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- Bless Me Father Review | Film Reviews
HOME | FILMS | REVIEWS Bless Me Father Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: May 23, 2023 Directed by: Gianni McLaughlin Written by: Gianni McLaughlin Starring: Gianni McLaughlin ‘Bless Me Father’ is a confusing dichotomy of a film, blending ideas together which should create a thoughtful, meditative film, yet instead it is far, far too convoluted. For a slight ninety minute runtime, the film tries to tackle too many themes, and none of them in any much depth, getting in the way of its story, which is an interesting idea on paper. Gangster films are interwoven with religion. That’s an unavoidable fact. ‘Bless Me Father’, as the title would suggest, follows this tradition, but only for tradition’s sake. There’s no sense of that spirituality imbued into the story, and it ultimately features just to remind you of better films to spend your time watching. It’s clear whom writer-director Gianni McLaughlin is most heavily influenced by, of course, the legendary Martin Scorsese. However, where Scorsese infuses his films with his own religious belief, shaping the stories which he tells, McLaughlin fails to understand that his own use of spirituality is weightless because it lacks gravitas, or any sense of actual belief. The film opens to the sound of bells, which toll over shoddily shot handheld footage from inside a car. We then see a slightly bedraggled man, Vinny (Gianni McLaughlin) walk into church looking in serious need of some spiritual aid. Luckily that’s what you tend to get in a church and a priest, Father Joe (Joseph McLaughlin) offers him the chance to give confession, and thus begins Vinny’s story. All this is filmed with fervour and patience that suggests a profound religious message delicately interwoven throughout. Regrettably, that illusion soon falls apart. As we witness the descent of Vinny from juvenile delinquent to fully fledged gangster we are reminded of better films dealing with the same subject, primarily the eternal gangster film ‘Goodfellas’. This is a subject that has been done before, over and over again, but treading on such hallowed ground wouldn’t be a problem - there’s a reason its been overdone (when it works, it really works) - if it wasn’t done here with such abject quality and attention to story. We see Vinny rise to something of prominence amongst his fellow Italian-American gangsters, even meeting the Don (Paris Branda), as he sacrifices his relationships with those around him in order to pursue a life of crime, drugs and money. The issue, and its one which is handled bizarrely, is that the Don killed Vinny’s father (Federico Lupo), as we see in a flashback. The thing is, though Vinny knows this, and it effects him when he first meets the Don, it is then just left behind as a plot point until right at the very end, when suddenly it becomes the centre of the entire plot, despite having literally no bearing on it throughout. Added to the strange direction of the story is McLaughlin’s disappointing directing, which wouldn’t be such an issue were it not for the finesse offered early on. Instead he soon indulges himself with too many cuts, too many shots which add nothing dramatically, and, far too many gratuitous shots of strippers twerking. You can present the gangster lifestyle as idealised without objectifying women to the point at which no women that appears in the film is anything more than a sex object. ‘Bless Me Father’ lacks the punch which films of this nature need to separate themselves from the rest. Any early promise quickly subsides into just another sleazy gangster film by another wannabe Scorsese. You can’t replicate Scorsese, and it’s time people started realising that. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >
- Golden Kash Review | Film Reviews
HOME | FILMS | REVIEWS Golden Kash Film Review average rating is 4 out of 5 Critic: | Posted on: Sep 9, 2021 Directed by: Druhv Behl Written by: Druhv Behl Starring: Sunny Chaudhary, Kavita Kaushik, Himanshu Luthra, Akshay Khanna, Ujjwal Chaudhary, Ram Kashyap Golden Kash is an ambitious, well-paced, enjoyable dark comedy with a charismatic cast and clean vision to boot. What starts off as a kidnap thriller quickly evolves into situational comedy that is brave enough to flirt with the fourth wall, and through all that, the manages to story keep its bearings. The opening music may distract from the visual quality of the film in the first few seconds, but once things quiet down and the ambience sets in, the eye is immediately captivated by the use of shadow and colour. Shadows and silhouettes give the film a distinct noir feel, an ominous foreboding of what’s in store, and it’s all a cleverly crafted misdirect. Humour and unexpected high jinks were the last elements I expected to see in a film that centres on greed. From the kidnapper that demands a ransom and gets a call back from a phone salesman to the aloof father too engrossed with a cricket game to pick up his phone, Golden Kash creates the perfect arena for each of its leading men to one-up each other in the hopes of a fat paycheck. Each of the actors performs their part convincingly, with enough wit to stick the landing. While the breach of the fourth wall midway through the plot is abrupt, the film manages to keep the momentum of the story moving forward. This is where we meet Ujjwal Chaudhary’s character, an unmotivated phone salesman who works the nightshift and dreams of a better life. Ujjwal’s character addresses the camera—or rather, the audience—in an expository segment where he rants about his shortcomings, and lucky for him, he stumbles upon an opportunity to change his circumstance (or does he?). Ujjwal has wit, charm and the cinematic presence to keep the audience engaged. (And perhaps even get them to root for him!) While the ending does jump a few steps, asking the audience to draw conclusions and pave over what few plot holes the script has, Golden Kash is a prime example of how experimental, genre-bending films (if executed well) can be quite an enjoyable experience. About the Film Critic Short Film < All Reviews Next Film Review >
- Red Africa Review | Film Reviews
HOME | FILMS | REVIEWS Red Africa Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 1, 2023 Directed by: Alexander Markov Written by: Alexander Markov Starring: Alexander Markov Travel back to a truly jarring and bizarre period in history in Alexander Markov’s documentary Red Africa – a fascinating examination of post-colonial Africa and the burgeoning, uneasy and uneven relationships many newly-independent states struck up with the Soviet Union. Using a treasure-trove of incredible historic footage, this 60-minute documentary presents a look at 30 years between a series of newly independent African nations emerging in the 60s to the collapse of the Soviet Union in the 90s, and the infringe of Soviet business and culture into Africa in the intervening time. Presented nakedly and without voiceover or contribution, the footage is allowed to speak for itself, as the Soviets work to burrow into the heart of Africa under the guise of friendship – but with sinister aims of resource extraction and reliance construction in order to expand the Soviet sphere of influence across the continent. With similarities to Adam Curtis’ masterful documentary series Traumazone (which interestingly also focused on the collapse of the Soviet Union), Red Africa is striking and outstanding because of its minimalist approach to documenting its subject. The editing of the eye-opening historical footage is where the film lives and dies, and Alexander Markov has a committed vision for the history he is bringing back to life. Constructing a cohesive narrative over a 30-year timespan and multiple nations is not easy, but audiences will come away from the film with an understanding and conception of the Soviet’s aims in Africa, the appeal for Africans of turning towards the iron curtain, and the inevitable betrayals that came with what was ultimately a politer form of colonialism. The footage is impressively presented in excellent quality, allowing viewers to immerse themselves in the time period. The unbroken spell that comes as a result of the pure footage approach works wonderfully, as old colonial masters in immaculate British military regalia are humiliatingly ejected from a new Kenya in footage that doesn’t look out of place when brought to the screen using 2023 technology. An otherworldliness is present once African traditions are interpreted by Russian dancers in front of bemused leaders invited to Moscow. Crisp and vibrant imagery allows for full engagement with this truly odd time. The stylistic approach does limit the film. As with the aforementioned Traumazone, the events of the film fix in place its content and limit the level of analysis the film itself provides. Unlike Curtis’ series however, the film doesn’t quite leave with the same impact or connection to contemporary events. Traumazone concluded with the emergence of Putin from the rubble of the new Russia – a chilling and relevant finale for a series that was released following the outbreak of the war in Ukraine. Red Africa concludes with the USSR’s fall – a pivotal event of course – but fails to quite land the significance of this to either Africa or Russia today. Given that China are currently aggressively pursuing a similar strategy today with their ‘belt and road’ initiative, it feels like a missed opportunity to link the events of the film, as well as their causes and their consequences, to today. As a snapshot of a fascinating and unexplored time however, Red Africa is an immersive and engrossing hour that is filled with footage of the scarcely believable. A honed knowledge and passion for Cold War history is required to really appreciate the unconventional documentation, but for those looking for a new angle of the 20th century, it is a revelatory piece of filmmaking. Watch the official film trailer for Red Africa here . About the Film Critic Patrick Foley Digital / DVD Release, Documentary, World Cinema < All Reviews Next Film Review >
Blog Posts (5047)
- A Happy Ending Short Film Review
★★★★ Directed by: #ChristopherDeakin Starring: #GemmaWhiteley, #AdamMercuryBrown, #JoyceBranagh, #AshleyGregory, #EleanorJessicaRoberts Short Film Review by: Alexandra James A Happy Ending is a spoof reality television show that pokes fun at some of the court room dramas we see today. The show focuses on a young married couple and displays their inner conflicts with one another. For wife Lizzie, she is prepared to divorce her husband for not ever being able to satisfy her in all areas…but specifically in the bedroom! This dark comedy is a combination of Judge Judy, Love Island dramas and absurdity all wrapped up in a show called ‘Out of Order.’ For main character Lizzie, regrettably, this was unforgiveable, and she was ready to take her life into her own hands, her husband’s money and then leave him! However, as the drama progresses, certain secrets come to light and the audience discover that Lizzie is not as squeaky clean as she presents herself to be. As like many of these shows, the audience feed off this scandal and the juicier the scandals become, the better! The short film begins in a court room, its all lights, camera action as the jury take their seats and listen to Ms Who’s tales of woes and the lack of satisfaction she has had to endure for a good few years. Their marriage is in turmoil and there’s no coming back from this, especially when we find out husband David Ducksoup has been going to certain places alone to get his kicks elsewhere…For our Judge this appeared to be a clear-cut case, however, certain witnesses began to shed light on the couple’s marriage which left the judge having to make some tough decisions. A Happy Ending is a witty and outrageous film that keeps you hooked until the very end. It was great to see some of those ‘behind the scenes’ moments where the director instructs some of the reality stars to add more tears at this point or show your angry side when you say this line. Many people believe each scene is authentic and completely unfabricated. However, nothing we see on TV is ever how it truly is, which made for a hilarious premise and managed to break down that wall between fact and fiction and showed us exactly what was behind the curtain. The characters themselves were very funny and combined with the comical storyline and dialogue, it makes for an entertaining show that I would certainly be investing in if it came into fruition!
- Shear Disturbance Short Film Review
★★★ Starring: #DevonGrevious, #NateReynolds, #TylerMcCray Directed by: #NateReynolds Short Film Review by: Alexandra James Shear Disturbance focuses on the theme of anxiety and how much it can affect day to day activities such as the simple act of getting a haircut. For protagonist Tyronne, this typical action becomes far more than that and is such a trigger that he becomes completely consumed by even the thought of it. This can be a very real experience for many people that suffer with anxiety, it can become debilitating and stop you from going about your daily life. Director Nate Reynolds portrays these struggles and highlights the importance of patience and understanding when interacting with a person struggling to keep their anxiety under control. The narrative itself is very simple and I think although this is a short film, it would have been great to truly expose the pain within the anxiety. It would have helped the storyline further to pull back the covers of Tyronne’s mind and provide the audience a sense of what it feels like to have this fear. The physical signs were apparent with the trembling and shyness when speaking to the barbers. However, a cutaway of Tyronne’s mental state would convey the severity and seriousness of his condition. It was interesting to see the negativity towards Tyronne as well, the barber seemed to have little to no patience and believed that Tyronne was wasting his time and essentially fooling around. Nate was able to suggest that we need to be more perceptive and recognise the signs of anxiety to help that person and bring them into a calmer and more relaxed environment to support and keep their anxiety under control. Unfortunately, for Tyronne, the experience became all too much, and he was unable to control his emotions and left the shop disappointed in himself. However, another barber came out after him and reassures him that he is not alone. In fact, he has also experienced these feelings and encourages Tyronne to speak with someone to overcome his struggles. Shear Disturbance has a message within, and director Nate Reynolds uses this short film to tear down the stigma and shame of living with anxiety and instead, Reynolds concentrates on the importance of speaking about this subject and sharing these struggles as this will ultimately educate others to understand more about the experience as well as learn how to help and manage them.
- Watch What I Do Short Film Review
★★★★★ Starring: #IsidoraFairhurst, #MiaMckennaBruge, #RitaBernardShaw, #DaniDyer, #MalachiPullarLatchman Directed by: #TeddyNygh Short Film Review by: Alexandra James Watch What I Do is an all-female cast and short drama. It focuses on 3 teenage girls in secondary school attempting to navigate their way through friendship, social status, and their love for basketball. Being a teenager today can be a difficult transition, emotions and arguments become heightened and at this point in life. Conflicts at this age are all consuming and it becomes difficult to break away and see the light, as well as ignore the negativity. This becomes the case for protagonist Layla, as she struggles to become friends with the new girl joining the group. Layla often feels excluded and is unable to connect with Nikki, who chooses to disregard or shame Layla as a form of one-upmanship making her appear to be the ‘popular’ friend out of the group. Layla must find a way to channel her anger and focus on what is most important to her, true friendship, and her passion for sport. Layla’s skills in basketball become clear when she walks past a court and jumps at the chance to make a shot, she is encouraged by the other players to join and be a part of the team. However, through fear of ridicule she shy’s away from this opportunity and ignores their praise. Instead, she is left feeling embarrassed and even more of an outcast by showing an interest in the sport. It became evident that Layla has some form of anger issues which she needs to work on. Layla often represses these thoughts of violence and aggression; the viewer is given snippets of Layla’s frustrated mind with use of cutaway shots. Her anger becomes fuelled when faced with conflict, and unfortunately for Layla she becomes tested to her limit as Nikki starts to put a wedge between her and her friendship with Kezia. Layla has managed to control this anger for a long period of time, however, like a bubbling pot, it does not take long for this anger to spill. The characters are extremely relatable, especially to teenagers growing up and learning to adapt and change throughout their school years and rise above the hate. Director Teddy Nygh breaks down some of the barriers that stop kids from being their true selves. Nygh highlights that for Layla, basketball gives her the chance to channel her energy, focus and discover some new friends who follow a similar passion. This was a great story, and the characters were able to really convey that emotion of betrayal, fear, hurt but also happiness and the importance of friendship. It was an enjoyable watch and the interactions between each character were engaging throughout, you really feel for Layla’s character and want her to overcome her fears and see the true bond between her and Kezia.
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- “YOUR MOVE” - REVIEW: Over the Edge, Into the DarknessIn Film Reviews·January 27, 2018There is an apocryphal saying - variously attributed to Tolstoy, Dostoevsky, Mark Twain and a host of others - that there are only two stories we tell each other in our literature, our movies, our narrative arts. In the first, a person goes on a journey; in the second, a stranger comes to town. What matters is not which of these stories an artist chooses, but how it’s told, and how it illuminates another corner of the human soul, be it dark or light. With “Your Move” actor/director/writer Luke Goss effectively combines the two in the person of his protagonist, who must go on a journey to save what he loves most in the world, becoming a stranger in the dark underworld of a Mexican town where clues and danger are virtually indistinguishable. Goss - up to now known as an actor’s actor and platinum-selling musician - proves highly adept at this newest iteration of his abilities, guiding what in other hands might be a standard genre story forward with skill and subtlety. By keeping the focus on the inner workings of his characters Goss creates as much nerve-wracking tension with a quiet tableau between two people as he does with an all-out chase scene. Goss plays New York businessman David Miller, a man with a good life and a family he adores. While on a video call with his wife Isabel (Patricia De Leon) and young daughter Savannah (Laura Martin), who are in Mexico visiting Isabel’s parents, David - back home in New York - witnesses a brutal attack on them that ends in an apparent kidnapping. Stuck thousands of miles away and not knowing where to turn, David calls the local NYPD, whose skeptical response only makes him realize how dire his family’s situation actually is. As an actor Goss is deeply likable, exceptionally effective at translating what his characters are feeling, and the terror David experiences at not knowing what has happened to his loved ones is brutal and palpable. In Mexico he meets the cop in charge of the case, Detective Romero (the superb Robert Davi, in a richly nuanced performance). David wants answers, action, anything to make him feel that progress is being made. Romero, a good detective, understands the need to build his case on facts, and while Romero feels for David’s plight, the man is also his worst nightmare - an uncontrolled wild card who could blow the case at a moment’s notice by being in the wrong place at the wrong time. Romero’s careful, low-key approach to the investigation seems like dangerous and deadly plodding from David’s point of view, sure to get his wife and daughter killed. On the other side of the coin is Isabel’s father, Señor Barrabas, a wealthy patrón of weight and gravity. Luis Gatica plays Barrabas with a quiet intensity that is at once civilized and menacing. Though he treats David and the detective as equals, he appears to engender fear and respect everywhere else. Accompanied at all times by a suited, hulking - and likely armed - bodyguard, who Goss subtley keeps just at the edge of the frame, Barrabas’ business dealings can only be guessed at. When it appears that he agrees with Romero’s method of handling the case, David panicks and takes matters into his own hands. Though fit and athletic, David has no “special set of skills” with which to make the bad guy’s life hell a’la the uber-hero in “Taken”, relying instead on instinct and sheer persistence, driven by the certain terror that if he doesn’t use every means at his disposal to track his family down, he will never see them again. Agonizing every step of the way over what he must become to get the job done, he isolates himself from both family and the authorities and relies instead on his gut. Goss’s abilities as a visual stylist and storyteller are well-matched to his subject matter and the camerawork is assured, but he doesn’t sacrifice character development for the sake of style. Goss - who also wrote the script - keeps the dialogue spare and measured, making wonderful use of the players’ inner lives to push the narrative and generate emotion. The acting is uniformly superb and the casting and directing are spot-on, with a touching and almost Fellini-esque sensibility, making scenes with even the most secondary characters satisfying and rewarding. The landscape of the human face as a map of the psyche clearly fascinates Goss at the deepest levels, and his painterly use of color, light and shadow add to the suspense and the unfolding story, while allowing the audience their own visual and emotional journey. And though the church is never explicitly mentioned there is a strain of lush religious iconography running through the film, implying religion as a particularly horrifying form of self-justification for the antagonist, played by Alain Mora in a performance that is a revelatory and disturbing portrayal of a man with a terrifying split in his psyche. The film may be billed as a psychological thriller, but the execution and performances defy simple genre categorization. It would appear that “Your Move” marks the auspicious start of yet another successful branch of Goss’s multi-hyphenate career. “Your Move” has its UK premiere on January 27, 2017. Watch the trailer, here: Writer: Kely Lyons - Los Angeles - January 27, 2018361939
- "Crazy Right" movie trailerIn Movie Trailers·March 5, 201824175
- Beauty and the Beast (2017) ReviewIn Film Reviews·November 1, 2017Disney is back with another live-action adaptation of one of their animated films. This time it was up to Beauty and the Beast to be remade and please the audience. But if we look at the final product that the film is, it seems to be that Disney did it more for the money than for the audience. Will the audience end up roaring for the new film or will it just be Disney happily roaring their victory over their audience? I think we all know the answer to that question. Beauty and the Beast is directed by Bill Condon and tells the tale of Belle. Belle (Emma Watson) is a young adult, who loves to read books and dreaming of playing a part in the adventures that are depicted on those pages. But when she leaves her small village to find her missing father (Kevin Kline), she encounters a large castle in which lives a horrifying Beast (Dan Stevens). As Belle stays with the Beast, she learns that true beauty is found within. Right from the beginning, the film wants to make very clear what kind of a jerk the Beast was before he came a Beast. Just like in the original animated film, where they spend a short monologue on the case. However, in this live-action adaptation they take more then a few minutes to make it clear that the Beast is a jerk. The problem is not that it is not well done, because making the Beast look arrogant is something the movie does is quite well, but the problem is that right from the beginning one of our main characters is an unlikeable prick, which creates a situation wherein you cannot root for the Beast to become normal again. You want him to stay a Beast, because that’s what he honestly deserves to be. He acts like a Beast for the first two acts of the movie. Then the filmmakers remembered that the Beast also must become a human at the end, so they quickly shoved moments in the movie trying to make the Beast look less like a prick and more like an misunderstood young adult. In the original animated film, the Beast had a compelling arc. In this film he does have an arc, but it’s not compelling because the Beast is arrogant throughout most of the film and acts like a prick to everyone around him. The arc is also rushed to the point that it makes you care even less for the Beast. Do you want examples of how much of a prick the Beast is? Well, the Beast doesn’t even give Belle a minute to say goodbye to her father, the Beast keeps correcting and interrupting Belle, the Beast wouldn’t give Belle a room, the Beast forces Belle to eat with him and lets her starve when she says she won’t eat with him etc. The thing with this movie is that they like to exaggerate everything the original did, to the point that this movie feels more like a dark cartoon then the original did.The scriptwriters Stephen Chbosky and Evan Spiliotopoulos also try to add new story elements to the script. There is a new back-story how both Belle and the Beast lost their mothers and it adds nothing new to the story. The scriptwriters probably did this trying to make the Beast, after first writing him as such an unlikable character, look more sympathetic and to give Belle an arc. Only thing is that the new back-story doesn’t make Beast look more sympathetic, he still comes across, as a bitter young adult and Belle never gets a conclusion to her arc. Her mother died when she was just a baby. Belle never knew her mother and this has had a great impact on her. However when she finally finds out, what happened to her mother, the subplot is quickly moved aside to continue the main story. Her arc is never resolved or even started to be honest. It just a waste of time. The script also tries to give Belle more personality. They did this by making her amazing in everything. She is good in reading, good with children, good in teaching, good in inventing, good in drawing, good in taming wild beasts (get it?). However, as expected, being good in everything doesn’t count as a trademark for a character. She isn’t Leonardo Da Vinci. Belle is a dreamer, who gets inspired by the books she reads. Belle is intellectual. Indeed. But in this movie they exaggerated her intelligence to the point that this Belle feels more like a cartoon character then her animated counterpart. There are also some continuity errors. Belle on Phillipe, the horse, move like the Flash when needed. Belle just arrives shortly after the villagers arrive at the castle, while the villagers had a big head start. The sound effects are also sometimes off in the final battle. Oh right, forgot. To please the immature and the children, the movie also includes butt and poop jokes. Yeah! There is also a mystery subplot for the character Agathe, which turns out to be the witch that cursed the Beast. This is so poorly done and unnecessary. She just comes and goes when the story needs her to come an go. And her importance to the story is never explained. Which leaves another unsolved subplot.The CGI in this film is, in contrary to the beautiful The Jungle Book, more creepy than fantasy provoking. Nobody wants to see a CGI teapot smiling. They created some nice nightmare related visuals for the younger kids. Can’t wait to see this on a childhood trauma list.Not everything is bad though. The acting is on point. Especially Gaston is likeable, which feels weird because he’s supposed to be villain of the film. Well don’t worry, because for this first half of the film Gaston comes across as a normal, somewhat dimwitted, individual, but in the second half, he leaves Maurice for the wolves stuck at a tree. Something the animated Gaston would probably also be able to do. The Gaston song is also very amusing. Their is actually an illiterate joke in their that works. The song also contains one exciting, maybe little expectable, but still amusing shot. In the end, Beauty and the Beast, is another Disney remake that is poorly executed and is solely done for the money. This movie in particular felt more like a cash grab than the other Disney movies. That is probably because the effect of the original is still untouched by other Disney movies. It is the only animated movie to be nominated for best picture. It is one of the most well known Disney movies. These were the reasons for which Disney thought that their live-action version could earn some big money. Sadly, it did. Overall, it’s not a complete failure. There are some genuine emotional moments. Some new interesting ideas, that all don’t workout however. And sometimes a joke works. But in the end, the movie is still pretty bad, mostly thanks to the poor script.15160