Reviews

Written, directed, and produced by Tab Edwards, 'The Kingfish 2' is a 2024 feature that stars Xavier Edwards as X, Britt Starghill as Flip and Taylor Myrick as Bobby. It is a feature length sequel to The Kingfish TV pilot.

The Kingfish TV pilot charted the adventures of X, Flip and Bobby as they headed to North Philly to take possession of a mysterious package. However, in their journey, they ran into suspicious characters who also have an eye on this package. Chases, romance and shenanigans ensued as the trio tried to outsmart every challenge that came their way. In Kingfish 2, the trio returns only to follow another secretive box and once again, they cross paths with the Kingfish during this journey. In this quest, they need to balance love and responsibilities as well.

This is a pretty laid-back film but even in the absence of serious character beats, the acting is pretty great. The three protagonists feel better than when we last saw them; this is a testament to how the actors have developed their characters due to the time difference between then and now. X, Flip and Bobby have all grown up and they have the same issues that all teenagers their age have. The supporting cast is fantastic as well. Everyone gets a chance to shine and the script manages to do all of them justice.

In addition, Ronald Shaer returns as the Kingfish and Omar Long returns as Big Homie. The villainous turns by these actors gives the protagonists a formidable challenge and just like the first outing, the trio will struggle to survive against the villains only to outsmart them at the end. The film also includes the acting debut of India Alston (as CJ) who is the daughter of entertainment industry giant Charlie Mack and I was pleasantly surprised by Alston's debut as well.

From a technical aspect, The Kingfish 2 manages to soar way above its predecessor. Visually, the film is a massive step up from its original short and the cinematography is both vibrant and complex. Using closeups, wide angles and a whole other variety of shots, the makers behind the project make the production look as professional as possible. Since the majority of the scenes are shot outside, the lighting looks perfect as well. The fade ins and fade outs could use a little bit more work but all in all, the film excels in the visual department.

In the sound department, the film is equally as impressive. The background music keeps the narrative flowing smoothly and the song choices are equally as peppy and upbeat. For a 70 minute feature, the pacing and narrative momentum are on point. Tab Edwards does a good job of reintroducing the three misfits and immediately plunges them into shenanigans, using wit and charisma to win over the audiences. Each cast member has his or her own personality and inclinations and it is this synergy of different dynamics that works well in the context provided.

Thus, The Kingfish 2 manages to impress in more ways than one. It expertly builds upon its origin prequel whilst allowing the characters to develop and mature. It takes the story in unexpected directions and has competent directing and acting culminating in a production that does its subject matter justice. Tab Edwards has come a long way from the TV pilot she made some years ago and we can't wait to see what she does next.

Written and directed by Dennis Clancey, Chasing Red is a 2015 documentary film about Pamplona's Running of the Bulls. This exhilarating event, which has been happening for at least a century, involves hundreds of runners escape from a charging pack of six bulls, often with devastating consequences. The film focuses on 4 runners across the eight bull runs of a single fiesta and as these runners take the risk of injury and death head on, Clancey and his team follow the individuals as they embark upon the adventure of their lives.

The exhilarating action of Running of the Bulls is captured by Clancey in some of the most exciting ways possible. As people start to sprint away from the bulls, Clancey manages to record the action from the balconies above, providing a birds eye vantage point of the chase unfurling below. Interspersed with this is footage from ground zero, where the herd of big, muscular bulls are waiting to charge at a sea of masses. As the bulls zig zag in the narrow streets, hundreds of people start running before them, most saving themselves by barely an inch. Before the bulls are discharged into the narrow alleyways, Clancey is on the ground coaching and advising the runners; apprising them of what even a slight mistake can do to their bodies and their lives.

Chasing Red does not shy away from the blood and it is this raw and unfiltered peek into the crazy world of Pamplona makes the whole experience even better. Nothing is fake here, all of what is shown has really happened and what makes the whole thing even more exciting is anticipating which of the runners will get mauled by the bulls. While it might be apt to call the participants of this event insane, people train for months before the actual event in anticipation of the gruelling physical and mental conditions that they will face in the arena.

Another great thing that Chasing Red manages to accomplish is realising the passion that the masses continue to have for this event. It is hard to fathom that people from thousands of miles away come to Spain each year for this, but they do and they manage to make a big spectacle out of it. From news crews to hundreds of medics, the Running of the Bulls manages to be an event unlike any other on the face of this planet. You must be there to experience it and those who do, are never the same again.

Running (pun intended) at just over an hour, the film manages to summarise the myth and mystery of Pamplona in just about the most effective manner possible. From the mindset of the participants to what happens when things go terribly wrong, Chasing Red is a completely unfiltered and unadulterated peek inside this mystical world; one that will both impress and inspire. The editing is razor sharp and the pacing keeps the audiences on their toes, resulting in a pulse pounding thrill ride that is more akin to an action film chase scene as opposed to a real life documentary.

Exciting, exhilarating and deeper than we thought it would be; Chasing Red is a fantastic insight into the ages old traditions of Pamplona. The film serves as a potent entry point for those who are barely familiar with this event and for the masses who worship and commemorate it, Chasing Red is a celebration of their passion and perseverance. Dennis Clancey has made a magnificent film, one that goes deep into this infamous event, both educating and entertaining us in the process.

The film's brutal ending not only highlights the complete disregard of law during that time but also the horrific nature of man to stoop to any depths for a meagre share of improved profits. The working class has always been marginalised and hammered by those with money and even today, the upper classes have found new creative ways to keep the masses poor and hungry. Leaving the Factory is thus a cautionary tale of how the elite will always try to keep workers in line and it is up to the masses to unite, organise and demand better remunerations.

Director Crucitelli strives to keep the narrative engaging and she manages to do a great job in this regard. We initially see ourselves in Marina who is our window into the desolate world but through Marina, we begin to identify with all of the women in the factory. The script throws a slew of unexpected consequences in the protagonists' way and the cat and mouse game of patience between the owners and the workers goes off in a direction that few will anticipate.

The cinematography and set design are perfect, both from a literal and thematic point of view. The cramped working conditions in the basement refer to how the women are controlled; this is in contrast to the well designed and spacious upper cabin for the bosses to relax and bark orders from. This really shows how deep the divide between the classes are; the women are slaving away for a chance to feed their families and the boss insists on extracting more labour from them regardless.

To summarise, 'Leaving the Factory' is a potent and powerful drama that succeeds with its themes of resilience and justice. This is a timeless film, one that needs to be appreciated for how much it gets right about the struggle between the haves and the have nots.

Written and directed by Niccolo Rolim, 'Broken Layers' is a 2023 drama short starring Rawan Hage, Nick Faltas, Esther Pidal and Eli King. The film has won numerous awards across the globe including Best Student Film; Emerging Filmmaker Showcase at the 2021 Cannes Film Festival.

Rosa comes back to the US after her tour to Iraq. As the trials of war take a grim toll on her, Rosa finds adjusting to the mundane life back home difficult. With her Arab father not approving of her stint in the military, Rosa constantly remembers her life changing experience back in Iraq. As family friction threatens to derail her sanity, Rosa finds that peace and contentment within her life will come from where she expects it the least.

The Iraq War changed the world. It is within this politically charged climate that Broken Layers takes place as it attempts to make sense of the repercussions of the war on a poor immigrant family. Arab American soldiers were always conflicted about America's excursions in the Middle East and kudos to Niccolo Rolim for shedding light on this important issue.

As a film, Broken Layers works flawlessly and after it ended, I was shocked to find out that this is a student film. Competently shot, perfectly paced and expertly edited, this is a production that excels on all counts. From the complex emotional journey that Rosa goes through to the ethnic tensions in the US, Broken Layers sheds light on aspects of American life that have not had much time in the sun. The film also focuses on how Arab American soldiers are rejected by fellow Arabs for being paws of the American Establishment and how soldiers coming back from war are provided inadequate mental health support.

Perhaps the best aspect of the film are its moments of pure emotion. From Rosa's violent outburst at the dinner table to good treatment in captivity, the film captures the ups and downs of life really well. The message here is clear; life is unpredictable and fleeting and it is best to enjoy the ride rather than wallowing in self pity.

Rawan Hage as Rosa is a revelation as she navigates her complex character really well. Pulled in two different directions due to her ethnicity and her job, Rosa finds life is not that easy when you are a half Arab marine. Rosa's predicament is made complicated by the fact that she was captured in Iraq by the locals and her good treatment completely shatters her perception of the enemy. Equally impressive is the performance by Nick Faltas as Rosa's dad. Having taken Rosa's decision to become a Marine to heart, Ali is visibly pained and broken by what her daughter has become. It is this father-daughter friction that is the emotional bedrock of the film. When Rosa almost hits her father at the dinner table, this relationship hits rock bottom. But knowing both Rosa and her father, they will find common ground later on.

Visually, the film is excellent. Scenes of Rosa in combat and captured in Iraq are interspersed perfectly with her adjusting back home. These show an interesting perspective; people who have seen combat never really come back from the battle and they are always there in the action in some capacity. While the reason for this might be PTSD, this visual narrative provides a fitting mirror to what is happening inside the protagonist's mind.

Equally impressive is the narrative that keeps the audience on its toes. Jumping between the past in Iraq and the present back home, Rolim keeps things interesting. The editing is razor sharp and the pacing ensures no single moment feels tacked on. The cinematography adds a layer of authenticity to the film whilst the sound mixing captures Rosa's jarring experience both war and home really well.

A winner of numerous accolades across the world, Broken Layers manages to impress in a way that feels both fresh and original. Featuring a stunning starring turn from Rawan Hage, the film beacons as a message of peace in a world torn by conflict. Niccolo Rolim's film showcases the fissures in the American social fabric and uses these to comment on immigration and multiculturalism.

Written and directed by Marta D'Ocon, 'The War Within' is a drama short that stars Sabrina Hartmann, Laura Urgelles and Alan Corvaia. Based on the experiences of a young rebel fighter during her formative years, the film won numerous film accolades across the globe. The War Within was also the 2022 Official Selection in the Emerging Filmmaker Showcase at Cannes Film Festival.

Deep in the jungles of Latin America, Matilde lives a normal life with her family as an anti-government insurgency rages all around. In a cruel turn of events, government forces massacre her entire family one night and by stroke of luck, Matilde is the only survivor. Full of rage and fury, the young girl joins the rebellion to avenge her family. As personal issues threaten to derail her fight, Matilde will realise that she can rely on no one but herself if she is to take the fight to the enemy.

There is much to unpack in The War Within. Female rebel fighters in Latin America have been a reality for as long as resistance movements have occurred, and the film makes a brave tumble into this fascinating page of history. Also, this is obviously a very feminist film, one that highlights how cards are always stacked against women in any scenario. The only help Matilde gets in some capacity is from her female commander and the men in this story are either abusive (the father) or unreliable (the boyfriend). Marta D'Ocon takes this feminist tale and makes it brutal and inspiring, ensuring that the protagonist undergoes a trial by fire before her rebirth into something new entirely. While this has been a staple in fiction, what D'Ocon does better is in framing the story in a modern light. The stakes are high and relatable and D'Ocon does well to ensure the audience roots for Matilde without hesitation.

Any effective drama's greatest strength is top notch acting and this is where the film greatly excels. Sabrina Hartmann as Matilde is fantastic. She is vulnerable when she needs to and steel cold when the circumstances demand it. Starting off as a naive girl in love, Matilde will push herself to the limits in order to avenge her family. Even a painful betrayal, resulting in a great personal tragedy, by her boyfriend will not deter her. In addition, Laura Urgelles as Commander Teresa is a commanding presence. The naive Matilda needs to be forged in fire if she is to have any hope of surviving out there. Enter Teresa, whose heavy handed tactics might make Matilda dislike her, but are absolutely necessary for her transformation.

Alan Corvaia as Carlos plays the backstabbing boyfriend. It was ironic that Matilda was only saved from her family's massacre because her father disapproved of her boyfriend and it was this exact boyfriend who cost Matilda her own child later on. Fate works in mysterious ways and Carlos is nothing except a stepping stone for the protagonist in her journey to become a fearsome rebel warrior.

The cinematography and set design are impressive, transporting the audience right into the jungles of South America. However, one thing I did have an issue with was the lighting. Some scenes are dimly lit and improving the light here could have made the film better, visually. The scenes with firearms are realistic and the battle sequences succeed in making an impact, both emotionally and viscerally. Equally impressive is the sound design as it underscores the terror Matilde faces throughout her journey.

In addition, the narrative pacing is on point and no moment seems unnecessary in this half an hour picture. D'Ocon keeps the action rolling as Matilde stumbles from one calamity to the next. Moments of bliss for the protagonist are suddenly interrupted by a new conundrum as Matilde is shaken out of her idyllic life out into the real world.

Thus, The War Within is a moving and powerful short that takes the audience on an odyssey of sacrifice as a young woman comes to terms with the murder of her payments by joining a local rebellion. The film's greatest strength is showing how a random act of wanton violence can set completely unrelated people on paths that will entirely change their lives. Seeing the world from the eyes of Matilde, we completely understand her predicament as well as the hard choices that she has chosen for herself on the path to salvation. Marta D'Ocon's film soars and we cannot wait to see what she does next.

Written and directed by Dylan Tyncherov, Banality of Evil is a short film that stars Chris Pender, Jonathan Hearns & Alex Gynp. The film finds three soldiers trapped in a dark room with no chance of escape. As the grim reality of the situation sets in and options dwindle, conflict and mistrust take root within the group that will change everything.

Banality of Evil is actually a term coined by political thinker Hannah Arendt. Referring to the idea that normal people are perfectly capable of committing shocking atrocities, Dylan Tyncherov takes this strand of thought and makes a terrific film about it where soldiers finally realise the nature of atrocities that they may have committed in the field. It is fascinating to see an individual, trained to kill and survive most forms of mental torture, realizing that he is in fact the epitome of evil and his existence is nothing more than a bane of existence.

The acting is fantastic across the board. Chris Pender, Jonathan Hearns & Alex Gynp as the three soldiers with wildly different personalities are fascinating and it is their coming to terms with their unique predicament, what makes the film unique. Starting the story as confused souls trying to make sense of their predicament, each character reacts to the situation in a different way. One has a nihilistic approach to it all, whilst the other turns to God to find solace. The third chooses rationality and while each of them try to win desperately over each other, what really comes out on top at the end is their collective realisation that they are never getting out of here alive.

For a film that has a runtime of less than half an hour, Banality of Evil expertly summarises and highlights several key ideas within its narrative. The script by Dylan Tyncherov is sharp and poignant; keeping exposition to a minimum, Tyncherov puts the audience right into the box with the characters as they each go through their mental degeneration. Devoid of power that they commanded in the real world, the trio will soon find their worst demons and desires coming to haunt them in this dark, desolate void from which there is no escape. The shocking ending turns the entire narrative on its head. While the twist may leave you with a flurry of questions, it works perfectly within the narrative that Tyncherov is trying to set up.

While its story, script and narrative are obviously top notch, it is in the visual department that the film manages to be most impressive. First, the editing is crisp, keeping the erratic movements of the characters within the box in frame whilst they slowly lose their minds. Equally impressive is the pacing that condenses what seems to be days and weeks inside the box into a few minutes of claustrophobic carnage. Tyncherov manages to capture the painful slowness of time passing inside the claustrophobic hell in a way that keeps us on our toes, peppering the narrative with just enough drama and conflict to get the point across.

The black and white hues of the box our characters find themselves in has multiple meanings in and of itself. The colourless existence both signifies the endless hell the characters find themselves in as well as the sheer helplessness of their existence. There is no escape from the box and shockingly, the characters don't feel any of the natural urges they do in the real world here. However, what they are left with are their minds as their fears and atrocities and insecurities and doubts come back to haunt them. Like a serial killer slowly going insane, the soldiers will turn on one another as desperate attempts to escape only highlight the futility of any such endeavour.

Thus, Banality of Evil is a film that goes where very few horror films manage to do so. Set the monsters and killers aside, the greatest horror is one hidden within our very minds and the film manages to illustrate this point in a way that will stay with you long after it has ended. With no entrances, exits or answers, the only thing the soldiers can do is look within themselves and it is here that they find the sheer evil and pointlessness of their own existence. Dylan Tyncherov has made a fascinating film, one that manages to impress in more ways than one.

Contemplations: On the Psychedelic Experience is a 2022 feature length documentary written by Rak Razam and directed by Julian Palmer. The documentary dives deep into how psychedelics are gradually becoming part of the mainstream in New Zealand and how individuals from all walks of life are finding their lives changed for the better through these substances.

Combining face to face interviews with CGI, animation and real life nature imagery, the documentary is an interesting beast. Masses around the world have been wary of psychedelics for quite some time but recently, the narrative is gradually shifting as these substances have been found to be extremely beneficial for a lot of conditions such as PTSD and trauma. With public opinion well under transformation, Palmer's documentary comes at just the right time to get the conversation rolling. Psychedelics are here to stay and Palmer's feature shows just how important they have been in changing lives across the globe.

The best thing about the documentary is how earnest it is. Palmer manages to focus on a large and diverse group of people, from all walks of life, who found their lives improved massively as a result of these substances. Contrary to popular opinion, the people focused on here are not stoners and deadbeats. Rather, they represent the pinnacle in their respective careers; from computer engineers to medical professionals, it seems everyone can improve themselves using psychedelics. Finding spiritual connections to their souls, the various individuals focused here feel visibly stress free and in touch with themselves. The documentary is so effective that it will convince even the most ardent of critics to take another look at how these substances are changing lives for the better.

Psychedelics have always been about leaving the material weight behind and embracing the spiritual. Upon taking psychedelics, people have reported losing their egos, their day to day stresses and severing connections to all of their possessions that have essentially owned their lives uptill now. The documentary makes an effective case for this as person after person explains how his or her life is now a lot more grounded and carefree than it used to be. Palmer knows what to highlight and in making sure the audience knows what the specific benefits of these substances are, he is effectively convincing the masses to take the leap.

Julian Palmer, the director, approaches and structures the documentary in a way that even those who have been on the line about psychedelics for now, will not be turned away. The narrative pacing is perfect and this is important for a documentary that is almost two hours long. Palmer makes the subject interesting, ensuring that the audience is hooked from the start. The deep voice over in the beginning sets the tone for the rest of the feature and as user after user shares his and her life changing experience, one cannot help but find his point of view changed.

Any feature dealing with psychedelics should be a visual delight and Contemplations manages to hit a home run in this regard. The film features a barrage of insane visual candy that accurately depicts both the highs and the journey of an individual taking these recreational drugs. It is often said such a trip is unlike any other, assaulting the senses of the user in a way that few things manage to do so. Some people have reported to have an out of body experience whilst others have found themselves in a kaleidoscopic wormhole that goes eternally deeper. Contemplations manages to visualise all of these experiences and more and the insane visual candy depicted is perfectly complemented by a soundtrack that deepens these visuals.

This audio visual assault on the senses is extremely effective and the audience find themselves sucked into a psychedelic experience of their own as the feature progresses. From all perspectives, Contemplations is a home run. Julian Palmer's documentary is insightful, fascinating and a sight to behold. From its heavy voice over to its fantastic visuals, Contemplations is an accomplishment that needs to be seen. The film is philosophical, metaphoric and hopeful all rolled into one and soars way beyond we expected it to. It will convince the naysayers to take notice of this new avenue in human exploration whilst providing the masses the push they need in order to experiment with these substances for the very first time.

Written by Radek Belina and directed by Radek Belina and Andela Hermankova, 'Can't Stop, A Star Trek Fan Production' is a fan made short film inspired by the Star Trek universe. The film stars Radek Belina, Petr Malina, Igor Gottwald and others.

Rade Belina plays Captain Glenn Dirk as he and his crew have set off on another adventure into the far reaches of the galaxy. However, an urgent call from central command forces them on a five month vacation in the midst of their mission. Apparently, the crew cannot transfer their vacations to next year so they must take their vacations now. Flabbergasted and bored, the crew will reluctantly resort to concocting shenanigans to pass their time; this includes dance performances, pursuing hobbies and a penchant for killer dress up parties.

Star Trek was always very serious, dealing with morality, existentialism and other heavy subjects such as the dynamics of human thinking. Thus, it is great to see a fan film that flips the script on the franchise's essence. Amidst the doom and gloom, Starship crews do manage to have fun and the film makes this clear in a near satirical way. Rarely do you expect to see Starship crews knitting or listening to old music but alas, here, we do witness this and so much more.

The acting is very good across the board. The satirical subtext in the script is brilliant and it is extremely entertaining to see the crew deliver their lowkey hilarious lines with a straight face. Radek Belina as the Captain is captivating and Igor Gottwald as his second in command is equally energetic. Amidst all the shenanigans, the film does indeed make some time for a proper villain as well. Zuzana Belinova plays the extradimensional Q and here, the crew is forced to vanquish her boredom or she will annihilate them all.

The team behind the production went all the way and actually built a real life set of the inside of the ship. With no prospects of financial rewards to be extracted from such fan films due to Paramount guidelines, this is a display of the sheer loyalty and extreme devotion of these fans towards the franchise. Studios need to celebrate their fans more (looking at you Disney who has been extremely dismissive towards Star Wars fan films since it took over the franchise a decade ago). Similarly the Starfleet costumes are on point and so is the technical jargon that takes place on the bridge. All in all, this looks and feels exactly like Star Trek; other than the fact that shenanigans and fun have taken over more serious matters.

It is great to see fan films try to make their own way into the convoluted franchise lore. Both Captain James Kirk and Captain Picard are name dropped as is a meeting between Picard and the extra dimensional being Q. Equally impressive are the visual effects which are superior to most other fan films out there. The ship looks great and the moment it jumps into hyperspace is a sight to behold. The marvel of modern CGI means that even fan films can have near perfect visual effects that look almost as good as the theatrical Star Trek films. Complimenting the visuals is the fantastic sound design which recreates the audience experience of being inside the Starship bridge as accurately as possible.

One must also pause and talk about the delightful songs. The later half of the film turns into a musical with two pieces, each perfectly choreographed and synched, showcasing the cast's massive talents for the performing arts. For a 27 minute short, the film manages to cover everything without getting boring in the slightest. Director Radek Belina keeps things moving briskly and the unexpected turn of events in the story manages to keep us, the audience hooked. Thus, Can't Stop, A Star Trek Fan Production is a labour of love inspired by a decades long franchise and made by people who adore it limitlessly. Although the film takes some lighthearted jibes at Star Trek, its heart is in the right place. Radek Belina and crew have made a compelling fan film, one that feels fresh whilst accomplishing much in service of the franchise it celebrates.

Written and directed by James Hung, 'Detrimental' is a feature length 2023 Chinese horror thriller. The film stars Ho-shun Wong, Kenneth Chan and Shirley Chan. 'Detrimental' follows a group of miners stuck on an alien planet where the corporation they work for extracts a very rare metal. While most of the crew is made up of ex-convicts, there are some miners who are blind. A freak storm takes the facility offline and throws the whole mining process in jeopardy. As the miners try to manage the fallout, they find that an alien monster is hunting them one by one.

Although this premise has been done before, it is always exciting to see a group of protagonists fight against an overwhelming enemy against towering odds. The crew is made up of a wide variety of characters, some sympathetic and likeable while others obviously written as unlikeable and possibly villains. How they interact depends on Hung and as the scriptwriter, he manages to infuse a sense of originality in the story. We begin to care for the blind miner as well as the female accompanying him and as the audience, we want him to survive at all costs for his daughter back home.

Working with a story that the audience might consider predictable, James Hung strives to keep things fresh. He mostly succeeds in this regard as the story takes a few unexpected twists and turns along the way. Pulling double duty as both writer and director, Hung ensures the story moves along at a breakneck pace as he injects several moments of sheer terror and carnage at optimum intervals. Hung makes us care for the characters, only to put them at risk later, making for an effective story that keeps you on edge for the entirety of its duration.

The biggest selling point of the film is its alien creature. It is heartening to see here that they have mastered the art of making monsters that look as real as the characters. The creature design is thus fantastic and one can see the makers were inspired by the monsters from Stranger Things when designing this alien killer.

The makers really went for a creature that looked both horrific and disgusting and as this monster is unleashed, the miners start to meet their end one by one. James Hung keeps the kills creative and this ratchets up the tension right until the very end. We don't know who the monster will take next until it happens suddenly without warning.

One of the undoubtedly best aspects of the film is its production design. From its polished cinematography to the fantastic colour grading, Detrimental looks as good as its Hollywood counterparts. Equally impressive is the set design which ensures the mining colony and the alien planet look so real that you have to double check; real sets effortlessly fold into computer generated backdrops in every exterior shot. The vast factories, impressive jungles and dark long alleyways combine to form a visceral experience that makes the perfect setting for a brutal story.

Seamlessly combining real sets with digital landscapes, Hung and his crew have made a film that is on par with Hollywood when it comes to special effects. Brilliant effects require an equally impressive sound design and this is where the film manages to impress as well. From the creature's unique sounds to the sheer background noise in the jungle planet, the sound design elevates the entire experience. Simply put, the film is an audio visual delight.

The film whizzes by in flash and this is because it is fairly short at only 80 minutes. Extending the runtime would have only made the film more slow and for a horror thriller, this is a big no-no. As a result, the editing is kept tight, ensuring the audience remains invested for the whole ride. Side by side, the narrative pacing also ensures that the story does not get bogged down in any moment; characters are on the run from a killer monster and James Hung ensures that the sense of urgency and desperation as a result of this grim situation does not disappear.

What it succeeds in is weaving its familiar tropes in a way that is both entertaining and thrilling. Setting a bunch of people in a dangerous environment, the film contains both pulse pounding moments and creative kills. Visually, the film is fantastic and thus, it is an experience that should be seen on the biggest screen with the best sound system.

Written and directed by Konrad M. Defang, Caller ID: Unknown is a 2023 survival drama that stars Bankz Bantar, Ngongang Elizabeth, Assala Kofane and Onyama Laura.

Inspired by the true events of conflict, the film finds an unsuspecting young woman caught in the midst of battle. War suddenly breaks out in her village, Nkwenti tries to escape but soon finds herself in the jungles with soldiers hot on her trail. As the killings ramp up, Nkwenti is panicked and hopeless until she finds a cellphone from a dead body. In her desperation, she dials a random number, hoping that someone on the other end would pick up and save her. Her luck is good and a man named Essono picks up on the other end. Is he trustworthy? Will he get her out of her conundrum? Or is the man working for the monsters who killed numerous civilians? Nkwenti would soon find herself in the fight of her life, clinging to hope from a person she has never met.

Caller ID: Unknown is great where it counts. This is a barebones survival thriller through and through, inspired from the consistent cycle of violence. There is war, there is death and amidst all the chaos, an innocent young woman is on a desperate journey to save her life.

The central plot is believable, the twists and turns surprising and the foreboding tension throughout the film makes for a great story. The makers behind the project use the shoestring budget really well. From the jungle sets to the violence, the film has it all. The action is well choreographed and the horrors of war are captured in all of their unfortunate brutality.

In regards to the acting, it is fantastic across the board. Laura Onyama as the protagonist Nkwenti is perfect and she carries the entire film across her shoulders. She is strong when she needs to be, vulnerable when the situation demands her to be and a beacon of hope and inspiration in this tale of perseverance. Equally impressive is Kofane Assala as Essono, the voice of strength and reason at the other end of the line. While these two make the entire film, the supporting cast is equally impressive as well. Each part and character is fleshed out properly, allowing actors to seamlessly transition into their onscreen counterparts.

For a thriller to work, pacing is everything and it is here that the film manages to excel as well. The editing is perfect, playing up the tension in the story into a crescendo as Nkwenti tries to outsmart the evil soldiers hunting her in the jungle. Ensuring the audience remains invested is key here and the director ensures the film is captivating through pacing the narrative in a way that keeps the audience on its toes. Not to spoil the ending but I thought the film concluded in a way that was fulfilling; the ending was thematically resonant and wrapped up the conflict in a satisfying manner.

For all these complex parts to work together in unison, the director needs to be at the top of his game. This is where Konrad M. Defang works his magic; he balances the thematic aspects of the script with the visuals really well. He knows when to slow down the action and allow for drama and he knows when to ramp up the violence when it services the story. Since he wrote the script himself, Defang is the perfect person to bring the script to screen. Directors work best when they write their own scripts and Defang manages to translate his work on the screen flawlessly.

Thus, to summarise, Caller ID: Unknown is a powerful thriller about survival. Laura Onyama gives a fantastic performance, one that the audience will remember for a long long time. War is hell and Caller ID: Unknown apprises the audience that the search for freedom will always vanquish forces of darkness that seek to extinguish it. It is fascinating to see such a moving drama come out from Cameroon and it cements the idea that the next wave of great filmmakers will indeed come from Africa. Konrad M. Defang has thus made a fantastic film, one that will not only inspire filmmakers from his continent but will also move audiences across the globe.

JOHN is a social drama directed by Le Han in his feature film debut. Produced by Joseph Hieu, known for producing 'The Accidental Getaway Driver', an acclaimed feature at Sundance Film Fesitval, the film chronicles the life of a queer Latino male sex worker living in the poorest part of Los Angeles. Searing and poignant, the film depicts the hardship that LGBTQ+ sex workers face daily, told in a slice-of-life narrative.

The film centers around John (Sebastian Perez), a down-on-his-luck young prostitute operating on the streets of West Hollywood, LA. The bushy tailed John comes under the wings of two older prostitutes: the slimy Miguel (Seth Hafley) and the kind-hearted Peaches (Celine Jackson), who is trans. We watch John go about his days, meet various clients and in general just try to endure life. Via his harrowing experiences, we see what sex workers struggle with daily: poverty, drug habit, HIV, violence.

The film casts add a layer of authenticity to the story. The neorealism-inspired decision lends the film a documentary-like quality. The performances do feel a bit raw at times, but that's probably the point: it has to feel awkward, like a regular person being on camera for the very first time.

Among the supporting players, Jackson stands out with her sassy but heartfelt performance. Peaches and John develop a close friendship that borders between maternal and romantic. Their close bond manifests in some of the film's realest moments. An interesting symbolism of note: John almost always finds Peaches under a bright storefront or in front of a neon-lit graffiti. It's as if she's the source of light in his dark existence. As the most sprightly presence in the film, Peaches is often shown dancing in the street with abandon, shaking off the problems of the world. Her scenes provide moments of respite from the bleakness of the film. In a way, she symbolizes beauty amid the ugliness of reality, resilience in times of tribulations.

John's assorted clientele also steal the scenes with their kinks and uniqueness. In one poignant scene, John meets a client who pays him just to talk. A closeted gay man, he admits to John his remorse for passing laws that disadvantage gay people. Another client is a failed actor in his twilight, dishing out the many dark sides of show business like a grandpa telling stories to his grandson. Despite the unusual nature of the situations, there are some really genuine and poignant insights from the conversations. It's human moments like these that stick with you, the complex dynamics of beaten-down people desperately reaching out to one another for comfort.

The visuals of the movie are gorgeous in a rugged way. This film was made with just one Iphone. It gives it a look like it was shot almost like a vlog, with shaky cams and the sound of the streets bleeding through the dialogues. Shot in grimy locations all over LA, the film accurately captures the seedy underbelly of LA and the desolation felt by the characters stuck in there. The cinematography is at once moody and garish, very rock video-esque. With great use of lighting, every frame pops in vivid colors: harsh neon lamps against Peaches' colorful hair and makeup, the brightness of carnival rides against John's lone shadow - the contrasting hues serve as an irony to the bleakness of the story.

The structure abandons traditional narrative form. There's no defined plot points building to a climax whatsoever. Instead, it's snapshots of John's life: from his mundane morning routines to the punishing hustle. It's never building up to a certain goal for John, who's just operating on auto-pilot, living life just to survive. We never get John's backstory, but one thing is clear: he's just a young man trying to survive in a cruel world. He's rarely shown to be devastated. His eyes empty, here's a man just gamely taking it in day by day. It's an all-too-real circumstance faced by sex workers, who often find themselves stuck in this way of life with very little opportunity for social mobility.

Amid these harrowing scenarios, the rare "happy" moments feel even more precious. Like when John gets to buy groceries instead of shoplifting like he did at the beginning of the film. It's heart piercing to watch his cherubic face light up like a kid as he picks up milk and snacks without needing to skulk around, underscoring just how rare this is for him. In another memorable scene and a moment of solidarity between the sex workers, a group of male prostitutes engage in a conversation discussing their profession just as casually as other business owners would, even going so far as teaching each other new tricks to perform to customers. This is probably the most hilarious moment that proves how they are just like us, people who chat about work in their downtime. Ultimately, despite what they're dealt in life, these people manage to find happiness in the smallest things.

The film calls to mind Tangerine, the 2015 film about sex workers that famously was shot entirely on an iPhone. Both films move with the same raw, kinetic energy that can only be drawn from untrained performers. Likewise, both are films rife with social commentary. Its portrayal of the seedy underbelly of LA and its inhabitants highlights the plight of LGBTQ+ sex workers in the city: from poverty, homelessness, violence, drug use, to the threat of HIV-AIDS. But it's not just the prostitutes; through the conversations John had with his patrons, the movie also reveals the struggles that the gay community still faces, be it in the government or in the entertainment space. Although the film never resolves any of the issues raised, one might find the honest confessions really cathartic.

Ever gritty and unrelenting, JOHN does a great job of telling a tragic story without resorting to melodrama or sentimentality. Ultimately it is an experimental film that specifically never tries to be eloquent nor refined. By doing so, it captures the coarse texture of its subject matter, the ugliness and the somberness. Imperfection is the name of the game, and the film embraces it proudly.

Written & directed by Micheal Fitzgerald and produced by Cork Racing, Storm Troopers: Siege is a Star Wars fan film set around the events of Rogue One and Andor. Starring Carolyn Bracken, Pius McGrath, Peter Cosgrove and others, the film sees an Imperial Base Station being besieged by battleship attacks, causing PTSD within the ranks of the defenders.

Star Wars has fascinated generations upon generations and thus, the love for the franchise has spawned innumerable fan films and tributes. However, what makes Storm Troopers different is the sheer authenticity at display here. The film is so well made, both thematically and otherwise, that it could go toe to toe with official Star Wars media. From the highly accurate costumes to detailed ships, extreme care has been taken here to pay tribute to what is possibly the greatest franchise of all time.

First, let's start with the writing. Gone are the cheesy dialogue and blurted exposition that mars most Star Wars productions. Fitzgerald instead chooses to ramp up both character development and situational tensions with dialogue that actually makes sense in the circumstances. Equally impressive is Fitzgerald's direction as it both plays homage to classic Star Wars whilst maintaining a sense of creative originality. The creative choices in both narrative and script make the story better and more authentic. So much story is packed into this 23-minute short that it whizzes by in a flash, leaving you wanting more. This is a testament to the fantastic pacing of the story as Fitzgerald perfectly balances action with drama to keep the audience engrossed.

In regard to the acting, it is good but could be better. Pius McGrath as Captain of the Marauder is a commanding presence who lurks over the entire story. While not as impressive as some of the more famous villains in the franchise, he nevertheless manages to hold his own and both his demeanour and villainy make the story better. Peter Cosgrove as Stalig and Carolyn Bracken as Lieutenant Iona are also impressive. All in all, the cast settles into their respective roles nicely and everyone from the Captain to infantry Storm Troopers do well with the material they are given.

Perhaps the most surprising aspect of the entire production is the set design. Made with less than one hundredth the budget of a Disney Star Wars production, this production looks just as good in most aspects. While obviously there is no comparison to the real Star Wars media out there when it comes to glitzy CGI, there is something about the sets, the costumes and the locations that screams both passion and authenticity. Fitzgerald is a maestro in this regard, taking inspiration from the sets of Rogue One and Andor to tell a gritty story. What is mindblowing is that this film was actually shot both in a dormant volcano and underwater. The real sets, as opposed to green screens, give a realistic look to the film, ensuring that it looks better than most other fan films out there.

Equally impressive are the visual effects of the production as well. The miniature models used for ships look better than most CGI I have come across; the way their scale is played up and light bounces off of them is fascinating to look at and behold. The Imperial Tie Fighters also look as menacingly evil as they come in for their bombing runs. The lighting is fantastic as well, polishing scenes both outdoors and in the dark. The way the AT-AT walker emerges from the water to take on a cruiser is simply brilliant; it is moments like these peppered throughout that make the film what it is. Technically, Storm Troopers never falters and more than lives up to its potential.

Another thing that Fitzgerald succeeds in is focusing the story on the side characters of the franchise. The way he humanises the Imperial troopers is commendable. While most iterations of Star Wars have disproportionately focused on the Jedi and the Seth, Fitzgerald chooses to go a different route. By framing the story around the foot soldiers, he succeeds in capturing something different. Shedding light on characters most ignored in the lore enables the audiences to empathise with them. Stormtroopers are supposed to be the elite shock troops of the Empire and to see them nerfed down to buffoons with bad aim in Star Wars films was painful to see.

Thankfully, Fitzgerald's film does this army justice as we see that underneath that signature white helmet, the troopers are human with emotions, fears and aspirations just like the rest of us.

For a fan made production, StormTroopers is fantastic. Made with love, care, authenticity and deep respect for the source material, this 23 minute short is a great adventure. This short not only proves that fans are the best judge when it comes to legacy franchises, but it also shows how passion and dedication can stretch a shoestring budget into something great.

Written and directed by Andy Cruz, 'The Other Mind' is a drama short that stars Jamal Johnson, Alexis Santiago and Sharon Gardner. The film takes us into the life of Andrew as he prepares to propose to his girlfriend. But Andrew is hiding a terrible secret; he has severe OCD and this condition starts to wreak havoc on his life and his relationship. Things soon take a turn for the worse and Andrew is forced to come to terms with a terrible reality when his girlfriend is found murdered. Did he really do it or is it just his fears making him think he did?

There is simply no other way to describe it; The Other Mind is a fantastic film that does its subject matter justice. OCD is extremely hard to get right and Hollywood often approaches it from a very superficial perspective, getting it very very wrong in the process. However, the way Cruz has approached this is not only commendable, it is also very accurate to the condition felt by those affected by OCD.

Visually and tonally, The Other Mind knocks it out of the park. The main character Jamal has sudden visions of violence and these visions are so real that Jamal is forced to leave whatever he is doing and writhe and cry in agony. Like an unkillable demon lurking within, these horrific imagery can make themselves known at any given instant. Since these visions are so real, Jamal cannot discern reality from fantasy at all. Not only is Jamal at the mercy of this, he has no way to stop it either. Slowly, the images begin to mess with his reality and that is where Jamal's whole world falls apart.

One of the most powerful shorts made in recent memory that deals with the obsessive compulsive disorder, 'The Other Mind' accurately captures the enduring trauma of living with such a disorder. Showcasing the protagonist totally at the mercy of the disorder, the film is a testament to both the power that OCD holds over individuals and the incredible perseverance of the people dealing with it. As it accurately paints the ironclad grip of the disorder over the individual, the film does not falter in highlighting the extreme perseverance of the individual afflicted by the disorder.

Undoubtedly the strongest suit of the film is the acting by its lead, Jamal Johnson. The main character in this film who is simultaneously a victim and possibly a killer, Jamal commits to the role of an OCD afflicted man without fail as he weaves a complex portrayal of a tormented and tortured soul that is a testament to his fantastic method acting. Through his emotional turn, Jamal makes the audience feel each particular moment of his painful life as we are strapped into a roller coaster that takes us on an odyssey of shocking violence. Jamal's performance showcases some of the very best acting so far this year and will have no problem being nominated for a multitude of awards later in the fall.

Alexis Santiago plays Jamal's girlfriend. Although is not given a lot to play with, she is fantastic in her own right. Being the emotional core of the film, Santiago is both memorable and sweet. Cruz carefully curates the film so the audience is directly thrusted into Jamal's nightmare, allowing them to feel the sudden nightmares that plague his mind. In addition to being a fantastic director, Cruz is also a potent screenwriter. The screenplay is powerful, perfectly balancing characters and drama. It incorporates the twists in the story pretty well too and the result is that the performances that bring the screenplay to life end up elevating the entire film.

Both the direction and the pacing deserve accolades. Cruz packs so much drama into the 14 minute short that it feels like a whole feature. Jamal is transported from one nightmare to the next and his relationship goes through so many ups and downs that it has to believe that we are watching a 14 minute short. The narrative pacing is on point and nowhere does the film get throttled by tedious exposition.

Equally impressive is the cinematography that not only perfectly encapsulates the constant tension and confusion in the life of the protagonist but also the various challenges that he has to face in the outside world. Skillfully using a combination of editing and camera gimmicks to transport Jamal in and out of his nightmares, the audience is provided an accurate look into the weird and neurotic life of people suffering from OCD. Using both the darkness and the bright colours to show a constant state of battle taking place within the protagonist's mind, the film cleverly uses the visual medium to complement its narrative. On an equal note, it is the fantastic sound design of the film that recreates the terrifying mental reality of the protagonist, allowing us to empathise with the character in a way that hits right at our hearts.

A fantastic insight into the world of people with OCD, The Other Mind is everything a film aficionado could ask for. It takes a niche topic and goes deep into it, presenting a story that is moving, interesting and powerful. The direction is fantastic, the acting sublime and it all comes together in a cliffhanger that will lead to Part 2 of the story. Andy Cruz has made a poignant film, one that not only succeeds in more ways than one but moves the audience into understanding the complex and terrifying world of OCD.

Written and directed by Jeffrey Tipton, Code Break is a 2023 action adventure feature that stars Chelsea Gilson, Karl Chaffey and Bobby Britton. The film finds the FBI hot on the trail of a surfer named Cheyenne whose online antics have gotten her untold amounts of wealth. Desperate to nail the criminal, the federal agents let Cheyenne's father out of jail, hoping that this would lead to some sort of a breakthrough. What follows is a high stakes game of murder, mayhem and carnage as Cheyenne does everything to come out on top.

Running at only 69 minutes, Code Break doesn't waste any time to get going and hits the ground briskly running. We are quickly introduced to Chelsea Gilson's Cheyenne and her secret that has prompted the FBI to launch a full scale investigation into her. Cheyenne is sneaky but even the most sneakiest cannot escape from the all watchful eyes of government agencies. Rather than spending precious time in backstories, Tipton keeps the audience on its toes. The story barrels forward and soon drama and twists begin unfolding, leading the main character down a rabbit hole of paranoia and self preservation.

The script by Jeffrey Tipton has a little bit of everything. It would not have been easy to create an engaging, thoughtful film that is inspired from Point Break but does not feel like a copy of it. Tipton knows this and does his best to make Code Break into his own thing, one that can stand the test of time. He mostly succeeds and Code Break is a thoroughly enjoyable adventure that speaks to Tipton's various talents as both a writer and director.

While the conflict between Cheyenne and the FBI might be the driving force of the story, the real ill will is between Cheyenne and her father. Not only is her father her mentor, but he is also the reason that Cheyenne lost her mom. This complex and highly volatile relationship will be taken advantage of by the FBI, but Cheyenne Tipton is too smart for this. Making this complex relationship the bedrock of the story was a genius move on the part of Tipton. Not only does it add another dimension to the drama, it makes the characters deeper and pushes them to make hard choices in the service of the story.

Comparisons of this film will undoubtedly be made with the 1993 blockbuster Point Break. Both films feature surfers engaged in fraud and like the 1993 film, this film is also populated with fantastic characters and a riveting central story. Not only will fans of that film find similar stuff here, they will immensely enjoy Code Break as well. There is something about the cool and calculated nature of surfers going up against the system; Code Break manages to capture this lightning in a bottle pretty well.

In the acting department, everyone manages to do a fine job. Gilson is obviously magnetic; being the star and central character of this story, she needed to be both brash and likeable. Gilson not only manages to accomplish this flawlessly, her nuanced and emotive performance elevates the entire film. She is smart, sharp and always a step ahead of everybody else. Equally great are Karl Chaffey as Drew and Darryl Krieghoff as Bull. The cast does a wonderful job of bringing the story to life and each actor does his or her best to contribute to the story. While the FBI agents could have been a bit more aggressive, the actors portraying them do a good enough job regardless.

For a film with a low budget, it is the director that makes all the difference. In such circumstances, directors have to get creative and strive to make a film that shrugs its constraints and comes off as more expensive than it really is. Director Jeffrey Tipton comes to the rescue here. Since he wrote the screenplay himself, Tipton understands the nuances of the script really well and is in the perfect position to make the film better in all respects. Choosing to develop deep characters in his pursuit of telling a character driven story, Tipton makes sure the themes and central idea of his story are not overshadowed by anything else. The result is a film that feels balanced, one that successfully navigates both its surfing and hacking aspects without going into campy territory.

The most important technical aspect here is cinematography and Code Break manages to do pretty well in this regard. The surfing shots, particularly those underwater ones, are stunning. The raw energy of the ocean coupled with the unbridled chaos of waves is beautifully captured. The bluish teal with which each frame is brushed is important from a thematic perspective as well as makes the film look sleek. Both the action and drama are captured earnestly and what results is a film that knocks it out of the park in the visual department.

To summarise, 2023's Code Break is a well made, potent action adventure that will leave you impressed. An engrossing story, fascinating characters and a bunch of twists and turns make this film well worth checking out. Perfect for a slow Sunday evening, Code Break is a fitting film to watch with friends and family over some soda and BBQ. Jeffrey Tipton has created a highly entertaining film, one that works on multiple levels.

As climate change has caused Nevada's Lake Mead to recede, disturbing information has come to light in its wake. Long considered a dumping ground for dead bodies by nefarious elements throughout the decade, Mead's contraction has exposed several human skeletons at its bed, solving decades old mysteries about deaths and murders in the area. Using this real life haunting story as an inspiration, the makers behind Lake Mead - A Vegas Story have made a short that fictionalised one such murder.

As far as short films go, Lake Mead - A Vegas Story, directed by Berislav Sertic, is one of the more impressive ones. The production quality is great, the acting is good and there is enough subtext and backstory to keep one engaged for the entire runtime. The story sucks you in first and then reverses everything you think you knew with its numerous twists and turns. As a result, the short makes for a fantastic viewing, one that doesn't overload the audience with too much exposition right off the gate.

Zeth Daniels plays Jimmy and Berislav Sertic plays Boris, two lifelong friends who have had run-ins with the law over time. After getting out of a ten-year stint in prison, Boris meets up with Jimmy and the two take a trip across the desert to a dry Lake Mead. Although Jimmy is apprehensive about the trip, Boris keeps him calm, claiming that they are going to the lake to revisit a thing they did in their youth. Things, however, soon take a turn for the worse and both Jimmy and Boris draw their handguns on each other, resulting in a tense standoff that can only end one way.

Regarding the acting, Zeth Daniels and Berislav Sertic are simply fantastic. As the only two actors in the film, they have a lot riding on their shoulders, and they manage to deliver. Since Daniels is the writer of the story, he needed to sell the camaraderie between the characters and how this lifelong friendship turned sour. Both Daniels and Sertic manage to infuse a sense of organic feel to their friendship, harkening to the good old days and right into conflict ridden present. Sertic, on the other hand, has also contributed to the film's soundtrack in addition to being the lead. The transformation of these two lifelong friends to enemies is done pretty well and the reasons for this turn are both believable and organic. As a result, the resulting conflict is also well developed.

In addition, it is in the pacing of the story where the film also manages to impress. Starting off all slow with a drone shot of a lone car stumbling into an infinite desert, the film establishes the camaraderie of the two leads, filling us all in on their backstory that sounds pretty exciting. There is a hidden subtext in this conversation as Boris is hiding what he has planned and Jimmy is starting to get faint ideas that he might be walking into a trap. This cat and mouse game in the conversation in the start sets the tone for the entire film and as Boris's reasons for taking the extreme step are revealed, there is no going back for either of them.

One of the film's strongest suites is its cinematography. Utilising the cold, yellow desert of Las Vegas Nevada as its setting, the film finds two friends head to head in a battle of wits. The yellow drenched visuals are not there merely because they look cool; there is a deeper meaning behind this creative choice. The desert is meant to visualise the empty crucible where all truths are revealed. Far from civilization and distraction, two friends with secrets will find their sins and ills come to light, resulting in a life or death game where only one comes out on top.

The two original songs 'I Gave My Life' and 'Can You Save Me' are performed by Berislav Sertic. Both set the tone for the film and are entirely in tune with the ill will that happens between two friends. In addition to these songs, the sound mixing and sound editing are also top notch, setting the mood for a tense standoff between two old friends. The entire production design could not be better as the short looks and feels just like any other Hollywood production out of tinseltown.

Berislav Sertic, the director, did a great job. From the stunning opening shot to how the film ends, there are little tidbits here and there that make the film memorable. A director's job in this aspect is very important, he or she has to make the film stand out from the rest and here, the director has managed to do so spectacularly. The short feels like a deeply personal statement inspired from a real life event with properly motivated characters that go down a rabbit hole of personal enmity in the most shady place in the world.

Thus, to conclude, Lake Mead - A Vegas Story is a sharp, surprising action short that has significant subtexts and themes to go along with its plot. The minds behind the project have created a highly entertaining film, one that goes to unexpected places and is jam packed with several twists and turns. We ended up highly enjoying the film and would not hesitate to recommend it to friends and family.

Alien Planet finds two warring species stuck in a generational battle for supremacy. With one faction losing and banished to another world after a massacre, a conflict over water soon arises. With low amounts of water available on the planet, exact drops from a rejuvenation vial are necessary to keep sustaining life. The winning faction, having abused their world and used up all the water, comes to take the rejuvenation vial of the other faction and a battle for control of water soon ensues. It is here that the story of Lock begins, sending her on an epic adventure into the cosmos as she comes across unexpected allies and dangerous monsters in her quest to retrieve the vial and save the one she loves.

Alien Planet was crowdfunded and has a low budget but the makers behind the project have used the budget so creatively that the film looks and feels more massive than it has right to be. Part of this is made possible via practical effects and part through creative physical sets but what the film manages to accomplish is impressive. This is a thoroughly entertaining science fiction story with believable protagonists, high stakes and significant violence.

Maxson has written a story that makes the audience sympathise with the protagonists and absolutely hate the villains. There are clear motives for both parties to do what they do and the way they collide is what makes the film so interesting. With once brutal foes forced to team up against a bigger threat, Maxson infuses the narrative with conflict, camaraderie and heroism. Taking inspiration from several famous stories out there that see competing factions battling in the name of freedom, minerals and other

Although it might have been hard to convey facial emotions under all that practical makeup, the cast does a stellar job of bringing the story to life. The star of the show is Alexandra Bokova as Lock. After her husband is fatally wounded, Lock is tasked with tracking down the vial. Forced to team up with an untrustworthy individual against a horrific monster, Lock will use her wit and grit to come out on top. Even though buried under heavy makeup, Bokova does her character justice by conveying the conflict within her through both her mannerisms and her voice. Understanding the nuances of her character perfectly, Bokova slowly and surely transforms Lock into a badass, one that will save her species at all costs. Equally impressive are Hunter C. Smith, Eric Prochnau and Naiia Lajoie. The cast gives a terrific performance and it is their acting chops that sell the film.

By far the most impressive thing about this film is its use of practical visual effects. In a time where audiences are bombarded with an overload of computer generated effects, it is refreshing to find a film that does not choose to go this route. Although practical effects are more cumbersome to accomplish, they are more believable as well and age better than CGI over time. There is a sense of realism to practical effects that CGI rarely manages to accomplish. With high quality alien facial masks and other similar makeup extensions, the film infuses such a sense of realism in this science fiction story that it elevates the entire narrative. Alexandra Bokova's Lock and other alien characters look absolutely fantastic. Not only do they speak in a unique way, the movement of their lips and mannerisms are in such a way that they feel completely alien.

Equally impressive is the cinematography. With a bluish hue that permeates through each shot, the colours feel deeper. This is aided by the fact that all sets used are real locations. The alien makeup and the locations thus blend together seamlessly, creating an atmosphere that looks both familiar and otherworldly. Also, there is a whole neon lit sequence that looks absolutely fantastic. Maxson captures the action in a way that does not feel distracting, coming across as organic and gritty. The absolutely gory laser blaster wounds coupled with bloody deaths aid in this, resulting in a film that leans heavily on shocking R-rated action. I think someone in the production team noted that they used 11 gallons of fake blood making this and after seeing the film, I know this to be true.

In regards to the narrative pacing, the film whizzes by despite having a runtime of more than eighty minutes. Maxson keeps things interesting, stopping only for moments of characterization whilst utilising action set pieces and twists in the narrative to hurl the story forward. Maxson balances the drama with other aspects of the production seamlessly and thus, the film manages to resonate both emotionally and impress action wise as well. The deft narrative pacing means that there is not a single boring moment in the entire film as the hefty dose of melodrama, violence and sci-fi action keeps audiences glued to the screen.

To summarise, Alien Planet is a worthwhile space adventure that will take you to unexpected places and force you to ask some uncomfortable questions. Alan Maxson has made a potent film, one that manages to avoid genre pitfalls and delivers a story that is engrossing, violent and epic. The effects are great, the action fantastic and the characters equally great. Alexandra Bokova as Lock is a particular highlight, and it is her nuanced performances that manages to elevate the entire film. We had a fantastic time watching this film and I couldn't recommend this film enough.