Author: Joel Fisher

Throughout the world there are stereotypes that to an extent we all believe in some way. From an outsider’s view it seems like Americans all get tarred with the same brush too. They seem to be beer swilling, gun totting right wing crazy people who hold onto a piece of paper which was written hundreds of years ago.

Even Texas, perhaps more so than others, gets the worst wrap of it even within its own country. The image of the Stetson wearing, shoot before thinking kind of cowboy is part of what America builds its identity around, but also perhaps the stereotype they like the least.

Texas, USA is a documentary directed by Andrew Morgan which is about the Texans who want to see a change in their home state. Not only in terms of subverting the stereotype, but by changing the way people think. Because whereas a lot of the Texan stereotype isn’t true, there’s no smoke without gunfire.

Following various Democratic candidates, Texas USA outlines the different points of view and the perhaps surprising amount of diversity within the state. There’s Gregorio Casar, the first Latino male to run for office. Lina Hidalgo, not only the first woman but the first Latina to be elected to office in Texas.

Also, Beto O’Rourke who perhaps fits the mould of the white, middle aged male politician. However, still a man who firmly believes that his state can change.

There are also campaigners such as Adri Perez, a transgender person who fights for the rights of people in the LGBTQIA+ community. Together they paint a picture of the type of person an outsider may not usually expect to find in Texas, let alone somebody so passionate about making a change.

Looking at every issue from gun control to abortion laws, Texas, USA is a documentary that shows that there’s change around the corner, but there’s still a long way to go. Whilst it may not convert the staunchest Republican, it may give pause to some who realise that change could be on the horizon. After all, you can’t really fight progress.

Sam (Paris Peterson) is getting over the loss of a loved one and he’s not dealing with it very well. He’s at that stage where he’s crying all the time and finds it hard to get out of bed and it’s starting to affect his life.

His mother suggests he needs to get away and to try and reconcile with his emotions, suggesting a vacation at her home in the forest. Sam takes this advice and hopes for better days. However, when he gets there, he starts to experience strange things as if something is feeding off his misery and grief, making him feel worse than ever.

Grieve is a horror movie directed and written by Robbie Smith which takes a typical genre horror story and tells it in a different way. With perhaps a more arthouse style to his storytelling, director Smith guides his audience along, but without ever holding their hands.

However, despite this unique take on something which could have been more straightforward, perhaps here lies the problem. Because despite those people who may be more than happy to absorb the world that Smith has created to interpret for themselves, for others it may cause confusion.

It seems to be told mostly silently as well, with the visual storytelling taking a centre stage, it feels like the audience may have to do more work than perhaps they are willing. With some striking imagery at times, it almost feels like the movie gets carried away with itself as it experiments with the screen. Something which may work with a more experienced director, but in this case, it can only cause frustration.

There’s an almost clear line with the storytelling, if the audience is willing to watch and take it all in. However, for those who just want an easy to watch horror movie that doesn’t take much thinking, then they may need to stay clear.

It’s clear that director Smith has ambitions in his feature debut, but perhaps the answer is to show the audience something they’re familiar with, rather than trying to reinvent the wheel on his first try.

Everybody’s lives would be better if they had a cat. Cats can bring calmness and joy to a family home as well as being good for your mental health and your blood pressure. The presence of a cat can elicit such feelings as you have never experienced before and they can become more than a pet, but part of the family.

However, some people don’t like cats because of the problems they cause. They walk around like they own the place, they cause damage to property, bring in fleas and not to mention leaving little presents like piles of sick, faeces or even little animals that they brought in from a successful hunt.

Cats can be a pain and a lot of people see them that way. Although, coming from a cat owner, this is part of what makes having a cat interesting.

Cats of Malta is a documentary directed by Sarah Jayne, an Australian born woman with Maltese heritage. Having been drawn back home, she started to notice the abundance of cats that were there and decided to do a documentary about them.

This indeed seems like the perfect subject for a documentary too. After all, cats are one of the most searched for pictures on the internet because as mentioned earlier, the mere presence of a cat can bring calm to the most chaotic mind.

Speaking to various locals in Malta, director Jayne found many different stories to tell and all for their love of cats. There’s a local cat sanctuary which keeps over two hundred cats, a little boy who sees it as his duty to ensure the safety of the local cat population and even a retired actress who came to Malta for an extended break and stayed for the cats.

This makes Cats of Malta the kind of documentary that you can just sit back and enjoy as the participants reassure you that there is still good in the world. Perhaps a documentary that wouldn’t convert those horrid cat haters. However, those kinds of people have never had a cat sit on their lap and purr, making them feel like the most important person in the world.

Jeff (Nigel Hastings) is a vet making his living in Dartmoor. However, his personal life is far from as good as his professional one as his wife is on the verge of leaving him. His life is changing in ways he couldn’t imagine. Michael (David Fielder) is a farmer who’s equally living an idyllic life, although his wife died some years ago, he still works and his friendship with Jeff is part of what keeps him going.

However, due to a widespread outbreak of foot and mouth disease Michael’s livelihood is put into danger and so is his friendship with Jeff.

And Then Come the Nightjars is a touching drama directed by Paul Robinson and written by Bea Roberts, adapted from her play of the same name. Set in 2001, it feels like the seriousness of the situation between Michael and Jeff may get worse, however as the play goes on, the film shows there’s still light at the end of the tunnel.

Being adapted from a two-handed play, it’s the chemistry between Hastings and Fielder which drive the film. Everything from their most dramatic conflicts to the heart-warming connection between the two men translates wonderfully to the screen. Albeit despite Michael’s questionable facial hair.

And Then Come the Nightjars could have been a dark and somewhat heavy-handed reminder of those people whose lives were changed irreparably during the turn of the century. However, thanks to its screenplay and its excellent performances, it turns into a warm and pleasant story about male friendship and moving on.

There is the issue of there not really being much of a plot though and although the two main performers carry the film, it does feel like the film relies on this perhaps a little too much. Most people may not mind as the back and forth between Jeff and Michael is funny and feels like a genuine friendship, but perhaps this aspect worked better on the stage.

In the end though, And Then Come the Nightjars leaves its audience with a warm glow and a reminder that despite hard times, things do get better.

Alex (Johnny Beauchamp) is struggling with a lot of things in his life. He grew up with an abusive father who beat out all the confidence he had inside him, but he is still forced to live with him. He took to dealing with his father by turning to drink, something from which he is recovering, but every day is a journey.

Then one day, Alex finds his father dead and inexplicably, grief starts to take over. Needing to find somebody to help him pay the bills, Shane (Mike Manning) moves in and Alex’s issues with his own sexuality start to come to the surface, which leads them to start a relationship.

However, it all seems too one sided as Shane’s domineering personality pushes Alex to do things that he never thought he would. What starts out as a way to deal with his mourning period turns into something far more dangerous for Alex.

The Way Out is a thriller written and directed by Barry Jay which deals with many issues including abusive relationships, toxic masculinity and alcoholism. The story starts out well and all the cast do a great job dealing with such difficult issues, but there are still some things that let it down in the end.

As soon as Shane comes in, Alex knows that he’s in trouble in some way and to the audience Shane’s intentions soon become clear. Manning plays Shane with all the manipulative menace that you may imagine from a man like him and it feels real. Anybody could get into a relationship with somebody like Shane and The Way Out shows the realism in being caught in one far too easily.

However, despite it playing out well for the most part, it feels like director Jay didn’t really know how to end the story. This ultimately may leave the audience divided as the final ten minutes feel like they’re from another movie going to far fetched levels to wrap things up.

For a movie that shows a kind of relationship which is rarely seen in cinema, it’s a shame that it ends on such a generic note.