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Day of the People (2016)
Film review for UK Film Review
Dystopian science fiction is rarely the go-to genre for short filmmakers, whose limitations in terms of budget and scope would render any detailed world-building fruitless. Only the bold may go, and boldly does Philip Stainsby go in this visually arresting short film Day of the People. With some large parallels to Stainsby's indie film Rivalries, which also used a gorgeous urban landscape and a mysterious plot, the craftsmanship at hand here is undeniable, delivering one of the best short films this year.
Awakening into a seemingly deserted city, our protagonist (Conor Lowson), wanders the streets in the hope of finding fellow citizens and, subsequently, answers. His journey looks to be mostly futile though, finding only a lonely Pepsi can, until he spots a figure (Dennis Hewitt) evading him through the buildings.
From the outset, Stainsby's cinematography is utterly stunning. Pitched somewhere between Blade Runner and I Am Legend, Day of the People easily has all of the trappings of a feature condensed into a taught ten minute running time. The mysterious plot is eaked out with a good pace, whilst the skeleton script delivers some really punchy moments which capitalise on the brilliant mood created by the short film. The atmosphere is then perfectly complemented by the original score from Renan Franzen, that seems like it was lifted straight out of the 80s, and works so well!
Lowson is compelling as the bewildered protagonist, adding pathos to the strange surroundings and being the perfect entryway for the audience. Very often with these types of films, such as the aforementioned I Am Legend, the weight of the narrative is placed singularly on the shoulders of one actor. And without the use of a cute dog, Lowson does really well to traverse the urban landscape whilst keeping the viewer attached to his situation without getting lost in the visuals.
One of the most striking aspects of Stainsby as a director is his framing choices. Day of the People is littered with fantastic shots utilising a range of angles, all of which contribute to the audience's growing feelings of anxiety and intrigue. There was a particular low-angle shot of Lowson picking up a book, and then revealing him against the backdrop of this immense structure behind him towering into the sky which was simply sublime. It was slightly spoiled later on by a scene between Lowson and Hewitt on a typically British high street which seemed to immediately detract from the sumptuous world which had been built using these fantastic locations, however that scene was one of the most narratively driven and therefore the setting was less crucial.
Overall, this is a masterclass in short filmmaking; Day of the People is a fierce story told with breathtaking visuals that is unrelenting in its atmosphere and rock solid when it comes to gripping its audience.
Home (2015)
Smek-tacular
In a vivid and hugely entertaining outing from Dreamworks, "Home" combines a fantastic science-fiction world with a heart-warming tale of unlikely friendship
and enough bubbles to soak a spaceship.
Jim Parsons (best known as Sheldon from The Big Bank Theory) voices lovable alien Oh - a disastrously clumsy member of the Boov race, who come to earth and displace its human population in order to make the planet their own hiding place. The Boov, best known for their cowardly attributes, are on the run from a formidable-looking enemy, but when Oh invites everyone to his house-warming party, he accidentally sends the E-vite to the entire galaxy (seriously, why would they put the "Send" button right next to "Send To All"?).
Becoming public enemy #1, Oh goes on the run from his own people, hoping to find escape in Antarctica, after fantasising about a group hug with a bunch of penguins! However, Oh bumps into Tip (voiced by Rihanna), a young girl who has managed to elude the Boov invaders whilst searching for her mother. The two social misfits team up, and through their amazing adventures, discover the meaning of finding Home.
The opening ten minutes of Home promise a fantastic premise which is utterly engrossing - the idea that the human population could so easily be ejected from their own home into a land of ice cream and picket fences, whilst the invading alien force sets up shop is genius. A truly sci-fi animation caper would be greatly appreciated across all ages, and the scope for imagination is enormous. However, where the story journeys to is a little flat in comparison, relying on a typical buddy-road-trip formula with added modifications - such as a car completely transformed by items you would find in a grocery story (there is even a lottery-ticket dispenser, how awesome would that be?).
That being said, Home is absolutely delightful to watch. The slapstick comedy is pitch-perfect, and some of the characters are excellently developed - in particular Captain Smek (voiced by the legend Steve Martin), whose firm leadership of the Boov people is undermined by his ridiculous fascination with human artefacts (such as bubble-wrap and a wheel-barrow). Jim Parsons delivers a wonderful vocal-performance as Oh, in particular a scene where he involuntarily dances along to human pop-music which proves Dreamworks can still provide animated gold.
Colour is used with splendid ferociousness, especially the Boov who change colour when feeling different emotions. The visual depth is not only great to watch, it also adds pathos to their characters in an ingenious way.
The music will appeal to the younger generations, and acts as a sales pitch for both Rihanna and Jennifer Lopez (who voices Tip's mother), whose songs populate the movie like an everlasting bubble machine of pop-tastic ooze. Although, on balance, the original music which is provided by Lorne Balfe creates some entrancing and moving moments in the film, with its enriched emotive score.
A wonderfully imaginative and genuinely funny film then, Home is Dreamworks' proof that they can still compete in the razor-sharp leagues of animation. What could have been a five-star film had they continued with a stronger premise, is still a hugely enjoyable family film that lands a lot of laughs, and boasts a bunch of bubbly brilliance.
Cannibals and Carpet Fitters (2014)
UK Film Review - Cannibals & Carpet Fitters
A quirky British comedy with about two carpet fitters, Colin (Darren Sean Enright) and Dean (Richard Lee O'Donnell) who
ahem
have the rug pulled from under them when one of their customers, a sweet old lady (Jenny Stokes), turns out to be hiding a ghastly secret beneath the floorboards of her Downton-Abbey-style abode.
Set in a picturesque stately home, Cannibals & Carpet Fitters has a wonderful combination of quintessential British charm and comedy - it is witty and weird in perfect unison. Some of the one-liners are bust-a-gut funny - for example when Dean confuses Josef Friztl with a pretzel.
There is an eeriness about this short film from Bushe that captures the darkness and wackiness of something like The League of Gentlemen. Bushe's filmmaking skills are a true talent to observe, with a superb dedication to using a variety of framing methods, and the result is a film which looks utterly top standard.
This is a vibrant and show-stopping comedy that would make a fantastic horror-comedy feature, which may well be the plan. It has excellent characters, a brilliant blend of guts and gags, and two lead performers who spark well off each other.The music is well chosen, adding to the light heartedness of the atmosphere, and it adds a great sense of joviality to the two main characters bouncing along in their van - reminiscent of Peter Kay's Pheonix Nights.
Some may find the barmy buffoonery of Colin and Dean far below their reach, and others may dislike the way the film blends genres, however, refined taste is all well and good, but whether laying carpet or making a film the same ethos is always true - always check your customer is not a psychotic maniac looking to feed you to her underground monster! And have fun doing it.
The Actor (2013)
UK Film Review - The Actor
David Graziano (Under The Dark Wing) stars in this emotional and revelatory short film about an actor who bares his soul to another woman (Diana Porter) during a coaching session.
Shot in black-and-white, The Actor is about regrets and memories as we see Graziano struggle through pivotal parts of his life, in particular where he made mistakes. Porter as the coach acts as a soundboard for The Actor, offering him encouragement to keep on talking and questioning him about his past behaviour.
There are quite a few stylistic choices in this short film which make it stand out - first of all the black and white, which reflects the story's nostalgic tone. Also, some of the quick editing between Graziano and Porter adds a quirky element that suit's the film's offbeat charm. It is unsure how much of this Actor's dialogue is rather an inner exploration than a coaching session.
Performances are divided; between Graziano's dominating presence as this haunted character with enough emotional baggage to break a leg, and Porter who delivers a very wooden recital of her basic lines (which may have been intentional, to reflect the acting chops of the main character). Christine Perla is momentarily in the movie, adding a certain degree of mystery to the proceedings.
The film is meant to be about second chances and lost love, but the impact comes from the portrayal of this deeply troubled character, who seems to be losing his grip with reality. A stark realisation occurs that he may have been severely damaged by his emotional heartbreak, on the cusp of a volatile breakdown.
Some great filmmaking techniques are utilised, and the who film has a stylistic appeal, but it is Graziano's performance which deserves the applause. His depiction of The Actor is compelling throughout and would have possibly made a very decent feature film.
Order of the Ram (2013)
UK Film Review - Order of the Ram
Ever imagined if your small-town life had been cultivated by a deranged group of satanic loonies, ensuring you stayed pure and unspoilt so that they could sacrifice you to the pointy-tailed demon himself? Of course you have, but now you can see that nightmare played out in short film Order of the Ram from Crossroad Pictures, in this throwback to cult horrors with some sublime cinematography.
Set mostly in a wooded area, Mary (May Kaspar), is busy taking photographs of the natural splendour around her, when she is startled by a strange, smoking figure. After trying to make small talk with the man, he chases her and knocks her out - obviously not a fan of chit chat. When Mary awakes, she is tied to a tree and surrounded by a group of hooded men and a woman - who is known as Mother (Danni Scott- White).
Mother reveals to Mary that the group before her are the Order of the Ram, a devoted set of people who have overseen Mary's life in the community, ensuring no one got close to her, so that she would be the perfect sacrifice for their upcoming ritual
With some beautiful shots and an intriguing premise (sort of The Truman Show meets The Wicker Man), Lyus' short film has a lot to offer from a visual point of view and delivers a compelling story. One shot of falling leaves was totally engrossing.
It was great to see a blend of classic horror with a modern story, however the film needed more updating - in particular the score which felt outdated by about 30 years. The script was also pretty linear, failing to develop Mary, Mother or any of the supporting characters, instead driving the plot to a quick climax. It would have been nice to see some flashbacks of how the Order had controlled her life, or to give a back story to more of the members.
That being said, Order of the Ram does have an appeal to fans of the horror genre. The tension is palpable as Mary's predicament becomes increasingly perilous, whilst the sound effects used on her heavy breathing and scream create a fantastic shock for the viewer. The main strength of this short film, though, is in the framing of the shots. Fluid cutting between faces of the Order, and some great close-ups of Mary are effective in creating a creepy and fascinating atmosphere.
Blue Dream (2014)
UK Film Review - Blue Dream
Capturing the cruel beauty of coping with cancer, this short film from Gergö Elekes, tells the story of a dedicated swimmer who has to undergo chemotherapy to treat her condition. With the tagline "Keep going. Even it if hurts", the film's message is blatant and poignant, yet the overall effect is immersive.
Surrounded with a delicate score (also by Elekes) and light fading between shots, the tone of Blue Dream matches the heartbreaking nature of the story. Viewers will find themselves instantly engrossed in this short film, even if it is only a quick dip (the film has a run time of just over 4 minutes).
Imagery is used with power and pathos, displaying this young woman's life. The character is played, with poise and grace by Kinga Galambos, through a quick series of shots showing her life in equal measure - coping with her recovery and trying to maintain who she is. One particularly startling shot is of a calendar on the wall, where each day of a whole week has only one word etched in with pencil - "CHEMO".
The speed of the editing and the jumbled concoction of cinematography will give some viewers the bends, but this only enhances Elekes' short film and the power of its message. The struggle that this swimmer endures must feel like a dizzying array of uncertainty, pain, and hope, which is reinforced by the over voice of the swimmer by Kriszta Vörösházi. The script is a little bleak, even for a film of this genre, but adds depth to the drama.
Films depicting cancer struggles are immediately emotive, many audiences will connect with them simply because of the sensitivity of the issue. However, Eleker's film opts for a different journey. This short film on how the recovery can feel is unique, especially when seen through the juxtaposition of pills and pool. Powerful, bold filmmaking.
Fifty Shades of Grey (2015)
UK Film Review - 50 Shades Of Grey
Having set the world alight with tittering, E. L. James' trilogy of erotic books gets its first screen adaptation from writer Kelly Marcel, under the direction of Sam Taylor-Johnson (please no snickering at Johnson, we're barely into the intro!). The inevitable raucous reception which the film has received, though, has been far from fiery, and rightfully so. 50 Shades Of Grey the film seems like lukewarm, awkward foreplay after a much-anticipated build-up of sexual innuendo and teasing.
Dakota Johnson (again, no snickering!) plays the main character of Anastasia Steele, who may sound like a Russian stripper, but is actually a frigid virgin who seems completely unenlightened about the adult world, spending most of her time in books. She meets a mysterious millionaire after interviewing him for her college newspaper, and is introduced to a whole new world. And NOT an Aladdin style "whole new world"
Jamie Dornan plays the aforementioned millionaire, Christian Grey, a successful businessman with nice suits, fancy cars, and a private helicopter. Sauvé and sophisticated, he seems like every woman's wet dream. His dark and brooding character, though, hides a sexy secret (although, not much of a secret to anyone watching the film) - he likes it dirty.
Not your usual boy-meets-girl story, 50 Shades Of Grey plunders into a treasure chest of other clichés which render both of these characters limp. First off, the idea that women are attracted to asshole men as long as they are rich. Secondly, that men will obsess over something they can't have, and when they finally get it they treat it like crap. And thirdly, sexual exploration is the only true meaning of life, except when love gets involved.
Taylor-Johnson's film plays out like a sordid perfume advert where the fragrance they are flogging is called "restraint". No one seems happy to be in this film, and where the storyline promised both a love story and some BDSM, it half-delivered on both for an uncomfortable blend of anticipation and failure. Christian Grey comes out looking like a depressed psycho, using his money and business acumen to act out his seediest fantasies whilst fixating on a woman he hopes to abuse into next week, all without a smile.
It seems the movie tried to stay too true to the books, whilst forgetting it was an ADAPTATION that needed blow the books out of the water. The only way to have competed with the success of E. L. James' trilogy was to, excuse me, go much deeper. Instead, what should have been a slap round the face with a nine-inch sex toy, turns into a meek tickle with a feather that irritates rather than tantalizes.
Aftermath (2014)
UK Film Review - Aftermath
Bleak and atmospheric, Aftermath (or Akibet in its original, Turkish title), depicts an intense short story about grief and the "painful truth of life".
Damla (Gizem Aybike Sahin) and her unnamed sibling (Berkan Uygun) are trying to cope with the death of their parents in very different ways. The traumatic experience has left them distraught, and the need to lean on family during times of strife is a strong theme during the film. Damla's attempts to bring her brother back from the edge of oblivion are met with heartbreaking stoicism, which only ends up causing another devastating tragedy.
As the pair struggle to find an anchor, it becomes clear that without a solid companion for dependency, both are lost in different ways.
Enduring themes of loss and coping mechanisms are pelted at the audience, with a beautifully moody score and a pointed and effective script. The film, from Tofic Rzayev, delivers a powerful punch in its short, 8-minute run-time that most films fail to produce in a feature length.
Aftermath is a beautifully shot and well-produced short film that leaves a distinct aftertaste for any discerning viewer.
A little more development on the story and its fallout would have been appreciated, however this is just evidence of Rzayev's expertise - giving you such powerful flavours, leaving you desperate for more.
One of UK Film Review's top short films this year, Aftermath is a lesson in short film-making.