and, honestly, it’s a joy to see two actors having so much fun on screen. The performances of Archer and Szkoda truly lift this film.

★★★

3 / 5

Matthew Tilt

Twitter @Matthew_Tilt

For more info check out the film's website and also the trailer below.

www.allroadsleadtohome.com

Interview with filmmaker Darren Scott

Wed, 13 Mar 2024 12:14:02 GMT

Midlands Movies spoke to local filmmaker Darren Scott about his new feature film All Roads Lead to Home, the production challenges of making a film over six years and how other budding creatives shouldn't limit themselves when tackling big projects.

Midlands Movies: Hi Darren, can you tell our readers a little bit about yourself?

Darren Scott: Hi there. I was born and raised in Solihull, and apart from 3 years at Durham University, I have lived all my life here in the Midlands. I initially worked in the music industry, as a music producer and songwriter before moving into composing music scores. In 2003 I wrote the soundtrack for a theatre production of Closer and that sparked an idea for a music-based play – Consequences - which I co-wrote and ended up, without any prior training - directing. This started in interest in directing and the theatre was a wonderful place to learn, experiment and develop my own style.

That's great. And how long have you worked in the film industry?

One of the plays I worked on was a comedy about testicular cancer called Hanging In There, and in 2014 there was a chance to make a feature film version of it. It was an unconventional entry into film as I’d had no prior experience. I hadn’t even made a short film. You can see a pattern developing here. It turned out to be an excellent way to learn how not to make a film. In 2018, I started a new project which ended up as my second feature film. All Roads Lead To Home.

So do you specialise in any particular genre?

Interesting question. I am not drawn to genres at all – more to a specific challenge of a project. Every play I took on was either original or one rarely staged due to its difficulty and that crossed several genres from comedy to thriller to horror. What I have always been fascinated with was creating a sense of realism regardless of the subject – and the ability to draw an audience into your story so they are forgetting they are watching a film or piece of theatre is what excites me.

And what was the inspiration for your new film All Roads Lead to Home?

In 1989 I undertook the first of several tours with my band The Untimely Men. (Easter Egg: You can hear a live recording from one of these gigs early in the film and if you’re eagle-eyed, one of the CDs that Matt scans through in the van carries the name of the band). We thought we were a great band – in reality we were terribly deluded – but without any planning we got in a van and travelled around the UK from town to town, playing in pubs for food and petrol. You couldn’t do that now.

I liked the idea of writing about nostalgia and a script slowly developed using events from these tours. The first script felt like an InBetweeners film, so I decided to reframe the events around a girl and boy in a platonic buddy movie. Bands are like being around siblings, so this was an original idea I could work with. A lot of the film is based on real events from these tours.

continues...

And given that has led to lots of music within the film, how did you approach this unique aspect?

Originally, I had intended to use The Untimely Men songs, but as I said previously, they weren’t good enough to base a film around. I knew I had two musical challenges. For the first, Matt and Amy (either separately or together) required several songs which they would perform diegetically on camera. These needed to be original, and largely acoustic in nature. For these I reached out to a colleague from my theatre days – Jason Havard – and challenged him initially to write three acoustic guitar songs for Matt. Work on this started early 2019 and within a week or so he delivered the two songs you see Matt perform in the film as well as the amazing main song – Better By Your Side. He stayed on the project to write the other songs. Since I hate exposition in films, we decided we could use the songs to let the audience know where the characters were emotionally throughout the story – and this is responsible for so many of the feel-good moments in the film.

For the second challenge, I wanted to revisit the idea of nostalgia by using the music of a genuinely 1980s band. It turned out this would be more expensive that I thought it would. I was introduced to Nick Doyne-Ditmas, a London-based musician – who was a session musician from that decade. He had some tapes that had never seen the light of day from 1988 – and three songs from these sessions became the basis for a mythical band called New Town Scene. Nick worked with Bafta-winning composer Sönke Prigge and singer Zoe Gilmour to write three new songs in the same style including the title track of the film.

In terms of filming, we recorded and mixed the tracks in advance - and we used playback on set for the actors and musicians to perform to, which ensured the visuals were always in sync with the music. For the band sequences, this meant dozens of takes to cover all the musicians. I am particularly proud of my editing on the gigs as it looks like they were shot with multiple cameras instead of one.

Getting these types of large productions off the ground can therefore be extremely difficult for independent filmmakers. How did you tackle that?

I had never qualified for any theatre grants and I knew I was never going to qualify for any film grants. I had a great story to tell, and life is too short, so I decided the only way to make this film was to raise the money myself. This is the reason it’s taken six years to complete.

And you mention making the film took 6 years. How did you manage such a long period of production?

I started work on the film in February 2018. As I’d never written a script before, that part of the process initially took 9 months – at which point it went to a script doctor and his first response was “you’ve never written a script before, have you?” He suggested some books and I studied them and then rewrote a new script which is essentially what we ended up filming. By now it was September 2019. Casting and pre-production then started. We also started to record the music in March 2020. I had intended to start filming in June 2020, but COVID delayed the production for a year. We were delayed twice more by positive tests and we crucially lost the summer which we needed for the fete and rave scenes. We eventually finished filming in August 2022.

Editing started in October and the original cut was 2h25. It took several months and some painful cuts to get this down to 1h40 and it was handed over to post-production teams for audio and grade work in May 2023. The Film was premiered in November 2023 and finally finished with changes and fixes in February 2024. Nearly six years to the day! It required patience more than anything. Persistence at times as it would have been so easy to give up. But what was absolutely vital was a clear and unerring vision throughout – I always knew what film I wanted to make and the end result is pretty close to that initial goal.

The filming timescale was actually 14 months during which we had 9 months of delays but the main headache was continuity of the main actors (hairs, makeup etc) and props (Camper van).

continues...

Can you explain how Covid (and other factors) impacted the production during that timeframe?

COVID could have stopped this film in its tracks, but in reality it probably helped it more than it hindered. For a start it gave me an unexpected extra year of funding which greatly raised the production levels. Imogen Archer (Amy) and Frederick Szkoda (Matt) spent a year on zoom rehearsing and developing a strong friendship which translates so magically on screen. We’d probably not have benefited this way without the delays. By the time we could get into the studio to work on the songs, they were already recording in character and I knew there and then we were on to a winner.

And so what’s next for the film?

Having taken so long to get this film from idea to completion, I now want to enjoy the journey of taking it to festivals around the world. I especially want it to play in as many cinemas as possible – it looks and sounds so great on a big screen.

Finally, do you have any advice for any local filmmakers looking to start their own feature and the resources required?

Usually I’d be here and say – limit your idea to a single room, 2 characters, keep it simple – don’t be too ambitious and shoot a film within these constraints. But I managed 32 locations in 28 days of principal photography. We spent 15 days in a studio and packed 25 original songs into a film. Compared to the other idea I had at the time, this was far more ambitious. Whereas I learnt how not to make a film on my first, I definitely learnt how to make one with this one. So maybe the key is not to limit yourself. I think it largely depends on how determined you are to make a film.

Having a clear vision is a must because all films – even short films – take a long time to complete and it’s easy to lose sight of what you want to achieve. I had to learn the skills to realise my vision for this film since I often couldn’t afford to hire experts to come in and do it for me. I think local film festivals have proved a great starting place for resources – I prefer to use Midlands crew and cast where I can. They often don’t need hotels, and don’t usually cost too much in travel costs. This, along with catering, accounted for 15% of my entire budget. Local venues are usually more accommodating than you think – by comparison I spent 2.5% of my budget on locations.

Money is of course what holds back most filmmakers. I could literally write a story of the sacrifices I’ve made to save the money to make this over the past six years and you wouldn’t believe it was true. In all honestly, I’m not sure I could make a film this way again and hopefully by pushing this film to the next level we might stand a chance to recoup. At the very least I will have a strong calling card to get me talking to any prospective investors next time.

Thanks for your time Darren and best of luck with the film.

Thank you

Check out the latest news on All Roads Lead to Home here www.allroadsleadtohome.com and watch the film's trailer below

Kinky Boots - A Naughty Northampton Retrospective

Mon, 11 Mar 2024 12:38:45 GMT

“How far would you go to save the family business?”

Despite us championing the cause for over a decade now, Northampton sadly doesn’t have a long list of film credits or shooting locations to its name. IMDB lists some episodes of Dr. Who and sitcom Keeping Up Appearances . Although the home-town of comic book legend Alan Moore (Watchmen, From Hell) was used extensively in The Show - one film that the reluctant writer did put his name to ( our review ), they are still few and far between.

However, one movie in particular stands out as it not only fully embraces its location, it recounts the real-life story of an important part of the city’s history.

Even since Medieval times, Northampton has been the focus of British shoemaking. 250 firms in the county were registered in the 19th century alone, but unfortunately over time these slowly dwindled away.

And it’s here, where the 2005 movie Kinky Boots kicks off. The comedy drama was a sleeper hit starring (now Hollywood superstar) Joel Edgerton as Charlie Price, a factory owner who had to diversify his bland products to stay afloat.

The origins of the movie began when BBC show “Trouble at the Top” caught the eye of the filmmakers. The documentary featured Steve Pateman (renamed Charlie in the film) who was struggling with the possible closure of W.J. Brooks Ltd, a family-controlled factory in Earls Barton facing large redundancies.

The Golden Globe-nominated film shows how Charlie forms an unlikely partnership with drag queen Lola to try and save his business. Moving away from the formal dress shoes his shoe-making firm was known for, Charlie realises the potential of a new market to produce custom footwear for drag queens.

Cast

In the movie, the straight-laced Charlie is played by Australian actor Joel Edgerton, who despite his Ozzie-origins does a decent British (although not necessarily Northampton) accent in the film. Over time he’s become one of tinsel-town’s hottest properties, having featured in the Star Wars Saga, Black Mass with Johnny Depp and written, starred in and directed his own movie The Gift (2015) and co-wrote and starred in Netflix’s The King (2019).

Starring as the flamboyant drag queen Lola (Simon) is an almost unrecognisable - certainly when in drag - Chiwetel Ejiofor. Now a CBE, BAFTA and Laurence Olivier Award-winner and with nominations for an Academy Award and five Golden Globe Awards, the actor embraces an important role that explores difficult ideas and personal stories that are still pertinent today.

Despite there never being anyone resembling Lola in real-life (the part was dreamed up by the writers) the film parallels Simon’s story with Charlie’s life, seeing them as two sons who are failures in their respective father’s eyes. And despite this deviation from history, the movie tackles topics like prejudice and acceptance and Ejiofor should be proud of a role he made his own - bringing respect and dignity to what could have been a panto dame cliché.

A great support cast also assists the two leads with Sarah-Jane Potts as Lauren, Jemima Rooper as Nicola Marsden, Nick Frost as Don Burton and Linda Bassett as Melanie play just a few of the key roles amongst Charlie’s messy home and factory life.

Production

The film was directed by Julian Jarrold who went on to period dramas Becoming Jane (2007) and Brideshead Revisited (2008) before sadly leaving behind the working class tales to focus on A Royal Night Out (2015) and episodes of Netflix’s The Crown.

The director also added creative touches that seemingly echo The Wizard of Oz. The famous ruby slippers become leather and PVC thigh-high boots. And a scene showing brown brogues turning to burgundy (sorry, red) boots along a conveyor belt connotes not just the changing of time and attitudes, but alludes to the black and white Kansas home turning to bright Technicolor in the 1939 classic.

After saving Lola from a hateful attack, Charlie opens his eyes to see a fairy ornament in the style of Glinda (or fairy godmother). Also, gingham dresses/patterns can be seen on the factory workers' outfits and it could be argued that Charlie gains intelligence (a brain) and there's plenty of love (heart) shown within his metal-machined factory. Finally, Lola finds bravery along the Yellow Brick catwalk in the film’s finale at the ‘Emerald City’ of Milan in Italy. Charlie's cheating wife's infidelity is discovered in a Cinderella-style sequence with a lost shoe. Although the striped design of the shoe does remind me of a certain witch's socks. But maybe that's just me.

It’s also not lost on viewers that Lola’s name seems directly pulled from The Kinks’ song ‘Lola’ about an interaction between a young man and a possible cross-dresser or transgender person.

The film was written by Geoff Deane, once a member of electronic band Modern Romance who then became a scriptwriter and television producer. He wrote Kinky Boots and a year later also penned It's a Boy Girl Thing for Elton John's Rocket Pictures. Finally, co-writer, Tim Firth had already created Calendar Girls (2003), another story focused on the strength and perseverance of local communities.

Locations

Returning to the Midlands, many of the film's scenes were filmed in the factory used by another famous shoe-making company called Tricker's . The city centre's Market Square can be viewed in multiple scenes too and Wellingborough Station stands in for Northampton Station in the film.

The boots themselves were unique not just in design but were reinforced to hold a man’s weight and were released in a specialised range called Divine Footwear. Sadly with cheap imports and competitor copies of the boots, the factory did eventually close in 2000 but its lasting legacy lives on and some of the boots can be seen at the Northampton Museum and Art Gallery.

Music

The music too is a standout, although a bit on the nose at times, with "In These Shoes" by Kirsty MacColl, "It's a Man's Man's Man's World" by James Brown and Chiwetel Ejiofor himself singing “These Boots Are Made for Walkin'” being just a handful of the hits featured. Such is the role music plays in the film, it was somewhat inevitable a stage musical adaptation was later developed.

Debuting on Broadway in 2013 with songs composed by Cyndi Lauper, the production was a huge success and went on to win six Tony Awards and can still be caught in the West End today.

Despite mixed reviews the film still has a deep place in many locals’ hearts, showing an important story despite playing safe with some of the cliches of the Britcom genre.

And as time has moved further on, what was once seen as outsider counter-culture is now Saturday night prime-time viewing for the UK. And maybe, just maybe, this little film hailing from Northampton (and the story it’s based upon) with its themes of acceptance and valuing difference helped that along a bit.

Michael Sales

Midlands Review of Kajol

Sun, 10 Mar 2024 12:22:14 GMT

Kajol

Directed by Rajab Mahmood

2024

Brothers Productions Films

Another micro short film comes courtesy of Midlands filmmaker Rajab Mahmood who moves from his previous sci-fi stylings to a horror-tinged tale in a new project called Kajol.

Hot on the heels of their recently-reviewed Wrong Formula , the story opens with an enigmatic poster for “Grand Wizard” Shah Azeem who has advertised, at £50 a time of course, how he can speak to the dead.

We move to a room bathed in red light as Shah Azeem himself (an enjoyable Nisaro Karim) amusingly discusses with a client (Gurpreet Kaur as Simran) the troubles of finding a Birmingham location to conduct his séance sessions.

Dressed in ceremonial robes he reaches across a table to hold hands as he prepares to begin. Then states the blindingly obvious by mentioning he’ll be talking to someone who has passed on and who the person once loved and cherished

With this, Karim more than entertainingly embodies the worst pseudo-science kooks who claim to commune with those in the afterlife. And before long, the Shah very quickly asks for even more money to maintain his “connection” to this spiritual world.

With a touch of The League of Gentlemen, who so successfully parodied the weird and wonderful characters at the extreme edges of society - and then some - Kajol tries to poke similar fun at eccentric folk.

And like the LofG follow up show Inside No.9, the short also has a surprising twist ending that subverts many of the expectations set up to this point so far.

The film shifts from light-hearted and over-the-top into a more disturbing set of final shots. The change doesn’t just effect the tone but also the style as well. A little bit of effective SFX and a jolting ending shows once more the director squeezing as much as possible from the micro-film format.

In Hindi, Kajol can mean ‘beautiful eyes’ and this pays off in the final moments when Shah Azeem is surprised as anyone to find that his previously-suggested counterfeit claims could in fact have some real, and chilling, power.

The short is another good twisty tale from Rajab Mahmood helmed by two strong performances getting across the script in a short runtime. However, it would be great to see the filmmaker break beyond the strict boundaries of the micro-short, and fully flesh out their themes and also allow both actors and ideas some more breathing room.

As it is, Kajol is still a fun little project, mixing a couple of differing genres to a successful end as we see a fraudster getting a fright from their own spiritual scams.

★★★½

3.5/5

Michael Sales

Darkness in the Fields Film Festival brings folk horror to the Midlands

Wed, 28 Feb 2024 16:24:45 GMT

Darkness in the Fields Film Festival brings folk horror to the Midlands

Derby’s thriving independent cinema Derby QUAD presents a day of folk horror screenings, interviews and more on the 23 ^rd March 2024 for the Darkness in the Fields Film Festival.

Folk horror stalks back onto our screens as the festival hosts a series of classic screenings, underrated gems and modern offerings in the genre, along with interviews, short films, a sales area and much more.

The event starts at midday on Saturday 23 ^rd March with a short film showcase featuring BecoME, Blackthorn, Blight and the Wyrm of Bwlch Pen Barras.

Later in the day at 3:45pm The Borderlands sees a team of Vatican investigators descend upon a church in a remote area to demystify the unusual happenings, “but what they discover is more disturbing than they had first imagined”.

To Fire You Come At Last screens at 6:00pm and includes an in-person questions & answers session with the film’s director Sean Hogan.

And at the end of a full day of folk, The Moor gets a showing at 8:00pm with another in-person Q&A, this time with director Chris Cronin.

Day tickets (allowing access to all events) are available now, priced at £30 (standard) & £25 (concessions). or you can purchase individual screenings for each of the film events.

You can find out more at https://www.derbyquad.co.uk/season-festival/darkness/

Midlands Review of Wrong Formula

Sun, 25 Feb 2024 08:59:49 GMT

Wrong Formula

Directed by Rajab Mahmood

2024

Brothers Productions Films

A new 1-minute micro short titled Wrong Formula comes courtesy of filmmaker Rajab Mahmood and we take a look at this project which was made recently for the BFI's 60 second vertical film competition.

A blast of wind and a newspaper headline stating that the ‘World Is Burning’ opens the short before we quickly move to focus in on our lead character Varun (Aqil Ghani), a scientist who may have made an awful mistake.

The man breathes deeply, seemingly concerned with an urgent event, and states his calculations should have prevented an emergency, not caused it.

With his prediction of an invasion due in 500 year’s time, his palpable anxiety is obvious and he’s certainly alarmed at his possible inaccuracy.

Rushing outside, a bright light shines upon Varun as he looks to the sky before we witness him being lifted off the ground into a future unknown.

Finally, a short coda states we should live for the present, summing up the film’s themes of procrastination and (blundering) predictions.

A quick blast if sci-fi apocalyptic fun, it was also satisfying to see a few slices of comedy litter the film as, perhaps with only moments to survive, Varun seems to make himself a hot drink during this state of emergency. A suitably calming act, no doubt.

On a technical level, 60-seconds is an extremely short time to get a message across but with some quick editing and clever construction, director Mahmood does well with this limitation.

The short was entirely shot in Birmingham and the film tries, and mostly succeeds, in getting a lot of ideas across in a brief runtime. I’ve mentioned before that the short film format itself means you have no time to dawdle in your storytelling and messaging.

Spry editing, brief shots and smart mise-en-scène is required to establish the premise and move things on swiftly. Think more TV adverts than drawn-out Kubrick, folks.

And Wrong Formula certainly heeds this. With a rapid pace and an easily understandable concept, the micro-short gets straight to the point in setting up its premise, develops it quickly and even leaves the audience wanting more. A fine example of the format indeed.

★★★½

3.5/5

Michael Sales

Bonnie and Clyde - Crime couple comes to Curve

Sat, 24 Feb 2024 08:35:21 GMT

Bonnie & Clyde live at Curve Theatre

“This here's Miss Bonnie Parker. I'm Clyde Barrow. We rob banks”.

The iconic Great Depression criminals Bonnie and Clyde were known for their bank robberies during the 1930s public enemy era before they came to an unceremonious end in Louisiana. Their spree placed them firmly in the American psyche, with public opinion varying wildly from romanticised folk heroes to a pair of dastardly murdering outlaws.

Either way, the duo’s reputation became legendary and this new stage show takes their romance and combines it with music and lyrics from Tony® nominee Frank Wildhorn and Don Black and is excellently directed and choreographed by Nick Winston.

The show won Best New Musical at the WhatsOnStage Awards 2023 and tonight’s performance at Curve Leicester shows why.

Alex James Hatton plays an excellent wise-cracking Clyde, whilst Katie Tonkinson provides a suitable counter with her sassy Bonnie. Both leads’ voices soar throughout, whether they be delivering the up-beat numbers or their sultry duets.

Back in the 1967, the movie classic used the turbulent family life of the infamous couple to explore their crimes. With Warren Beatty and Faye Dunaway as the lead characters, this New Hollywood landmark directed by Arthur Penn swung between the duo’s comic quips and brutal violence.

And providing more than excellent sibling support here is Sam Ferriday as Clyde’s brother Buck, who’s far more likeable that Gene Hackman’s version. And Catherine Tyldesley (Coronation Street) stars as his wife Blanche, who steps into the Oscar winning role with a beautiful voice that built emotion during every song.

The film received Academy Awards for Best Supporting Actress (Estelle Parsons) and Best Cinematography (Burnett Guffey) and the show channels a number of the film’s iconic moments including their meet-up, first robbery and their bloody demise.

The show’s narrative however does take a slightly different angle to the movie with the first half focusing on relationship-building before the pair go on the run. This generates great chemistry and, satisfyingly, throws off an expected mild-mannered romance for a big dollop of sex and saucy seduction.

The show also doesn’t shy from exploring the morals of their actions. This culminates in a repenting church sequence with Jaz Ellington’s Preacher rocking the audience with his Luther Vandross-voice belting out a catchy gospel show-stopper.

The well-written songs are tinged with vintage musical styles ranging from 30s big band and hot jazz to blues and country. And together with the great set designs, which use lights for gunshots and projected backgrounds for remarkable scene transitions, the show pulls you into the period throughout.

In the end Bonnie and Clyde differs from the movie but is also a more than fitting companion piece. More of loved-up tale than a shoot-out story, the show veers from the salacious aspects and replaces it with a misguided and fearless romance, anchored by fantastic performances, exceptional voices and superb stage sets.

★★★★

Michael Sales

More info: https://www.curveonline.co.uk/whats-on/shows/bonnie-and-clyde/

Midlands Review of Elliot's Cradle

Mon, 12 Feb 2024 11:24:58 GMT

Elliot's Cradle

Directed by Daniel Alexander

2024

DA Films

How far you would go to reconnect with a lost loved one is the question posed in new horror Elliot’s Cradle from Daniel Alexander. And we discover that if you push too hard then you may not want to find out.

The film opens with a young upset woman (Natasha Faye Sandhu as Sarah) following a lady towards her house and asking if she goes by the name of Elaine. Despite the older woman denying she isn't, Sarah explains her baby recently died and it's this shocking disclosure that leads the lady to invite her into her home.

Admitting she is in fact this mysterious Elaine (played excellently by a pensive Gillian Broderick), the director lays clues to her past with a selection of strange trinkets, gold goblets and ominous candles.

With the women at each end of a wooden table, Sarah recalls her aunt once attended a séance and that she would do whatever it takes to make contact with her child Elliot for some closure. Yet with her desires laid bare, Elaine warns her of the consequences of this practice.

Correcting Sarah that she is in fact a medium, not a psychic, Elaine again refuses to engage but Sarah pleads for help after explaining her baby died from Sudden Death Syndrome.

Off the bat, director Alexander pulls us straight into a world of mundane suburbia hiding more sinister practices behind closed doors. This, along with the experienced Elaine clinking a spoon on a teacup, references similar themes seen in Jordan Peele’s Get Out. Not a bad influence at all.

On the technical level too, the director’s expertise in the short film format is displayed well. One such area, and it’s a small point, is the overlaying of credits over the first scene which really does maximise a short film’s brief run-time. We get to the story as quickly as possible. And yet as filmmakers you still get to recognise your (no doubt hard-working) cast and crew up front. Textbook technique.

The double-act cast are great as well. Natasha Faye Sandhu delivers a nuanced performance as Sarah who is vulnerable and desperate. And this is counterpointed well against Gillian Broderick’s blunt, crude and to-the-point medium.

An aside - unfortunately a YouTube advert popped up in the middle whilst watching the film. Filmmakers would do well to put these at the start/end. Monetising is a crucial piece of the filmmaker’s arsenal, but in this instance it especially removed the tension as Dominoes told me about its Tuesday deal!

Despite that, the short soon begins to inject classic horror moments. Once Elaine agrees to undertake the session, she importantly explains a rule that whatever happens Sarah should not turn around.

Some good sound mixing takes the short from eerie silence to a cacophony of screaming voices and haunting baby cries. A decrepit hand on Sarah's shoulder and an experience in a ghostly realm increases the alarming terror approaching as well.

Definitely no spoilers here but a shocking truth is uncovered towards the end that turns the story on its head and gives context to the previous events. And it leaves the audience with feelings of not just surprise but disgust too.

A solid short, the film’s technical attributes once again confirm the director’s cinematic quality credentials and the two leads help establish an atmospheric, and intriguing, tone throughout. For me, a bit more originality would just help push the film away from some genre tropes into its own new thing. But as it is, horror fans will certainly enjoy this impressively disturbing exploration of truth, lies and death.

★★★★

4 / 5

Michael Sales

And you can now watch the full short on our frontpage here www.midlandsmovies.com

Local filmmaker launches crowdfunding campaign for short film Falcon

Thu, 08 Feb 2024 09:39:32 GMT

Local filmmaker launches crowdfunding campaign for new short film Falcon

This month, Midlands creative Noel Wyatt has begun a search for further funding for a brand-new project called Falcon which aims to support marginalised groups in the region.

Noel, who has worked in film and video throughout in his career, has highlighted a gap in the film world for opportunities for veterans, female leads and disabled in the industry.

Falcon tells the story of a woman who becomes attached to a young falcon after the bird crashes into her window. The film goes on to explain how they form a bond as she struggles to survive on a housing estate. But a violent attack sees her having to face incredible physical and mental challenges in her life.

Noel explains, “My lead actor is a female veteran and I am casting veterans and women in as many roles as I can. The film follows Marcie (my lead) on her journey back into civvy street after being disabled on her tour of duty”.

All of the money raised will go to the cast and crew and the production team hope to also raise funds for their local veteran’s breakfast club.

Ex-RAF staff Kate Harris, who is a veteran in real-life, plays Marcie in Falcon and brings with her a wealth of experience in film and television. In addition, Chris Baldwin from Paddy Considine’s band “Riding the Low” will act as musical director

Head to IndieGoGo to fund out more and get involved in the project by clicking here

And check out their promotional video below.

Review of Poor Things

Mon, 05 Feb 2024 09:29:29 GMT

Poor Things (2024) Dir. Yorgos Lanthimos

The filmography of Yorgos Lanthimos has often turned to bodily autonomy in the director’s efforts to tell weird, often disturbing stories. This is often combined with a musing on the nature of innocence, harking back to his third film Dogtooth (2009).

After the more austere – but no less funny – The Favourite (2018), Poor Things is a return to the darker and more surreal. Based on Alasdair Gray’s novel, it follows Bella Baxter (Emma Stone), a reanimated young woman with the brain of an infant. Her father-figure/creator Godwin ‘God’ Baxter (Willem Dafoe) keeps her locked away, claiming to protect her from the outside world, while his assistant Max McCandles (Ramy Youssef) holds a candle for Bella.

It's a career-best performance for Stone, who has a physically demanding role, highlighting the contrast of Bella’s adult body and developing motor skills with stilted movements. This is particularly clear in an excellently choreographed dance sequence at the half-way point of the film.

The crux of the story comes when Bella undergoes a sexual awakening, leading to her escaping from God’s house and travelling Europe with Duncan Wedderburn (a wonderfully camp, caddish Mark Ruffalo). At no point is the audience allowed to forget that Bella is a child, albeit a child that bodily is of age. Her development and experiences are constantly at the forefront of the film.

This has caused some controversy. The Guardian called on cultural commentors to discuss whether its was feminist, due to its discussions on consent and female autonomy, or a misogynistic film that fetishes Bella. In some ways, it is both. Despite the fantastical nature of the story and almost steam-punk settings, Poor Things is set in Victorian London primarily. A time when women were considered property.

Misogynistic views are rife, and the male characters are clearly looking to take advantage of Bella. God admits that his sexual urges are only kept in check due to his paternal feelings for her. Duncan sees her as a simpleton and innocent and takes advantage of her burgeoning sexuality. Even the good-natured Max is predatory in his infatuation.

Yet the film is quick to skewer these characters. They are routinely mocked and outclassed as Bella continues to develop. Her innocence often leads to bluntness and while she is a child in very adult situations, this childishness is vocalised with pure common sense. Bella sees how female sexuality has been policed and cannot comprehend it – why do it if it is not enjoyable, and why not do it frequently if it is? She sees injustice of all sorts and takes the most direct route possible to solve it.

Is Poor Things uncomfortable? Frequently. But it is supposed to be. And Tony McNamara’s script is often quick to balance the more disturbing sequences with equally uncomfortable laughs. It doesn’t offer a perfect answer or solution to its themes, nor does it moralise the characters. By the end of the film, which flies through its extended runtime, Poor Things sparks conversation amongst the audience. Something that is often missing from modern cinema.

★★★★½

4.5 / 5

Matthew Tilt

Twitter @Matthew_Tilt

Midlands review of The Programme

midlandsmovies@yahoo.com — Mon, 05 Feb 2024 09:14:06 GMT

The Programme

Directed by Sam Grierson

Bader Media Entertainment

2024

Filmed in Birmingham, Sam Grierson’s short The Programme is a dialogue-heavy, rather blunt movie about identity and how artificial intelligence risks lumping us into binary categories.

Michelle Jeram plays Drum, a non-binary, neurodivergent ex-police officer who is dealing with the trauma of their sister’s untimely passing. The film opens with Drum attending an AI-led interview, which is focused on loneliness.

As the only character – barring a brief scene with a receptionist (Lucy Wells), and the intentionally robotic AI voiceover (Sherise Blackman) – Jeram works hard to carry the film. Her excellent performance cuts through the wordy scripting, providing real emotional depth in the brief runtime. Most affecting is when Drum is instructed to differentiate between being alone and loneliness.

It’s a deftly handled moment by all involved.

Unfortunately, Grierson backs themself into a corner with the setup of the film. Pairing a human character with an AI and expecting that to carry the film for its runtime leads to some rather blunt handling of the themes. The AI sets out the parameters, and Jeram is forced to fill in the gaps with exposition. Ironically, this helps to strengthen the points about categorisation and identity, but it doesn’t always make for entertaining viewing.

Thematically, The Programme is hugely ambitious. Tackling more topics and cramming in more backstory for the lead in its twenty minutes than many full-length films attempt. This ambition doesn’t always pay off, with its limitations forcing the film to rely on exposition, but it deals with the themes with compassion and is clearly a very personal project for Grierson.

★★★½

3.5 / 5

Matthew Tilt

Twitter @Matthew_Tilt

Nottingham sci-fi thriller The Correction Unit launches crowdfunding campaign

Wed, 31 Jan 2024 14:46:19 GMT

Nottingham sci-fi thriller The Correction Unit launches crowdfunding campaign

A new film focusing on a dystopian warning of AI manipulation in education is looking for support to complete the final stages of its production.

Written and directed by local filmmaker Derry Shillitto, The Correction Unit is the film debut for many young Nottingham actors with the producers also helping to secure an international distribution agreement.

The team are now looking to secure an additional £10,000 from public funding to finish post-production and get themselves over the finishing line.

The film itself was conceived to warn of the dangers of AI manipulation on young vulnerable people. It tells the story of Shawn who is trapped in a seemingly endless cycle of crime in a city stricken with violence and poverty. After being kicked out of another young offenders’ institute, nTrac - a futuristic new AI educational facility - provides him with the opportunity to start again.

But as nTrac begins to exert more and more control over Shawn’s life in the form of invasive and manipulative AI, the true intentions of the facility become apparent.

When a fellow inmate is violently killed, Shawn and his loyal friend Tish lead the other offenders in revolt, facing a desperate race against time and technology to escape nTrac’s sinister influence.

Ex-Confetti teacher, Derry, knows first-hand how online media can impact young vulnerable people. He says, “There is research that shows online media may be contributing to the increasing amount of violence and knife crime amongst young people in the UK. The Correction Unit was written to explore what responsibility online media has for this increase and how a future that is heavily reliant on AI will affect young people. What happens to the most vulnerable in our society when the most powerful embrace AI?”

Many of the cast had no acting experience and were street cast in Nottingham. A number of the actors have been impacted directly and indirectly by gang violence and crime. They were encouraged to share and explore their lived experiences and subsequently contributed to the script and the development of their characters’ narratives.

Sonny Middleton, who plays Shawn, said: “I’ve met some great people and bonded with the actors and all the people on set. It’s been a great experience working behind the scenes and I hope to progress my future in film.”

The producers have also committed to editing showreels for the entire cast, hoping to create opportunities to kickstart their film careers too.

Derry added, “It was important for The Correction Unit to offer the young cast and crew a creative and rewarding experience during the school holidays. We have been astonished by the first-time actors and the level of dedication that they have given the project so far. The performances possess a power and truthfulness that can’t be taught.”

The Correction Unit’s crowdfunder campaign on the Greenlit platform has a tiered system of incentives, ranging from original film props to a mention in the end credits and Associate Producer credits on IMDB. All supporters will receive early access to behind-the-scenes images, footage and updates, including exclusive content from cast and crew.

For more information about The Correction Unit’s crowdfunder visit https://greenlit.com/project/correction-unit

Further info on their website https://thecorrectionunit.com/

Midlands Review of A Different Place

Mon, 29 Jan 2024 11:58:33 GMT

A Different Place

Directed by Sophie Black

Triskelle Pictures

2024

Triskelle Pictures has quickly become a marker for quality Midlands productions, especially the pictures helmed by founder Sophie Black, who has a rare consistency regardless of the genre she is working in.

A Different Place sees Black working from a script co-written by Tommy Draper and Zane Igbe. It’s a short film that handles its big themes and sensitive subject matter with a delicacy and respect. Michelle Darkin Price plays Evelyn, a 40-something mother of two, who embarks on a lesbian one-night-stand with Cleo (Adaya Henry).

Their tryst leads to a conversation about identity. Evelyn has hidden her true self; conforming to what was expected of her. Expected by a society that refused to acknowledge homosexuality in a positive light, by her family and then, later by her husband.

“Everyone was so happy, I though I was too.”

Evelyn’s internal conflict is perhaps best summed up when she tells Cleo that her best friend knows that she is cheating on her husband, but believes it is with a man. Her feelings on her sexuality, making it is easier to admit to infidelity than to an attraction to women.

Cleo on the other hand is true to herself, though we never explore her background thoroughly – there’s an argument that the story would benefit from a little more detail about Cleo’s experiences, but here she is perhaps best used as a conduit for Evelyn’s struggle.

While A Different Place is dialogue heavy, the differences between the characters are highlighted by the excellent, naturalistic performances. Price plays Evelyn as a ball of nerves, fidgeting at the bar as she waits the date, and then almost curling herself into a ball as they discuss her life. This contrasts wonderfully with Henry, who brings a light, inoffensively cocky air to Cleo as she sips Evelyn’s drink when they meet, or vapes at the window, leaning against the wall.

By the end, Evelyn must choice whether to be true to herself and risk the turmoil that breaking up her family will cause or continue hiding who she is. There’s no ambiguity about what the right choice is – no one should ever hide their true self, especially over their sexuality – but there is a reluctant acceptance that not everyone is in the position to be as open and free as Cleo appears to be.

But this slightly downbeat ending is tempered by Price’s acting choices. Evelyn seems to stand a little taller at the end of the film, her self-acceptance being the most difficult step in the journey ahead.

★★★★

4 / 5

Matthew Tilt

Twitter @Matthew_Tilt

Review of The Zone of Interest

Fri, 26 Jan 2024 09:28:23 GMT

The Zone of Interest (2024) Dir. Jonathan Glazer

The Zone of Interest may stand as one of the most disturbing narrative films about the Holocaust ever produced, yet it achieves this without ever dramatizing the horrors that went on within the concentration camps.

Based on Martin Amis’ novel of the same name, the film follows Rudolf Höss (Christian Friedel), the longest serving commandant of Auschwitz, who lives just beyond the wall of the camp with his wife Hedwig (Sandra Hüller) and their three children.

Much of the discussion ahead of the film’s release has focused on the ‘banality of evil’ – the idea that evil is committed by ordinary people who are somehow unaware of the consequences. What Jonathan Glazer does here is far more impactful. He shows Höss – and his family – to be fully aware of what is going on just a few yards beyond his home, and instead shows how evil actions can be done by outwardly normal and respectable people. A far scarer concept that still places the full responsibility on the perpetrators.

Perhaps what is most disturbing is how the characters react to minor issues throughout. Seeing a man responsible for some of the worst atrocities in human history complain about the treatment of his family’s garden, or berate his staff because he found human remains in the river where his family plays – his issue being the quality of work from those in the camp, not the loss of life – is deeply uncomfortable.

Glazer’s film has been meticulously crafted. The use of multiple, continuously running cameras throughout the house bring naturalistic performances from the cast, who avoid unnecessary mannerisms or any camp, villainous behaviour throughout. When we are outside the house, Glazer is careful with how the camp is framed in the background. Often only seen during the happiest moments for the Höss family, Auschwitz is present through glimpses of the watch towers, or the trains entering the camp and it becomes an unbearably claustrophobic thing, bearing down on the audience even when it is not in sight.

This is, in part, due to sound designer Johnnie Burn, who interjects Mica Levi’s score with a truly unsettling array of diegetic sound – always providing just enough so that the audience remain unconsciously aware of what is happening.

Later in the film, Höss is pulled away from Auschwitz to oversee operations across all the concentration camps, including the transportation of Hungarian Jews. This feels less oppressive, but continues to add to the horror, as Höss chairs meetings that will lead to the deaths of millions with the same pride that a CEO might show when announcing profit margins.

Glazer uses this final act to experiment with the style of the film as well. Inverted, black and white scenes show a young woman hiding food for the prisoners in Auschwitz; moments which are callously called back to with throwaway lines about shooting prisoners who were fighting over apples. At the very end, Glazer also cuts to documentary-style footage of janitors cleaning the Auschwitz-Birkenau State Museum. It’s a fourth-wall breaking moment suggesting that Höss may be aware that he is on the wrong side of history, a point that only makes the rest of the film more disturbing.

The Zone of Interest is a formally excellent film. Its cold, objective style perfectly marrying with the awful content. It holds the audience at a distance. Yet it’s difficult to recommend. It is a film that feels important and is very aware of this. It has not been made to entertain but to highlight how very normal people, with very normal lives, were behind a devastating event that still resonates today.

★★★★★

5 / 5

Matthew Tilt

Twitter @Matthew_Tilt

Indie-Lincs festival serves up film gems during 3-day event

Sun, 21 Jan 2024 10:23:37 GMT

Roll out the red carpet - Independent Film Festival serves up indie gems during three-day festival

The Indie-Lincs International Film Festival is back for 2024 and will show over 40 original, independent films from across the globe at Lincoln Arts Centre on Thursday 15th, Friday 16th and Saturday 17 ^th February 2024 . Indie-Lincs is now in its eighth year and enables filmmakers and members of the public to watch films made by independent filmmakers.

During the festival, audiences can enjoy a selection of high-quality documentary, drama, and animated films, both short and feature length. The festival also includes filmmaker Q&A’s, networking events and an awards ceremony. The festival kicks off this year with a screening of BAFTA nominated feature film How to Have Sex; a powerful coming of age drama about sexual consent. It was the UK’s only entry to Cannes last year, and it won the 2023 Un Certain Regard Award.

This year’s film selections include comedy/feature film: A Kind of Kidnapping (UK), a Tarantino-esque farce about a kidnapping gone wrong; Discontinued (USA), a sci-fi drama about a depressed millennial who discovers that the world she knows is just a simulated version of reality that is being shut down.

Short films include the atmospheric UK drama Black Dog, documentary film The Last Video Store, and Ukrainian animation Morrow. A popular part of the festival is the selection of comedy short films shown on Saturday evening which include Falling Out (UK), an LGBTQ focused comedy about a bickering couple, and horror/comedy Hide Your Crazy (USA), a film about overcoming one’s personal demons for love.

In addition to films screenings there will be a number of industry talks. Guest speakers include the director of recent hit TV show Archie Paul Andrew Williams, well-known film and TV actors Pauline Lynch (Trainspotting) and Robin Laing (Band of Brothers) and Philip Hoile the Head of Distribution and Acquisitions at Bulldog Films. For those interested in the more technical aspects of filmmaking, cinematographer Jack Shelbourn will be demonstrating how to get the best out of the Arri Alexa; the film industry’s leading digital camera.

The festival is run by local filmmaker, and Lincoln School of Film and Media Senior Lecturer, Dr Mikey Murray, with a team of volunteer coordinators. Mikey said:

“Our festival is very much open for those in the community to attend and we pride ourselves on our welcoming atmosphere. If you love film, it’s a great place to not only see films you wouldn’t ordinarily get a chance to, but to meet others and discuss what you’ve watched. There is great camaraderie at the festival. This year we’ve introduced new judges to the festival who will bring their expertise and unique perspective when choosing our award-winners. Members of the public can also vote for their favourite film.”

This year’s judges include: Jeremy Wooding (creator of Peep Show), renowned film academic Professor Mette Hjort, and the previously mentioned industry guests.

Indie-Lincs is an International film festival that champions low and micro budget feature length and short films. The high-quality programme of independent films are bolstered by friendly networking events where industry guests, actors, filmmakers and the audience can all be found together discussing their work and the programme of films.

The festival is open to all. Day and weekend passes are available. Day tickets are £12 (£7 live pass) and a full Weekend pass costs £20 (£12 live pass). Age restrictions apply. Call 01522 837600 or visit www.lincolnartscentre.co.uk

To find out more about Indie-Lincs visit: www.indie-lincs.com

Can you dig it? The Warriors screens at Leicester Film Club

Sun, 14 Jan 2024 09:30:46 GMT

Leicester Film Club presents The Warriors

Can you dig it? Leicester Film Club is excited to bring Walter Hill's 70s cult classic The Warriors to the screen for its 45th anniversary.

The Warriors is a 1979 American action thriller film directed by Walter Hill. Based on Sol Yurick's 1965 novel of the same name, the film was released by Paramount Pictures and centres on a fictitious New York City street gang. The group must travel from the north end of the Bronx to their home turf in Coney Island in Brooklyn, after they are framed for the murder of a respected gang leader.

"Film Clubbers, come out to playeeeay".

The Warriors film will screen on Sunday 3rd March 2024 at Firebug Bar, 1 Millstone Lane in Leicester LE1 5JN.

Famously at the time, after reports of vandalism and violence, Paramount Pictures temporarily halted their advertising campaign and released cinema owners from their obligation to show the film.

Yet, despite its initially negative reception in the 70s The Warriors has since become a cult film spawning several spinoffs, including video games and a comic book series.

Leicester Film Club is a city centre pop up cinema night screening cult, horror and classic movies. The club offers a chance to ditch the streaming services for an evening to watch films with other movie nerds, meet new people and learn more about cinema in a relaxed environment.

Full details of the screening are below:

THE WARRIORS

Date: Sunday 3rd March 2024

Location: Firebug Bar, 1 Millstone Lane, Leicester LE1 5JN

Times:

4pm Doors (music, trailers)

5pm The Warriors (1979)

Intermission at mid-point

7pm Finish

Note: Films are shown with subtitles on.

Tickets: £5.50 in advance, £6 on the door (if available) ��

https://www.ticketsource.co.uk/leicester-film-club

Follow on social media for updates:

www.facebook.com/LeicesterFilmClub

www.instagram.com/leicesterfilmclub

Review of The Holdovers

midlandsmovies@yahoo.com — Fri, 12 Jan 2024 15:40:49 GMT

The Holdovers (2024) Dir. Alexander Payne

Standout performances from Paul Giamatti and Da'Vine Joy Randolph anchor this fantastic comedy-drama set over the festive period at a New England boarding school.

Giamatti plays Paul Hunham, a strict classics tutor disliked by teachers and students alike, and it's the young men's unruly behaviour and spoilt entitlement that is fueled by the approaching Christmas holidays. However, a number of them become “holdovers”, staying at the school during the break, and after losing the school an important and wealthy donor, Hunham is forced to babysit them until it reopens in the new year.

Each day the students wake early, do laps in the snow and undertake silent studying in the library, all orchestrated by Hunham as a kind of educational Scrooge. Entrusted to look after the empty school, Hunham roams around rooms and corridors at night like Jack Torrance in The Shining, showing a loneliness under his harsh public veneer.

Yet a saviour arrives from the heavens (via helicopter) in the form of one of the boys' rich father who whisks the kids off to a ski resort. And whilst everyone exits excitedly, Angus Tully (a fantastic Dominic Sessa) is left with Hunham after not being able to get permission from his mum.

Upsetting the boy, his tantrum in a gym results in a dislocated shoulder but this leads to Hunham uncovering deeper cracks within the boy's family situation. Tully and Hunham then join forces to lie about the cause of his injury to avoid an insurance claim that will get both in trouble, thus beginning a thaw in the two’s relationship.

After attending a party they consistently butt heads, but even-handed school cook Mary (Da'Vine Joy Randolph) helps smooth their differences leading to a Christmas Day meal and an off-the-books trip to Boston. And although the 'cantankerous teacher learning life lessons from a student' isn’t the most original idea, it’s done incredibly well here with humorous interactions and great performances from the entire cast.

As Hunham and Tully bond, they slowly discover naked truths about each other. Both feel the other has undeserved entitlement yet the film does a great job of revealing their darker personal backgrounds - not just through great dialogue but also quieter, more sombre, moments.

Tully’s reasons for not being with his family, somewhat the source of his overly cruel jibes, are teased out by Hunham who is hiding a number of personal bottled-up secrets himself. The home truths that are shared and push each other beyond their comfortable boundaries as they open up and admit to their vulnerabilities.

It’s an emotional and satisfying journey that starts out with two people very cold in spirit (and in temperature) who have their frozen hearts somewhat warmed by the end.

A cliched father-son dynamic does permeate throughout, but the film’s focus on serious issues like mental health, depression and surrogate families add copious layers of depth. Mary’s story of her child’s death is incredibly well handled in a sensitive and wholly believable performance from Da'VineJoy Randolph. Together they infuse a combination of heart and pathos that sure helps overcome any familiar tropes.

Giamatti’s surrogate though is the glue holding it together. Although he is only as good as his support cast who match him every step of the way. As the two’s journey heads to the new year, a final twist in the tale will leave audiences with a certain bittersweet moment to end on

And in the end, Payne’s stoic direction focuses the film firmly on the actors who are phenomenal throughout and the brilliant work from everyone in The Holdovers ensures the tears flow as much as the titters in an unlikely Christmas miracle of a film.

★★★★½

4.5 / 5

Michael Sales

Midlands Review of The House on Dark Hill

Thu, 11 Jan 2024 09:14:35 GMT

The House on Dark Hill

Directed by Adam Turner

2024

Written and directed by Adam Turner, The House on Dark Hill is an introductory short horror film hoping to set up a series of anthology films based around a haunted hotel. We take a look at this new perspective of a familiar tale...

We open with a radio DJ announcing Smells Like Teen Spirit (don’t forget music licensing folks!) as a woman drives down a barely lit countryside lane. After passing many road signs she arrives at a bar and asks for directions after becoming lost.

The woman (Sarah Elizabeth as journalist Nicole Thomas) explains she is staying at the May Estate with the landlord clarifying it has a much more sinister name for locals: The House on Dark Hill. The solitary farmer at the bar instructs her to find a small opening along the road but after being creeped out she leaves to find this ominous turning to the hotel.

Off the bat, the short unfortunately has a number of clichés in the script and set up. It’s the kind of thing Cabin in the Woods poked fun of. We get the classic “harbinger” – an odd local warning the protagonist of their ill-fated, and sometimes cursed, destination – and more besides.

BUT in it's favour, the technical side of things are solid. Conversations are easily followed, scenes are blocked well, the shots are sharp and nicely framed and the story basic but very much clear.

As we see our protagonist eventually find the road she needs, we also notice some decent nighttime shooting, which can all too often be murky and underlit with low budget filmmaking.

Not so defined is the editing with certain shots being held on for what seems too long. Unless a key part of the plot, shorts don't often have time for the lead to pull up in a car, park it, get out of the door, walk around to the boot, open the boot, get their luggage out, close the boot and then walk out of shot. A few quick cuts could show the exact same thing yet keep the pace moving forward to more important scenes.

Our lead finally heads to her room after a burly security guard passes her the key. And as she inspects this ropey abode, a phone rings with a second man telling her she cannot leave the room – adding to her already immense frustration. (N.B – the telephone call probably needs a sound edit here as the ambient noise is cut off between lines of dialogue).

As we come to the end, a knock at the door and a random item in a box leads to a mystery that finishes the short – with viewers’ expectation that more will hopefully be revealed in subsequent instalments. With the outro music of Don’t Fear the Reaper (another famous track) I can see why this version wasn’t on YouTube – it’ll be copyright-striked in an instant.

The House on Dark Hill is a passable short that's in need of another draft at the script and/or plot. We’ve all come across similar horror elements a hundred times before and there are no particular surprises, or scares, along the way. But hopefully this can be addressed in the follow ups.

In short, the film acts as a sturdy proof of concept for Turner’s larger goal to create a series. The fundamentals are more than apparent but a bit more flair, and care, would go a long way to sharpen up its seen-it-all-before moments.

★★½

2.5 / 5

Midlands Movies

To follow the film’s progress – and to watch the short in full – check out its official Instagram here: https://www.instagram.com/thehouseondarkhill/

Stratford Upon Avon murder mystery short soon to be released

Tue, 09 Jan 2024 14:56:04 GMT

Stratford Upon Avon murder mystery short soon to be released

Treble Me This is a new Midlands film written and directed by Guy Nicholls where a murder mystery circulates amongst three crime scenes.

And the production has just released its first trailer (watch the video at the top of this page) alongside a number of character and actor posters.

Promising a fun and mysterious story with many twists and turns, the plot details a stolen ring, a painting of a dog and a packet of jelly babies.

Released in association with Palm Haven Studios the director hopes audiences will enjoy its combination of crime, drama and comedy, comparing it to a past project of theirs called An Eye for an Artisan.

Guy Nicholls is a British producer, writer and director, known for his award-winning short films Two Wrongs Make One Right (2022), An Eye for an Artisan (2019), Kissed Crowns (2020) and‘Who Said Love is Dead (2021) and his most recent micro short Gloom.

Also nominated a few years back at the Midlands Movies Awards for their film Who Said Love Is Dead, the production team hopes this captivating murder mystery equals the success of their previous projects. And after a successful premiere screening at the Everyman cinema in Stratford in November 2023, the pieces are in place for a festival run this year.

Nicholls’ sixth short film stars actors Daniel Grooms, Emily Drewett and Joshua Chandos and past crew member Rebecca Harris returns on make-up duties after has working on his previous films Two Wrongs Make One Right and Gloom.

Check more information out over on the film’s IMDB page here: https://www.imdb.com/title/tt27460049/

And also check out Palm Haven Studios https://palmhavenstudios.com/

New trailer for regional drama film Derelict released

Mon, 08 Jan 2024 10:31:38 GMT

DERELICT OFFICIAL TRAILER RELEASED

The trailer for the new, British independent movie DERELICT, a harrowing and violent thriller of revenge and empowerment, has now been released and you can watch it above.

Filmed exclusively in Herefordshire in the UK on a budget of just £35k, Derelict focuses on a daughter’s revenge and the circumstances that have led to the murder of her father. Soaked in the tradition of the British film noir, a series of unusual characters are thrown into situations that will have repercussions beyond their imagination.

The story tells of Abigail who is a socially isolated, angry young woman who is struggling to come to terms with the brutal murder of her father some years prior. When she learns that one of her father's murderers is about to be released from prison, Abi sets herself on a path of revenge.

In addition Matt is a young man whose life gets turned upside down by the return of his brother Ewan. The destinies of these lost souls crosses in ways that will tragically shape their lives.

Writer and film critic Guy Adams has already called it "Rashomon for the Sports Direct Generation!" and Wayne Kramer (The Cooler, Running Scared) said "Derelict is the slow-burn anatomy of a brutal murder and its aftermath, one that puts the viewer on a collision course with both the victims and the perpetrators in the gut-wrenching crime drama from talented up-and-coming director Jonathan Zaurin".

"Following in the tradition of Mike Hodges, Shane Meadows and Ben Wheatley, Zaurin demonstrates a skill for digging just below the surface of England’s societal ills, exposing equal parts pain and redemption, all served up with a powerful cinematic vision."

The Derelict crew consists of producers Sarah Zaurin, Andy Piper, Pete Bird and Todd Rodgers. Michael Mackenzie and Kat Ellinger will both be working on the screenplay, Michael Sànchez will be composing the score and sound engineering by Ryan Jordan.

The talented cast features Suzanne Fulton (Cold Feet, Mum Said), regular LBS Films contributors Mikey JL Coombes and Pete Bird (both Wyvern Hill), Dean Kilbey (Boiling Point, Manfish, Top Boy), Nick Cornwall (Devils, Sky Sharks), Corinne Strickett (Housewarming), Joe Nurse (Santa Baby), Darren James King (April, Essex Boys: Law Of Survival), Clova Perez-Corral (The Antwerp Dolls), Ben Manning (The Snarling, Cursed), and Stacey Coleman (Polterheist, Emmerdale).

Midlands review of Monsters

Mon, 08 Jan 2024 10:07:45 GMT

Monsters

Written and directed by Liz Cvalda

2024

Glassvision

Starting life as an end-of-year student project at the University of Derby, and subsequently being re-edited, Liz Cvalda’s Monsters is an interesting horror short that succeeds in creating an uncomfortable mood, even if some aspects need a little work.

Cathy Wippell plays Felicia, who murders her husband in the open minutes and then seemingly passes out. She wakes up in the isolated home of Katherine (Beth Gatherer) and is forced to stay the night as tensions rise between the two.

Cvalda, who produced, wrote, directed, edited, and help soundtrack the short, brings a lot to the table here; collaborating with director of photography Jed Ducusin and assistant director Adele Palmer, they have an excellent visual style, using the stained-glass windows to give Katherine’s home an ethereal look. The use of shadows, and sudden visual reveals help to build an atmosphere that is never terrifying but is certainly unnerving.

Both lead performances are good as well. Wippell, especially, brings a depth to Felicia, who is traumatised by her abusive relationship and the crime she has committed – often flitting between a stubborn unrepentant attitude and a search for divine forgiveness. Gatherer has a little less to do in the script, sometimes feeling like a sounding board for her co-star, though she gives 100% as we edge closer to the finale.

I am forever in awe of creatives who manage to tell a cohesive story in the space of a short film. Cvalda’s script isn’t perfect – there are some clunky moments which could have done with workshopping – but there is a real depth here. Big issues are spotlighted such as morality, feminism, and misandry, as well as how we process trauma. There are also various literary themes dotted throughout, including references to the poet Terrace Hayes – ‘the golden shovel’ and ‘the rusted pistol.’

Most impressive is Cvalda’s ability to self-edit. In their director’s statement they note that the initial version of the film did not meet their expectations and that 2023 was spent re-editing. It would be interesting to see the original version to make comparisons but what we have here is an excellent showcase of Cvalda’s ability. Using horror to discuss big issues and squeezing so much out of the small budgets and limited resources available.

Monsters will not be for everyone, but for those who have enjoyed the recent surge of quiet horror (Skinamarink, We’re All Going to the World’s Fair), and more introspective scares could find a real talent to watch here.

★★★★

4 / 5

Matthew Tilt

Twitter @Matthew_Tilt

Review of Priscilla

Fri, 05 Jan 2024 08:53:09 GMT

Priscilla (2024) Dir. Sofia Coppola

Are you lonesome tonight? Well, Priscilla often is.

Bathed in a hazy glow of 1959 nostalgia, Priscilla is a new biopic from Sofia Coppola that attempts to examine a complex woman very much on the side lines of Elvis’ huge music superstar status.

Opening on a German army base, we are introduced to the shy 14-year old Priscilla (Cailee Spaeny) who crosses paths with the 24-year old singing star who’s been drafted into the military.

The young girl is in awe of Elvis’ fame and personality and they soon begin to date, despite her parents’ reservations, before he returns to the US to continue his music and film career.

The film is pretty much non-judgmental of the couple’s obvious age-gap. As it goes on, we see the (real-life) story of Elvis waiting until a more appropriate time - as per his religious beliefs - to become intimate. That said, my modern sensibilities were pricked not just with the uncomfortable emotions it stirred up but by a glaringly obvious height difference between Elordi (6’5”) and Spaeny (5’1”)!

This physical, and somewhat comical, contrast didn’t help the feelings of uneasiness regarding the predatory nature and subsequent grooming behaviour seen later on as Elvis controls various aspects of his wife’s image and persona.

After a time jump, the slow pace eventually sees Elvis reconnect with Priscilla who comes to the star’s home Graceland where he slips her a pill (good lord) and gets authority from her parents so she can complete her high schooling (!) nearby.

Coppola has always been good with her music choices, and here she forgoes Elvis tracks almost in their entirety with only the faintest of his song’s melodies being heard in the melancholy score and a mix of contemporary and more modern music to reflect the film’s mood.

Sadly though, but maybe intentionally, the film’s representation of Priscilla’s side-lining within Elvis’ world means the first act has little to no conflict - meaning its meandering pace simply doles out perfunctory biographical moments as if cribbed from Wikipedia.

Empty houses and lonely moments drone on and on and yes, her life was solitary and often companionless. But does the film have to be such a literal translation of this? Who are these people? What are any of their goals, desires or wants? *shrugs*

To me it’s a missed opportunity to delve deep into one of music's most engrossing spouses. With Priscilla sadly reduced to a whinging husk, haunting Graceland like a bored ghost.

There’s FAR too many scenes of phone calls (I counted 12) and the yukky moments lead to a leering scene where Elvis’ skeezy mates help him tailor (literally) her clothing to meet what his needs.

And there’s far too few scenes of drama as well. A couple of lines thrown at each other concerning Elvis’ alleged infidelity and constant absence owing to far-flung touring schedules merely tease at more interesting scenes that could have been. The sumptuous production design is well shot but it’s all surface with no feeling - again, perhaps the point but hardly an entertaining watch for either the head or the heart.

The performances are fine and I was taken aback by a recent post seen on X which stated confidently “This IS cinema” in relation to a long zoom out of Priscilla staring at the world from a window - really? It's film student stuff. And Elordi (though great in the recent Saltburn) slowly drifts into a drawl that simply reminded me of Nic Cage’s Cameron Poe in Con Air.

Rather dull, and far too often quite creepy, Priscilla is a biography that seems to have satisfied a fair amount of film fans but left me feeling flat with its underwhelming examination of a frankly fascinating female. Doing as it does a disservice to both its compelling subject and her multifaceted story.

★★

2 / 5

Michael Sales

Midlands Movies Top 20 Films of 2023

Tue, 19 Dec 2023 21:19:05 GMT

It comes around faster and faster each year I swear – a sign of getting old methinks – but once again we have the difficult task of choosing our favourite films of the year. And oh boy it’s been a tough one.

Pandemic remnants now over (although the writers’ strike may impact next year’s, but we’ll worry about that then), the quality of films from blockbusters to indies seemed higher than ever before. This means this year has been one of the hardest to whittle down to just 20.

As always, a shout out to those who just missed the cut. Perhaps on another day they would have made it depending on mood but you can only choose so many on the day. Firstly, some great low-budget flicks, underappreciated it seems, were more than pleasant surprises. Check out the excellent sordid affair Sanctuary (Zachary Wigon), haunted seance flick Brooklyn 45 (Ted Geoghegan) and drama school comedy Theater Camp (Molly Gordon & Nick Lieberman).

Other good flicks just missing out include Asteroid City (Wes Anderson), Spider-Man: Across the Spider-Verse (Joaquim Dos Santos, Justin K. Thompson, Kemp Powers), MI: Dead Reckoning Part 1 (Christopher McQuarrie), the (somewhat overrated) Past Lives (Celine Song) and Infinity Pool (Brandon Cronenberg). In addition, Are You There God? It's Me, Margaret (Kelly Fremon Craig) was a long-overdue but fantastic adaptation.

And who doesn’t love a good documentary too? So go seek out Anna Nicole Smith: You Don't Know Me (Ursula Macfarlane) and The Spider-Man of Paris (Jamie Roberts), both on Netflix. Coming in under the radar, a few underseen gems that also need a shout out include the over-the-top thriller Sharper (Benjamin Caron), the excellent horror prequel Sister Death (Paco Plaza) and the satire They Cloned Tyrone (Juel Taylor).

More shockingly I suppose, critically acclaimed darlings Tar (Todd Field) and Killers of the Flower Moon (Martin Scorsese) were top drawer. But in the end they just didn’t hit my buttons for long-term re-watches so I cut them at the last minute. Sorry, folks.

And as much as I've tried to catch everything I've wanted to, a number of films I've been yet to watch include Barbie, Godzilla Minus One, Passages, Maestro, Napoleon & Dream Scenario amongst (many) others.

And with all that, here's our top picks for 2023.

EDIT (26/12/20213): There's always that awkward time between publishing this article and the end of the year, meaning a few films get viewed in this 'no-man's land' period. Given that, right now I'd also add Saltburn (Emerald Fennel) to the list.

Dungeons & Dragons: Honor Among Thieves (Dir. Jonathan Goldstein and John Francis Daley)

Like many, my expectations were incredibly low for this table-top board-game adaptation (see Battleship) and in the busy fantasy genre, it sure needed something to stand out. Yet with a magical cast and its avoidance of the increasingly annoying (and snarky) use of meta-jokes, its focus on character, story and a lot of heart and goodwill overcame the familiar genre beats. It rolled the dice and gave us a fantastic and funny family adventure for all.

Polite Society (Dir. Nida Manzoor)

Priya Kansara is excellent as the lead teenager aspiring to be a stuntwoman, but who comes up against her traditional upbringing and the family of her sister’s new boyfriend. An amazing and very pleasant surprise mixing Asian culture & family conflict with grindhouse and martial arts elements that is equal parts exciting, funny and brilliantly well-paced. Perfectly-timed humour combined with great performances see cult-movie tropes (& a great villain) end up as a Bollywood Get Out but with its own unique voice too.

May December (Dir. Todd Haynes)

Two brilliant performances from actors at the top of their game – Natalie Portman and Julianne Moore – both deliver starkly blunt turns in a dark film that explores the soon-to-be-adapted life of an older woman who had an affair with a schoolboy. Turning her twisted life into a movie, Natalie Portman struggles to find a “truth” as she speaks to those involved whilst Moore is shrewd as the unapologetic predator. Twisted and open to interpretation, the uneasy set-up makes for engaging drama and fascinating viewing.

The Creator (Dir. Gareth Edwards)

Disappearing after Rogue One: A Star Wars Story, the return of (Midlands-born!) director Gareth Edwards sees him deliver his own ambitious sci-fi where robots and AI are considered a global threat. An agent sent to destroy a “Creator”, who has powers to stop the conflict, is played brilliantly by John David Washington who delivers a star-making lead role adding to the film’s deeper ideas of sentience and technology. Admittedly, the themes have been explored in movies before but the lush cinematography, exciting set-pieces and jaw-dropping production design provide an amazing sensory experience.

Marcel the Shell with Shoes On (Dir. Dean Fleischer Camp)

Unbeknownst to me this excellent animated movie has its roots as a YouTube short but more than makes a successful jump into a cinematic format as it deals with larger poignant themes of life and love. Marcel is a 1-inch-tall shell who lives with his grandmother, and as they meet an Airbnb guest in their “home”, together they attempt to find his lost family. What could easily be a one-note joke stretched thin is quite the opposite - as it successfully manages to explore the world from a fresh perspective combining heartfelt and heartbreak in a gloriously tiny package.

John Wick: Chapter 4 (Dir. Chad Stahelski)

I was very much prepared for an overlong retread of familiarity as the fourth entry of the Wick franchise continued to march along a well-worn (and seen many times before) path. However, I couldn’t have been more surprised by its violent pleasures and increasingly absurd action in a neon fight-fest that sees almost non-stop punch-ups from the outset. The film sure is lengthy (hasn't everything been this year) but the satisfying gun-play choreography continues to keep Wick's fighting franchise quality firmly on the trigger.

The Whale (Dir. Darren Aronofsky)

A tour-de-force Oscar-winning performance from Brendan Fraser anchors this heartfelt drama that sees a morbidly obese man who despite his reclusiveness tries to bond with his estranged daughter. More accessible than Aronofsky’s previous work, the drama plays out intensely in tight rooms – made smaller by Brendan’s large frame in Oscar-winning make-up. Hong Chau (Oscar-nominated for her role) and Sadie Sink deliver equally impressive, and impeccable, performances in a movie that showcases the tremendous acting chops of those involved.

Guardians of the Galaxy Volume 3 (Dir. James Gunn)

With the Marvel Cinematic Universe in creative freefall, you’ve got to hand it to director James Gunn who returns to his much-praised cosmic team to inject a whole load of innovative fun, comedy, action and emotional gut-punches to end his trilogy. Gunn’s renaissance after his (successful) dalliance with DC’s Suicide Squad shows he hasn’t missed a beat and from slow-mo one-shot fight scenes to sensitive insights into animal experiments, Gunn adds weighty themes to his irreverent style to come up with the best superhero film since Avengers: Endgame.

Anatomy of a Fall (Dir. Justine Triet)

A phenomenal Sandra Hüller stars in this captivating courtroom drama as a troubled writer attempting to prove her innocence after discovering her husband dead. Whether an accident or something more sinister, the film builds slowly with its direct matter-of-fact tone brilliantly drawing focus to the stories and counterarguments played out in the legal system. The viewer acts as their own jury, weighing up evidence throughout, and as it twists and turns, the well-constructed story explores the complexity of multiple perspectives in its attempt to search for “truth”.

Full Time (Dir. Éric Gravel)

Held together by an exceptional lead performance from Laure Calamy, what is mostly a contemplative drama with excellently explored themes, is also structured as a tense thriller as we see a woman try to keep her home, work and love life under control. The filmmaking technique is brilliantly unnoticeable but this underappreciated aspect means viewers get drawn into each moment of building pressure without consciously realising – much like in life itself. And despite the rising tension, Full Time is full of pressure-filled pleasures. Click here for full review

The Killer (Dir. David Fincher)

The dark stylings of filmmaker David Fincher are used with marksmanship precision in a film which follows the aftermath of an assassin's botched job and his subsequent hunt for revenge. The standout is Fassbender, who has the weight of the film on him, but who is tremendous from the start, with just the right amount of unemotional detachment mixed with a hint of humanity beneath the surface. The movie offers some hope amongst all the carnage, and with these hints of redemption Fincher's mesmerising movie attempts to bring order to plenty of criminal chaos. Click here for full review

Blackberry (Dir. Matt Johnson)

With Air & Tetris, 2023 was a year of movies about iconic business brands but the winner by far was this great comedy-drama about the rise and fall of the Blackberry mobile phone. A fascinating story with a career best performance from Jay Baruchel, the standout however was an impeccably delivered supporting role from Glenn Howerton as a sleazy money-man. With this and The Thief Collector, the actor stars is in two of our top films of 2023 and, in a perfect world, would be a shoe in for an Oscar nod.

The Three Musketeers: D’Artagnan (Dir. Martin Bourboulon)

A simple (for all the best reasons) but spirited adaptation of the French novel sees the riveting drama from Dumas' work delivered excellently by a charismatic, experienced and vibrant cast. Take a ride alongside the infamous trio (quatro?) in a film that sees innovative action which mixes John Wick athleticism & muddy Revenant-style long takes. The electric swash-buckling and stirring set-pieces create both danger & excitement as it provides a satisfying and sincere slice of classic adventuring.

Sick of Myself (Dir. Kristoffer Borgli)

With its focus on self-harm, this dark Norwegian drama is less of a social satire on narcissism than a Cronenbergian body modification horror. As a woman uses increasingly disturbing means (from tall tales to disfigurement) to garner attention from her boyfriend and then others, this absolute shocker of a story will make you think and flinch in equal measure with its disgustingly impressive look into ego-driven obsessions.

The Thief Collector (Dir. Allison Otto)

This astonishing documentary tells of the joyous discovery of a $100million stolen painting after years of being lost after an art heist in the 1980s. What subsequently unravels sees the potential suspects involved in far FAR darker matters from fraud to possibly much worse. The usual talking heads are interspersed with amusing dramatic recreations and this unbelievable twisty tale is brilliantly entertaining & surprisingly shocking with its mysterious tale of art world deception.

Babylon (Dir. Damien Chazelle)

Babylon is overstuffed, overplayed and overlong but I was totally here for all of it. I was swept up in its degeneracy and surface pleasures and it felt glorious not to be given a(nother) lesson on society’s ills as we explore the horrors of Hollywood. And Chazelle’s music-film background (La La Land, Whiplash) allows the up-tempo tunes, like the fast-paced visuals, to push us forward to the next debauched sequence. Babylon is a cluttered, lewd and bawdy experience and one that takes us on a titillating voyage of vulgarity down the Hollywood walk of shame. Click here for full review

Rye Lane (Dir. Raine Allen Miller)

The movie breathes new life into the rom-com as we join a joyous trek through London with two troubled souls who connect over walks, drinks and past break-ups. Star-making turns from David Jonsson and Vivian Oparah anchor the whole tale as they perfectly deliver a dazzling comedy script across vibrant locations in a fantastically hilarious yet heart-warming tale.

Sisu (Dir. Jalmari Helander)

From its unrestrained ferocity and rapid bouts of bloodshed, Sisu sees a one-man army as he goes up against invading forces. The movie delivers a host of entertaining cult-film-inspired action in a fury of aggressive slaughter and entertaining bloodshed. And it has to be said, it’s always immensely satisfying to see Nazis getting punched (and shot, and burnt, and blown up, and stabbed…and much more). Brutal deluxe. Click here for full review

Pearl (Dir. Ti West)

Horror prequel Pearl lifts the look, sound and visuals from a Hollywood era separate from X - Ti West's first film in this new franchise. Whilst that explores sleazy b-movie tropes, Pearl brilliantly uses cinema's golden age to expand upon its dissection of generational aspiration and disillusionment. With an exceptional performance from Mia Goth playing a lost (and very disturbed) young woman seeking fame, West has once again expertly weaved how Americans see childhood dreams clashing with old-age realities in a terrific, and horrific, love/hate letter to the movies. Click for full review

Oppenheimer (Dir. Christopher Nolan)

The culmination of a series of commercial and critical successes, Nolan delivers his most amazing movie yet by channeling Oliver Stone JFK-style editing with scientific precision for a 3-hour “talky” epic you simply can’t avert your eyes from. Cillian Murphy’s stunning central performance as a man grappling with the repercussions of creating the atomic bomb is complimented by a star supporting cast with everyone at the very top of their game. An explosive and essential piece of cinema.

Review of Napoleon

Fri, 15 Dec 2023 09:57:25 GMT

Napoleon (2023) Dir. Ridley Scott

It’s not easy to compress a man’s life into a single film, let alone a man who played a significant role in European history in the way that Napoleon Bonaparte did. When Abel Gance attempted it in the 1920s, he produced a film that exists in a five and a half hour cut and still only made it to Napoleon’s wedding to Joséphine, with the rest of the story to be told in subsequent, unreleased films.

Because of this, I feel confident in the contradictory statement that Ridley Scott’s two-and-a-half-hour film is both too long and too short. Unable to satisfactorily cover any aspect of Napoleon’s life, it feels like a slog to sit through and a missed opportunity. Perhaps the upcoming four-hour cut that will screen on Apple TV will be better, but this feels like two films crammed into one.

The battle scenes are exciting to a point but occur with little context. Scott rushes through the film to such an extent that it is hard to keep track of exactly why Napoleon is going to war yet again. As more battles are crammed into the running time, you also wonder where more famous aspects of Napoleon’s campaign are. Where is the trek across the Alps, when time is given to historically inaccurate moments such as cannons being fired at the pyramids?

The speedy pacing also means that few characters have a chance to shine here. Scott, and screenwriter David Scarpa, seem to have great fun implying that both royalist and revolutionary France was populated with self-important buffoons but never actually explain the political movements that led to Napoleon taking charge, or convincing a newly republic country to accept him as an emperor.

Ten years went by between the revolution and Napoleon taking the throne, and yet here we zip from one event to another without any sense of time passing.

And what of the main performances? Pheonix remains a magnetic screen presence but his performance as Napoleon is subdued. There are witty moments and attempts to show this historical figure as someone more neurotic, but again no time is really given to this. Vanessa Kirby does her best as Joséphine, but the script flip-flops between her being an ambitious woman using Napoleon for his influence, to fiery lover, to lovesick (and eventually very sick) divorcee at such a pace that she appears two dimensional.

A lot has been said about the death of the blockbuster this year, with many failing to recoup their budgets at the box office. Napoleon is such an aggressively average film in its current form that it’s no wonder audiences are moving away from these spectacles.

Perhaps the four-hour cut will be better, in which case Apple should have released the film in two parts, ala Denis Villeneuve’s Dune or Steven Soderbergh’s Che.

★★

2/ 5

Matthew Tilt

Twitter @Matthew_Tilt

Review of Mean Streets

Tue, 12 Dec 2023 12:25:10 GMT

Mean Streets (1973) Dir. Martin Scorsese

As statements of intent go, it’s hard to think of one more representative of a director than Martin Scorsese’s 1973 masterpiece Mean Streets. While not his directorial debut, it was the first in a very distinct blueprint that Scorsese has continued to dip into throughout his career.

Set in New York, it follows Charlie (Harvey Keitel), a low-level hoodlum with the street smarts and connections to work his way up the ranks of organised crime. However, his loyalty to Johnny-Boy (Robert De Niro), who is both a friend and the cousin of Charlie’s girlfriend Teresa, leads to him constantly being brought back down to earth.

While this shares a lot of the DNA that would go into Scorsese’s later pictures such as Goodfellas, Mean Streets is less about the rise and fall of a notorious figure, and more a coming-of-age story. Keitel is magnetic as Charlie, a young man who through choice and circumstance finds himself in a situation that he cannot handle with his charm or his fists. He is still very much a kid, trying to play with ruthless men.

He’s also very much part of a new generation and must reckon with the culture clashes that brings about. Teresa (Amy Robinson) is epileptic and shunned because of this by her traditional family, which limits how much commitment Charlie can show to her. He is also attracted to an African American dancer who works at the bar run by his friend Tony (David Proval) but cannot act on this due to racial tensions of the time. This is without mentioning the inner battle Charlie has trying to marry his devout Catholicism and the sins he commits daily.

In this regard, Mean Streets feels like Scorsese’s most personal film, representing a life that he knew growing up. As if to underline this, Scorsese voices Charlie’s inner monologues, making that disconnect between his feelings and his actions even more stark.

Then there’s Johnny-Boy. De Niro brings a wild, unpredictability to the role, that would serve him well in later Scorsese pictures. Clearly mentally unwell, and digging a hole for Charlie and himself, Johnny-Boy is often the catalyst for the sudden bursts of violence. But while lesser pictures would perhaps vilify him for causing trouble for his friends, Scorsese and De Niro keep him forever sympathetic. He imitates what he sees Charlie do, and yet it’s a child being led by a child. Still in their twenties, they are quick to drink too much, to play fight, to resort to childish pranks late at night, while far more dangerous characters continue to plot over their heads.

While so much of the Scorsese style is visible here, one part of this style that he arguably perfected was the needle drop. The soundtrack here is incredible, from The Roling Stones, to The Ronnettes to Derek & The Dominos, it’s hard not be drawn in when those music cues hit. Thank God it worked as well, since the soundtrack would reportedly make up around half of the film’s budget.

With this release, Second Sight have done an incredible job of bringing one of the quintessential New York films to high definition. The picture is crisp, and the sound is crystal clear, but it has not been sanitised. The world still feels dark and grimy, with just enough grain on the picture to maintain that level of authenticity.

As you’d expect from Second Sight, the release is also crammed with extras, with new commentaries and interviews, a 2011 Q&A session with Scorsese and a feature-length documentary.

Mean Streets remains a visceral and tense watch, one that shows a young director with all cylinders firing, emboldening his cast of unproven actors to throw everything they have at the pictures. Scorsese has so many near-perfect pictures under his belt fifty years on, yet every one owes something to Mean Streets.

★★★★★

5/ 5

Matthew Tilt

Twitter @Matthew_Tilt

Mean Streets 50th Anniversary 4k and Blu-ray arrives 15th January 2024 courtesy of Second Sight Films

New trailer and poster released for Midlands-made Beautiful Meadow

Sat, 09 Dec 2023 09:37:32 GMT

Beautiful Meadow, a highly-anticipated Midlands short film directed by Laurence Mason-Guetta, has just released its first-look teaser trailer as well as the poster for this upcoming project.

The Barker Studios and Picture Locked collaboration has been gaining traction in the region’s film circles and this release goes hand-in-hand with their announcement that the psychological thriller film has also locked in its premiere date

Screening for the first time at Broadway Cinema in Nottingham on January 13th 2024 , Beautiful Meadow follows a man named Roman (Tarik Badwan) who is a traumatised and twisted man that struggles with the abuse inflicted on him by his mother, played by Gráinne Kelly (Netflix’s Encounters, 2023).

Plagued by a childhood of radical ideology, Roman remains trapped in a prison of attachment to his mother’s preaching teachings, trying desperately to break free with ritualistic sacrifices to god.

The film will premiere in an unique fashion - with Picture Locked premiering the film alongside a showcase of a films worked on by the same production families. With many of these screening for the first time at the event, including Swine, directed by Tee Maluzi.

Beautiful Meadow's creators are also proud the film is already stirring up excitement with its high production value and story-focused development.

The production teams of Picture Locked and Barker Studios both hope their film, alongside the series of shorts premiering along with it, will shine a spotlight on the Midlands film industry and continue to help put Nottingham on the map for independent film-making.

Find out more about the latest news on the film on their Official Facebook page here: https://www.facebook.com/BarkerStudiosEnt

Beautiful Meadow premiers at Broadway Cinema, Nottingham on January 13th 2024 and you can watch the trailer below.

Midlands Spotlight – East Midlands producers New Tropic looking for scripts, directors and partners

Fri, 08 Dec 2023 17:51:34 GMT

Midlands Spotlight – East Midlands producers New Tropic Pictures looking for scripts, directors and partners

A new impact-driven team of producers based in the East Midlands are looking for new scripts, directors and partnerships.

New Tropic Pictures is a feature film production start-up founded by recent graduates Floyd Parker-Horwell, Fletcher Smith, Jack Stokes and Amelia Curwen at the University of Derby.

Committed to reshaping the film landscape in the East Midlands, the company has quickly gained recognition for their professionalism having produced over 12 shorts and secured budgets of up to £11,000 through sponsorships from local businesses.

Notable collaborations include industry professionals such as Graham Cole from ITV's The Bill and Sir Tony Robinson. Filming in locations like Chatsworth House and coordinating high-speed vehicle stunts, from an early stage in their journey, they have established themselves as outside-the-box thinkers.

The company's founding members come from a diverse range of commercial backgrounds and having now graduated, they are passionate about enhancing the film industry in the East Midlands.

Their aim is to produce a feature film out of Derby and are actively seeking partnerships with talented and experienced writers, directors, and organisations. As a team, they aim to champion a director and writer for their first feature film project.

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And the st art-up hopes to strategically seek collaborations with the University of Derby and various local organisations in the Midlands region, to offer opportunities to students, graduates, and passionate individuals eager to contribute.

“The long-term vision is to see the East Midlands become an attractive destination for larger studios to come and produce movies here. The growth of the film industry in the area promises internal economic growth, generating meaningful creative job opportunities, and external benefits such as bolstering tourism, travel, hospitality, catering and more”.

But this venture hopes to extend beyond film enthusiasts. “It's an opportunity for all artists, musicians, creative engineers, and altruistic investors passionate about putting the region on the industry’s map. The company envisions the potential economic and cultural impact that the growth of the film industry in the East Midlands could bring, drawing parallels with the success story of Screen Yorkshire”.

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Review of The Peasants

Sun, 26 Nov 2023 10:48:34 GMT

The Peasants (2023) Dir. Hugh Welchman & Dorota Kobiela

Following on from the ‘filmed painting’ style of Loving Vincent, Polish filmmakers Hugh Welchman & Dorota Kobiela return with the use of the same animated technique in their latest film The Peasants (Polish: Chłopi).

Based on the novel published in parts between 1904 and 1909, the film is split into four seasons as we follow the life of a peasant girl Jagna (Kamila Urzędowska) in a small rural village.

The artistic young woman falls for a local married man but with word spreading around, inter-family conflicts boil over and the man’s father banishes his son and his wife from the village. However, as a recent widower and the richest man in the village, the wealthy father marries Jagna himself against her wishes.

Yet the affair continues in secret and is complicated when the village is persecuted by selfish landowners and the arrival of Russian troops which lead to far more serious consequences. The film portrays authentic period customs and culture, which intertwines with the rhythm changing of seasons. Capturing not just the rural lifestyle but also advancing the narrative which goes from serene to abhorrent violence during its duration.

From colourful markets and luscious wedding parties to the gorgeous tranquil countryside, the film has a stunningly rich look where canvas brushstrokes add a creative touch to stark locations. And alongside their elegant grassroot clothing, the fine detail on the faces of the actors capture their performances brilliantly too.

The director duo’s previous film Loving Vincent was our favourite film of 2017 ( link ) and once more, the glorious painting over the top of film frames gives the piece an exquisite visual style.

However, unlike that first movie, this admittedly fantastic technique – which is a joy to see again – feels somewhat superfluous here. Without the more specific link to a famous artist’s work, it could be argued that the film’s animated flair is close to being a gimmick.

Whereas the development of Vincent’s painting periods gave dynamic range to that film, the pastoral landscapes inspired by various Polish artists do not have quite the same variety this time. The neutral pastel palette again adds to this feeling. Whilst providing an earthy tone, it underutilises the creative canvas opportunities it has to play with.

However, a great score combines well with the old-fashioned music sung within the community itself to provide a fantastic sense of time and place.

This does leave room for more focus on story moments however, and a measured pace sees character development pushed forward with small-scale drama becoming more atrocious as we progress. And its focus on the persecution of a woman’s reputation echoes themes seen in Hawthorne’s The Scarlett Letter.

Reputationally, this legendary Polish tale is an historically important national piece of literature. Your engagement may depend on your passion for the slow pace of rural life over a 2-hour runtime. A fascinating glimpse into a past world for sure, but the epic novel adaptation is as hard going as its subject matter. No doubt intentionally so.

Like a traditional landscape painting, The Peasants captures a very specific moment in time, filled with historical touches, a deft creative hand and contains many subtle and heavy elements to contemplate. Similarly however, some viewers may find its unchanging style somewhat inert despite its positive attributes.

★★★

3 / 5

Michael Sales

The Peasants is in cinemas 8 December from Vertigo Releasing