The third instalment of Oatmeal Studios’ Volume One series takes us into deep space as Zygote introduces us into a dystopia where disposable labour is used instead of its synthetic counter-part in a corporate cover up. Not only that, but there’s a monster that absorbs your body parts!

Despite introducing us to his least gruesome creation of the series Neil Blomkamp continues to mix genres and social dialogue with the same success that brought us District 9 and we’re even treated to the return of Dakota Fanning in a role you wouldn’t have seen her take on five years ago. Fanning gives the usual crisp and simple performance she’s known for, and her co-star Jose Pablo Cantillo delivers an excellent anti-hero as he tries to guide her to safety as he slowly divulges the secrets of her past.

The effects still don’t stand up to its big budget Hollywood counterparts, but based on the smaller budget Oatmeal studios undoubtedly has (albeit relatively massive compared to many short films) the effects stand up, and I was particularly impressed with the creative sets and wardrobe.

Well-paced and exciting Zygote is my favourite of the three releases so far, and I am very excited to see the conclusion of Volume One. Everyone who loves District 9 should check out these shorts. If you’re looking for a quick bit of brilliant sci-fi, this is a great taste.

Having created quite an obsession in my mind with Neil Blomkamp after the release of District 9 which sits firmly amongst my favourite movies of all time, when I first heard of Oats Studio’s Volume One Series directed by Blomkamp then I’ll admit I was taken right away and I had to watch. Missing the opportunity to review the first release Rakka, a post-apocalyptic film starring Sigourney Weaver, I thought I’d start with the second of four short films in the series, Firebase.

Firebase is a mix of horror, sci-fi and gore, bringing together almost all aspects and techniques used in both these genres from found footage to physical horror and CGI. After surviving a massacre, Sgt. Hines is drawn to destroy an extra-terrestrial force as both American soldiers and the Viet Minh find themselves finding a new kind of enemy that neither of them were prepared for.

Blomkamp risks putting too much into the basket in Firebase, and I’m left unsure whether or not he succeeded. Firebase had me until its final moments and CGI is introduced with an alien sequence based in Russia. Following from a storyline based on an attack by a man known as ‘the river god’ who has the power to control people and make himself invisible it seemed odd and out of place, not helped by unconvincing effects. Nonetheless Firebase is well-paced and entertaining and is a thought provoking film with all the interest and commentary that Blomkamp brought to District 9.

Despite no standout stars following Weavers appearance in Rakka, the case of Firebase give a good account for themselves and the team that brought together the gory and horrific River God have created something both disturbing and beautiful.

It’s hard to judge Firebase alone without the final two films, but it is well worth a watch and has kept me interested to see the rest of what volume One has in store.

Firebase is available on YouTube now.

A melancholic journey into the past, Sunday Worship is a thought provoking short film tackling old age, loss and memory.

Thoroughly relatable to any Brit, Sunday Worship hit home for me more than blockbusters such as Still Alice as it chose to deal with a topic through the eyes of the everyday man down the pub. Choosing to ignore his issues, even his wife appears oblivious as she tries to understand what’s been changing in her husband’s life and why he continues to forget the little things.

Sunday Worship culminates in a beautifully put together ending with a thoroughly tear-jerking reveal.

https://vimeo.com/219104886

Sunday Worship suffers from some odd cutting choices and a strange switch of style throughout that I felt could have been worked better, but Paul Holbrook & Sam Dawe have done a fantastic job working in a surprise ending that’s both shocking and compelling, but importantly realistic as well as heartbreaking. The undoubted star of the film is Brian Croucher (Eastenders, Blake’s 7), who you can barely tell is acting whilst Annabelle Leventon (London Bridge, Wimbledon) who plays his wife put it’s an honest and good performance as the two stars provide a performance as close to real life as you’re going to get.

Sunday Worship took its time to warm up, but it’s one hundred percent worth a watch if you can find it. I’ll certainly be looking out for the next one by these guys.

Tackling the isolated world of the stand-up comic, Dying Laughing is an intimate documentary that breaks the barrier between comic and audience. Dying Laughing lets us into their very private world of writing,  bombing, success and depression.

Filmed over two years, and thousands of miles, Dying Laughing is an impressive achievement. It manages to bring together a host of huge stars including Chris Rock, Jamie Foxx and Jerry Seinfeld into one small and very amusing package. Directors Paull Toogood & Lloyd Stanton clearly respect comedy as an art-form and are obsessed with the creative process, which leads to an incredibly interesting look at the parts of a process we rarely see. Unfortunately, their obsession with these very factors forces them to create what often comes across as a disappointingly pompous and pretentious approach. I remain unsure the requirement that interviews be conducted void of colour, as if that somehow makes their statements more profound. Toogood’s back catalogue including the ‘Songbook’ series which explores the creative process in music helps to explain this, but I couldn’t help but feel that this approach restricts Dying Laughing’s audience to those interested in the creative process rather than comedy.

Dying Laughing

Dying Laughing will be released in UK cinemas from the 16^th June 2017

Dying Laughing is funny, and the character and personality of its stars genuine and entertaining. I was interested myself to see a clear divide in approach and reaction between British and North American stars to their own lifestyle, with Oceanic stars having their own unique approach as well. The pace of Dying Laughing was good, keeping attention throughout, though I felt a lull about 60 minutes in suggesting the length could had been reduced a touch. Fortunately for the directors I don’t feel audiences will be bored by the documentary as I’m sure they have by many others.

Dying Laughing brings the comedy world alive, and lets the audiences see past the stage and into the person. Although pretentious at times, it you’re into comedy and want to know more about the industry and the people in it, you won’t find a better insight than Dying Laughing.

Former youth champion boxer Jimmy McCabe (Johnny Harris – Also credited as the Writer) has hit rock bottom. Fueled by alcohol, the death of his mother and the impending loss of his house, Jimmy’s life has spiraled away from him. Determined to turn things around and make some money, Jimmy returns to his former gym to re-unite with his mentor Bill (Ray Winstone) and corner man Eddie (Michael Smiley) to prove he has what it takes.

Despite an all star British cast including the ever present Ian McShane; Jawbone is simply a procession of boxing movie tropes full of desperate attempts to be gritty. Boxer Jimmy seems unable to endure the sunshine as despite he passing of time the sun never seems to rise as director Thomas Knapper pushes to create a sense of despair. Far too often the audience are greeted with slow motion and too close for comfort close ups as Knapper and Harris try again to flood Jawbone with depression and anxiety.

Boxing movies aren’t known for their unique scripts, forever filled with rock bottom moments greeted by inspirational mentors that lead to world beating highs, but Jawbone adds even less than most, with its only unique input being that nobody wins a world title and Jimmys re-birth is in a illegal no mark fight for £1000. Whilst this could have built a brilliant film, ultimately this is just Ray Winstone being Ray Winstone and Ian McShane being Ian McShane with needless other characters thrown in the mix. Not even an original score by Paul Weller could save this film.

Jawbone isn’t terrible, and if it’s on TV, and you like boxing films I’d say give it a good go, but for me, a huge fan of the sporting genre despite it’s ever present tropes Jawbone just didn’t light up the world and it’s difficult to care for the characters. A shame, but I won’t be looking for Jawbone again any time soon.