Search Results

HOME | FILMS | REVIEWS A Borrowed Paradise Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Jun 16, 2023 Directed by: Peter Dorn-Ravlin Written by: Peter Dorn-Ravlin Starring: Katan Sosnovec, Scott Menzies, Ricci Dedola Deep down all of us are searching for a way out. Both in terms of the grander scale of life itself, in which we endlessly toil and only escaping in few, joyous pleasures, and on a smaller scale, from the environments in which we find ourselves and the relationships that we become trapped in. Life, the world around us, and the relationships that we hold are both the greatest blessings in the world and the eternal curse of humanity. ‘A Borrowed Paradise’ understands this, and reflects this idea to a certain extent, though whilst It philosophically conveys its message, this is done almost painfully through some turgid and inept filmmaking. That ‘A Borrowed Paradise’ is a deeply personal film to writer-director Peter Dorn-Ravlin is clear through the profundity with which he attempts to deal with a troubled adolescence. It’s a story which everybody, or the vast majority of people, can relate to, as teenager Theo (Katan Sosnovec) faces severe challenges to the stability of his mental health. Granted, the problems which young Theo faces are of greater significance than those everybody is likely to encounter during their school years, as he has to face up to the devastating loss of his mother (Ricci Dedola) and the damaging spiral of alcoholism that this has caused in his father (Scott Menzies). The title itself is of interest, perhaps a reflection of the sparing moments of joy spent as a family, or alternatively of the fleeting pleasure and joy given to Theo’s father, Derrick, through his alcohol addiction. Such philosophical messaging - further conveyed through the religious allegories retained throughout - and the sentimentality which the film displays are all well and good, but those two factors alone do not make up for poor quality filmmaking. Dorn-Ravlin attempts to impose the film with a directorial style ill-fitting to the subject, with an almost documentarian shaky camera and sharp, sudden zooms not suiting the domestic tone of the film, firmly a stable, sombre drama in character. Though such directing shows a certain skill in terms and competency behind the camera, it doesn’t complement the film, and undermines the seriousness of catastrophic on-screen actions - for example, the dramatic weight of Derrick withdrawing a firearm from a drawer is downplayed by the quick zoom in, and almost as sharp zoom out, as though the viewer doesn’t understand what a gun is and how damaging they can be. The editing is similarly reductive to the film’s sombre, level tone as a whole, with flashbacks to Theo’s mother and father’s past tinted too heavily and occurring too sharply, to truly aid the non-linear storytelling, instead making each cut back to the past jarring, and too stark a difference from the brutalism of Theo’s life without his mother. The script, though it successfully outlines the films message and philosophy, similarly causes problems to the film as a whole. Dialogue is a key issue, with the philosophy so obvious because characters say it all, conveying nothing through subtext or leaving anything the viewer’s imagination. As such it is cloggy and robotic, particularly when characters begin reciting poetry in a manner that no human being, at least no sane human being, has ever spoken. This adversely affects the performances of the entire cast, who, though no doubt talented, struggle with the sheer density of the script, and end up overacting to the point at which they sound mechanical. The clarity and success of ‘A Borrowed Paradise’ in outlining Peter Dorn-Ravlin’s beliefs are central to the films faults, with an over reliance on dialogue in the screenplay reflective of the poor filmmaking throughout. As such, ‘A Borrowed Paradise’ fails as a film where perhaps it may have worked to a greater extent as a novel, which would allow its creator’s interesting ideas and thoughts to be further fleshed out without becoming bogged down by problematic technical aspects of filmmaking. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Saltburn Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 21, 2023 Directed by: Emerald Fennell Written by: Emerald Fennell Starring: Barry Keoghan, Jacob Elordi Somewhere on the other side of Alexander Payne’s The Holdovers lurks Emerald Fennell’s bacchanal, Saltburn . Oliver (Barry Keoghan), a loner attending Oxford on scholarship, is befriended by the most beautiful, richest of the rich, Felix (Jacob Elordi, so good earlier this year in Priscilla ). They become such good friends at school that Felix invites Ollie home to Saltburn, his family’s honest to God castle, for summer break. A tale of casual cruelty versus calculated cruelty, Saltburn flirts with any number of have-nots in a have land stories: Rebecca, The Little Stranger, and most evidently, The Talented Mr. Ripley . That doesn’t mean the Oscar winner who penned Promising Young Woman lacks an original thought on the matter. Fennell’s film is a seduction, sensuality dripping from every frame, every image – the interiors, the grounds, the bodies. On display is unimaginable wealth, and the fantasy of decadence and isolation that accompanies it. Felix’s family is drawn to Ollie like vampires to human flesh and blood. That they will tire of him is inevitable, and that he will do terrible things to remain in their graces is also inevitable. But that’s not truly the story. And even if you have a clear sense of the direction the story will take, the tension will break you. Not everything works in Fennell’s film, but man, Keoghan does. No one plays the vulnerable, potentially dangerous outsider quite as he does. Elordi is tender and lovely in an appropriately superficial way, and Turismo ’s Archie Madekwe nails the insecure wealthy-by-technicality cousin with ease. The image of vacuous wealth becomes cartoonish, however wonderful Richard E. Grant and Rosamund Pike are as Felix’s wildly oblivious, inhumanly privileged parents. It’s tough to watch a film that asks you to empathize with, much less pity, the grotesquely wealthy. Luckily, Fennell doesn’t. Her effort is far more cynical, finding obscene wealth and the desire for obscene wealth equally unappealing, if not equally villainous. The filmmaker loses her way before she gets to the magnificent final dance scene. We relive clues and take a hard turn that feels too genre for what had been a glorious mess. In the end, Saltburn often feels like a story you’ve seen before, told with more style and meanness. But style and meanness count for something, and this cast understands that. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Alive Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Oct 10, 2022 Directed by: Terrell Williams Written by: Terrell Williams Starring: Aaron Potts, Freddy Moyano Plenty of intrigue surrounds ‘Alive’, a short film by Terrell Williams, but it doesn’t amount to much more than that. The short provokes questions that it doesn’t answer. Constrained by its four-minute runtime, as a result ‘Alive’ flounders, unable to provide anything more than questions over the nature of its story. Opening with scrawling typeface - as has become the norm with short films ever since ‘Star Wars’ - we are forced to quickly dissect that there have been multiple reports of homicides recently in an area, however, all that’s been left behind at each crime scene is a pool of blood - leaving the detectives stumped. Unfortunately, the opening exposition contains numerous grammatical errors - minor things like ‘thats’ where it should be ‘that’s’, and explains its synopsis in an extremely roundabout way. This sets a precedent for the remainder of the film, as it feels a little rushed and unpolished - a little rough around the edges. This most obviously comes across in the sound mixing, as dialogue is inaudible whilst Justin Sanetra’s score, though it is marvellous, plays loudly in the background. Furthermore, the camera is at times disruptively shaky, particularly in the opening scene, and the sets never appear to be anything more than what they are - sets. We then cut to an urban setting as a train rolls past and a gunshot rings out. We know something is up. It’s at that moment when what you expect to be a police procedural cut down to four minutes becomes an eerie body horror film and takes on a tantalisingly interesting story, which you only wish could last longer. Three people are sitting in a room, and there are gaping holes in the back of their necks, with a disturbing worm-like movement from inside the bloody wound. In an instant, the film is transformed, as the title card - ‘Alive’ - flickers to ‘A lie’. The very nature of the film is possessed by the gothic - as the abject fast becomes the uncanny, and terror grows and grows. Justin Sanetra’s eerie score instils the viewer with a sense of dread, and puts you on edge, expecting something to leap out of the screen. Writer-director Terrell Williams masterfully imbues the film with elements of horror, from uncannily off-centre shots to the blank monotone of Mr Flores (Freddy Moyano), as he runs a test on one of the victims, Jeffrey (Aaron Potts). Performances are standard, but Williams relies more on the shock of his scenario than the versatility of his performers to scare the audience. However, ultimately that shock amounts to nothing beyond questions about the complexities of the story. It doesn’t create thought-provoking parallels to our reality or any philosophical meditations. This is in part because it is restricted to a mere four minutes, but also because the writing lacks depth beyond shock value. Nevertheless, ‘Alive’ is an effective horror - filled with suspense and intrigue, which grips you and leaves you wanting more from a concept which would suit a feature-length feature. About the Film Critic Joe Beck Short Film < All Reviews Next 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!

★★★ 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.

★★★★★ 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.