Killer Hangover Review - Little White Lies

Final version of our LWL review

Above is the image for our final design for our review in the style of Little White Lies. It was important to ensure the layout of the review reflected the in-house style of the print edition so we utilized InDesign to craft our final piece. The actual review is also written with the target audience of the magazine in mind.

The review reads as followed:

'The morning after the night before'. This is the tagline of the newly released short film Killer Hangover. Although the title and tagline instantly suggest a lack of innovation from the young team of film-makers, the narrative adopted in the ambitious piece transforms the well-worn genre of horror into a fresh canvas for the exploration of ideas on the silver screen. This is achieved through the team's willingness to experiment with diverse influences, from Ratthe's short film sensation Lovefield to classic Hopkins' horror features.

In addition to the debutant director, Killer Hangover introduces the film audience to the fresh-faced actor, Jordan Oberdries, who plays the nameless young antagonist who wakes up to a smashed house, a splitting headache and stained carpets.... Oh, and the small issue of a dead girl on the kitchen floor. Immediately cast into a crazed panic, our subject anxiously endeavors to not only piece together the fragmented events of last night but also protect himself from the ensuing condemnation that threatens to ensnare him from all angles. However, the sting of the narrative exists not in the safety of horror but in the creative closing twist...

The technical aspects of the film exhibit the team’s dynamism. Of particular note is Rory Harris’ editing technique, with his innovative use of split screening adding an extra dynamic to the piece. Soundtrack is also carefully crafted to parallel the visual aspects and establish suspense.

However, though demonstrating a significant level of promise, Killer Hangover isn't without flaw. Oberdries' performance often lacks the ability to convince, let alone instill the fear, anxiety and horror that the editing and soundtrack seek so desperately to establish. Although the rest of the piece seems to exude confidence and experience, the casting of Oberdries is the team's Achilles heel. In order to achieve the calibre of award-winning material this team is capable of, they must strive to overcome this weakness.

Despite this shortfall, Killer Hangover is a note-worthy experiment in the genre of horror by Neal and company, hinting at their ability to produce a higher level of film in the future. As is expected for a first piece, it presents it's weakness in equal proportion to it's successes but, unlike the crowds of 'tried and failed' and 'maybe next time' films, Killer Hangover is a colourful Monet with the promise of a Picasso on the horizon.'