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HOME | FILMS | REVIEWS Earth Mama Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Dec 4, 2023 Directed by: Savanah Leaf Written by: Savanah Leaf Starring: Tia Nomore, Erika Alexander In a perfect world all children would be born into a stable home with two loving parents. But the reality is often a long way from the story book idyll that is written. Children can be born in the right place at the wrong time or vice versa. The result is an emotional battlefield as the child's interests are prioritised by the great and good. In her feature length debut Savannah Leaf directs a compelling portrayal of a young women growing up too quickly. Gia (Tia Nomore) is the mother of two children in care with another on the way. She is a recovering addict and enrolled on every recovery programme humanly possible. Every positive step brings her closer to getting her children back. Gia dreams of the day she can stand up in court and prove her fitness as a mother. But is still wracked by self-doubt; how can she feed another mouth when barely scraping a living as a photographer's assistant. Her social worker Miss Carmen (Erika Alexander) becomes a friend and honest broker. Could adoption be the solution to Gia's problems? Earth mama pulls absolutely no punches in a bleak but sadly realistic snapshot of urban life. It’s a story that's been told many times before but some hit the spot more accurately than others. There is a detached almost visceral quality that really stands out. As a character Gia will ask for no favours, nor will she complain about how she got here. To her raking over the past is a waste of energy when the present has plenty to keep her busy. She is simply asking the world at large, what do I do now? As a viewer, it's easy to buy into Gia's predicament as she battles to do the right thing. There is a natural glow of simplicity that doesn’t feel staged or constructed. It’s hugely reminiscent of a ‘fly on the wall’ documentary where the characters are facing problems that are universally understood. We see real people living real lives which gives the story an undeniable impact. The audience will feel they’re eavesdropping intimate conversations such is the authenticity portrayed on screen. Any director who can project this level of realism onto the big screen has achieved a rare feat. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Solitary Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Sep 3, 2022 Directed by: Jack Linsdell Written by: Jack Linsdell Starring: Dan Rutter, Grace Wellfare, Josh Stevenson, Adam Gammage Isolated fisherman Rick is at the end of his rope, his boss refuses to tolerate his cries for help, and his daughter, Shailene, is desperate to avoid him, sleeping in a car with her on/off boyfriend Brad. After a series of escalating arguments, Rick takes extreme measures when he discovers that his daughter is pregnant. The world of Solitary is populated by harsh tongues with every word barbed. Characters seem to indulge in bitter arguments and ugly actions even as they continually maintain that they acknowledge their flaws and recognise each other’s humanity. For instance, Rick’s boss finds that Rick has stolen his phone, the latest in a series of petty thefts. He enters into a screaming tirade in which he first acknowledges that the action is nothing but a cry for help, followed by the cliché that he believes in second chances, before promptly sacking him(?), and cruelly concluding that he couldn’t care less if he died. This is just the first conversation that Rick is involved in and it spirals further from there. The way in which each of the characters, from Rick, to his boss, to his daughter, all promote hostility over understanding, makes them increasingly implausible. The actors themselves appear to struggle with convincingly reducing themselves to their characters’ level, which is a significant issue for a film that appears to angle itself as a heightened social drama. This creates a barrier between the audience and any potential emotional investment in the film. Moments of cinematic invention are few and far between in Solitary . The standout is an unorthodox and intriguing implementation of a handheld tracking shot loosely moving with Rick as he stumbles through his home. The camera moves from room to room, panning left and right, searching for something concrete in Rick’s life to cling on to. Eventually, we arrive at a photo of his daughter as the score reaches its most hauntingly resonant peak. This scene aside, the heavy-handed soundtrack frequently distracts and furthermore, feels out-of-sync with the other aesthetics laid out by the film. Solitary is a difficult watch. Its characters are hard to engage with in their contradictions and lack of compassion, to the point where the actors portraying them seem as though they are surprised by their actions. Ultimately, too many elements of the film serve to distract and remove the audience from the film for it to be an experience that one could emotionally invest in. About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Table Fan Story Film Review average rating is 4 out of 5 Critic: Isaac Parkinson | Posted on: Apr 14, 2022 Directed by: Kaushal Shah Written by: Kaushal Shah, Viswas Rastrapal Starring: Tarjanee Bhadla, Mehool Desai, Premal Yagnik, Heena Akolkar A pensive and painful domestic drama that looks at how parental pressure can push us away, and how it feels to come back. Underscored by ruminative and brooding music, a daughter returns to her family home with her new partner, opening up old wounds and uncovering new tensions. The weighty score does a lot to tonally immerse us in the meditative tragedy. The lighting is drab and cold, creating an unwelcoming environment which reinforces the discomfort of being back in a now-hostile space. The resentment of the woman’s father is the driving force behind their intergenerational conflict. His bitterness exhibits the complex boundaries of parental love. By building a life outside their family, he sees her growth as rejection. The binary nature of his affection suggests a kind of conditional love that’s all or nothing. Either she must be fully committed to her family and accept them for the good and the bad, or she can abandon them entirely to find a new life. She has chosen the latter, which from her perspective is the only available solution. The use of flashbacks throughout allows for a balanced reading of this conflict, introducing a more sympathetic view of what was lost by her parents. Her father wants his effort to be appreciated, pointing to a guitar, a book, a frame; all totems of affection which he feels have been overlooked. Feeling taken for granted, her abandonment feels all the more cruel to him. He also suggests a feeling of responsibility for her making “mistakes,” implying a prescriptive nature of parenting which leads to them becoming defensive at any rogue acts outside of their strict ideals. By breaking the mould, signified by ripping up a picture of them as an act of rebellion, she has turned her back on those ideals. Her parents mark not only constriction, but a warning of where her life will lead her. Her father cautions her not to “become like your mother,” stressing the overhanging threat of the older generation. The quietness of their conflict is balanced between the burning tension of the father and daughter, and the diplomacy of their respective partners. Attempting to ease the process and bring some gentle harmony, their physical presences provide some padding to the central conflict, allowing for small moments of reflection away from their antagonism. In particular, her new partner represents a different perspective on family, as a man without parents. She tells them “he values family and relations,” indicating how we take for granted the connections we have never sincerely feared losing. This external view of the have-nots suggests some envy of their family conflict, and the love behind it that stokes it. Evidently there is something unappreciated in the mere fact of having people who are close enough to hurt us. Taking a step back from that harsh intimacy, he embodies the other half of this dialectic view of parental pressure. We want it but we don't; its inspiration coming from a place of love, yet resulting in a feeling of claustrophobia. The shot of the titular table fan finds the parents lost to the background, and then fan itself focused in the foreground — its symbolic value in its rotation and constant presence. Moving in the same cycles over and over again, we can find similar notions in a toxic relationship between an overbearing parent and a child pushed and pulled back and forth. While sat in their familial tension, the flashbacks then seem to collide with the present, the voices of their former and current selves colliding and overlapping. The meshing of these realities can be also seen in the tension between their two generations. Their feelings of regret and hindsight are represented formally, pushing our once-hopeful younger selves to contend with our now-disillusioned current selves. About the Film Critic Isaac Parkinson Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Truth Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Jul 1, 2023 Directed by: Gabriel Brown Written by: Sam Richardson Starring: Eleanor Grainger, James Craister, Alan Davison A man exacts vicious revenge on his cheating wife. Amy (Grainger) wakes up in a garage, with her hands tied. Her partner Henry (Craister) has brought her here and he is furious. Henry accuses her of having had an affair with a guy named John and now he wants to get even. Amy pleads with him to let her go, however, it is soon proven that things have past the point of no return. This short is an adultery/revenge thriller that is filled with tension and dread from start to finish. The screenplay places the viewer in Amy's shoes, who is trapped in a desperate situation. At the mercy of Henry, she constantly begs him to stop and that she is remorseful for her actions. However, her captor is beyond the point of forgiveness and has turned into a bloodthirsty monster. He threatens her with a knife, repeatedly and angrily blames her for having destroyed their lives and demonstrates just how far he has gone. The atmosphere gets worse and worse and it is evident that things are going to end terribly. Then, the plot twist arrives, one that belongs in the same category as The Usual Suspects , one that makes the audience question everything they witnessed previously. It might be hard to know which character to side with, as both Amy and Henry have done terrible things. Amy has betrayed her husband and Henry has kidnapped her and threatens her life. Although Amy is the one who primarily comes across as the victim, as she is the one who is tied up and tearfully begging for her life, Henry is also a victim, a victim to her selfish cheating. Both Grainger and Craister deliver very strong performances. The film gains from a beautiful cinematography thanks to Caleb Chambers and Brown creates some well-executed long takes. The sinister and dramatic music by Lucy Green is a great addition and crucial when it comes to developing a menacing and dreadful atmosphere. This short grabs the viewer's attention right from the beginning and never loses its grip. The dramatic protagonists, intriguing plot, dreadful atmosphere and unpredictable ending make this quite a memorable experience. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

2021 Oscars: The Nominations Chris Olson Monday, March 15, 2021 at 3:12:56 PM UTC In a year when very few films made it to the cinemas, these Oscar nominations for the 2021 award show still make fantastic reading! With films like Mank, The Father, The Sound of Metal and Minari (among many other incredible movies) on the list, it shows that filmmaking is still of the highest standard and audiences have a lot to enjoy. Let us know what you think of the 2021 Oscars nominations on social media. The winners are due to be announced at a ceremony on the 26th of April. Best picture The Father – producers: David Parfitt, Jean-Louis Livi and Philippe Carcassonne Judas and the Black Messiah – producers: Shaka King, Charles D. King and Ryan Coogler Mank – producers: Ceán Chaffin, Eric Roth and Douglas Urbanski Minari – producer: Christina Oh Nomadland – producers: Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao Promising Young Woman – producers: Ben Browning, Ashley Fox, Emerald Fennell and Josey Mcnamara Sound of Metal – producers: Bert Hamelinck and Sacha Ben Harroche The Trial of the Chicago 7 – producers: Marc Platt and Stuart Besser Directing Another Round – Thomas Vinterberg Mank – David Fincher Minari – Lee Isaac Chung Nomadland – Chloé Zhao Promising Young Woman – Emerald Fennell Actress in a leading role Viola Davis – Ma Rainey’s Black Bottom Andra Day – The United States Vs. Billie Holiday Vanessa Kirby – Pieces of a Woman Frances McDormand – Nomadland Carey Mulligan – Promising Young Woman Actress in a supporting role Maria Bakalova – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Glenn Close – Hillbilly Elegy Olivia Colman – The Father Amanda Seyfried – Mank Yuh-Jung Youn – Minari Actor in a leading role Riz Ahmed – Sound of Metal Chadwick Boseman – Ma Rainey’s Black Bottom Anthony Hopkins – The Father Gary Oldman – Mank Steven Yeun – Minari Actor in a supporting role Sacha Baron Cohen – The Trial of the Chicago 7 Daniel Kaluuya – Judas and the Black Messiah Leslie Odom, Jr – One Night in Miami… Paul Raci – Sound of Metal Lakeith Stanfield – Judas and the Black Messiah Writing (adapted screenplay) Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan – screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman and Lee Kern; story by Sacha Baron Cohen, Anthony Hines, Dan Swimer and Nina Pedrad The Father – screenplay by Christopher Hampton and Florian Zeller Nomadland – written for the screen by Chloé Zhao One Night in Miami… – screenplay by Kemp Powers The White Tiger – written for the screen by Ramin Bahrani Writing (original screenplay) Judas and the Black Messiah – screenplay by Will Berson and Shaka King; Ssory by Will Berson, Shaka King, Kenny Lucas and Keith Lucas Minari – written by Lee Isaac Chung Promising Young Woman – written by Emerald Fennell Sound of Metal – screenplay by Darius Marder and Abraham Marder; story by Darius Marder and Derek Cianfrance The Trial of the Chicago 7 – written by Aaron Sorkin International feature film Another Round – Denmark Better Days – Hong Kong Collective – Romania The Man Who Sold His Skin – Tunisia Quo Vadis, Aida? – Bosnia and Herzegovina Animated feature film Onward – Dan Scanlon and Kori Rae Over the Moon – Glen Keane, Gennie Rim and Peilin Chou A Shaun the Sheep Movie: Farmageddon – Richard Phelan, Will Becher and Paul Kewley Soul – Pete Docter and Dana Murray Wolfwalkers – Tomm Moore, Ross Stewart, Paul Young and Stéphan Roelants Documentary (feature) Collective – Alexander Nanau and Bianca Oana Crip Camp – Nicole Newnham, Jim Lebrecht and Sara Bolder The Mole Agent – Maite Alberdi and Marcela Santibáñez My Octopus Teacher – Pippa Ehrlich, James Reed and Craig Foster Time – Garrett Bradley, Lauren Domino and Kellen Quinn Documentary (short subject) Colette – Anthony Giacchino and Alice Doyard A Concerto Is a Conversation – Ben Proudfoot and Kris Bowers Do Not Split – Anders Hammer and Charlotte Cook Hunger Ward – Skye Fitzgerald and Michael Scheuerman A Love Song for Latasha – Sophia Nahli Allison and Janice Duncan Cinematography Judas and the Black Messiah – Sean Bobbitt Mank – Erik Messerschmidt News of the World – Dariusz Wolski Nomadland – Joshua James Richards The Trial of the Chicago 7 – Phedon Papamichael Costume design Emma – Alexandra Byrne Ma Rainey’s Black Bottom – Ann Roth Mank – Trish Summerville Mulan – Bina Daigeler Pinocchio – Massimo Cantini Parrini Film editing The Father – Yorgos Lamprinos Nomadland – Chloé Zhao Promising Young Woman – Frédéric Thoraval Sound of Metal – Mikkel E. G. Nielsen The Trial of the Chicago 7 – Alan Baumgarten Makeup and hairstyling Emma – Marese Langan, Laura Allen and Claudia Stolze Hillbilly Elegy – Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney Ma Rainey’s Black Bottom – Sergio Lopez-Rivera, Mia Neal and Jamika Wilson Mank – Gigi Williams, Kimberley Spiteri and Colleen Labaff Pinocchio – Mark Coulier, Dalia Colli and Francesco Pegoretti Music (original score) Da 5 Bloods – Terence Blanchard Mank – Trent Reznor and Atticus Ross Minari – Emile Mosseri News of the World – James Newton Howard Soul – Trent Reznor, Atticus Ross and Jon Batiste Music (original song) ‘Fight for You’ from Judas and the Black Messiah – music by H.E.R. and Dernst Emile II; lyric by H.E.R. and Tiara Thomas ‘Hear My Voice’ from The Trial of the Chicago 7 – music by Daniel Pemberton; lyric by Daniel Pemberton and Celeste Waite ‘Husavik’ from Eurovision Song Contest: The Story of Fire Saga – music and lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson ‘Io Sì (seen)’ from the Life Ahead (La vita davanti a se) – music by Diane Warren; lyric by Diane Warren and Laura Pausini ‘Speak Now’ from One Night in Miami… – music and lyric by Leslie Odom, Jr and Sam Ashworth Production design The Father – production design: Peter Francis; set decoration: Cathy Featherstone Ma Rainey’s Black Bottom – production design: Mark Ricker; set decoration: Karen O’Hara and Diana Stoughton Mank – production design: Donald Graham Burt; set decoration: Jan Pascale News of the World – production design: David Crank; set decoration: Elizabeth Keenan Tenet – production design: Nathan Crowley; set decoration: Kathy Lucas Short film (animated) Burrow – Madeline Sharafian and Michael Capbarat Genius Loci – Adrien Mérigeau and Amaury Ovise If Anything Happens I Love You – Will McCormack and Michael Govier Opera – Erick Oh Yes-People – Gísli Darri Halldórsson and Arnar Gunnarsson Short film (live action) Feeling Through – Doug Roland and Susan Ruzenski The Letter Room – Elvira Lind and Sofia Sondervan The Present – Farah Nabulsi Two Distant Strangers – Travon Free and Martin Desmond Roe White Eye – Tomer Shushan and Shira Hochman Sound Greyhound – Warren Shaw, Michael Minkler, Beau Borders and David Wyman Mank – Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin News of the World – Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett Soul – Ren Klyce, Coya Elliott and David Parker Sound of Metal – Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh Visual effects Love and Monsters – Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox The Midnight Sky – Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins Mulan – Sean Faden, Anders Langlands, Seth Maury and Steve Ingram The One and Only Ivan – Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez Tenet – Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date ​ Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

HOME | FILMS | REVIEWS It's Not All Rock & Roll Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 23, 2022 Directed by: Jim Burns Written by: Angela Slaven & Jim Burns Starring: Dave Doughman, Ludwig Jackson Hummer, Martin Boeters There are layers that exist below all art and all artists. Different faces of the same people that come together to create works that speak to fans and admirers who the creator may never meet. It’s Not All Rock & Roll is a classic rockumentary examining niche, Hamburg-residing indie ban Swearing At Motorists’ frontman Dave Doughman – and whilst its subject might not be throwing any TVs out of windows or engaging in all-night cocaine binges, this deconstruction of the man behind the music is an endearing examination of an artist and life on the road. The film intimately follows Doughman through his life – on stage, on the road, at home and at work. Far from the luxury rockstar lifestyle, Doughman plays most gigs at small clubs and bars, works at a dockyard to support his music, and raises his son lovingly at home. But his undeniable stage charisma is clear when performing for the band’s die-hard fans. As he performs in both Germany and his native America, the documentary is a consideration of Doughman’s dissonance – as both a rock maverick and an everyday working man. It's Not All Rock & Roll is really (ironically) for people who love rock and roll – and Swearing At Motorists especially. As Doughman himself states in the film – it’s about his lack of fame. It’s about the co-existence of a relatively normal everyday lifestyle with the pursuit of passion. However this is no sob-story about some loser who laments never hitting the big-time or being dragged kicking and screaming into obscurity – but instead about a man who on the surface at least has balanced his art and his family. That’s not to say that the film doesn’t focus on a complex individual. Doughman talks at length about his upbringing and his battles with depression, as well as his struggles in raising his own son. His affable demeanour clearly hides personal battles that he details through his music. And one scene in which he argues with a pool-player making too much noise at one of his gigs makes for an electrifying exchange in which a confrontational nature reveals itself and causes high tension on stage (although any self-respecting rockstar really ought to be drowning out the sound of a game of pool – sorry Dave). There is some sense of ‘why’ lacking from the film for those who do not follow the band or care much about the lives of musicians. There is no real dramatic thread-line to hook viewers as they watch the band’s tour get underway, and where the film clearly tries to uncover what drives Doughman to continue his unique dual-life for as long as he has, there is also the lack of a ‘Eureka’ moment to capture the heart of the man at the heart of the film. Audiences would be forgiven for feeling they still have things to uncover about the true Dave Doughman despite the length of time spent with him – though this may be down as much to Doughman’s inherent enigma rather than any fault of the filmmakers. It’s Not All Rock & Roll shows the reality of most artists and musicians who spend their lives balancing their creativity and the demands of the modern world. Whilst it is a little overlong, and a little lacking in drama, even non-music lovers should appreciate the lengths artists like Dave Doughman go to brighten up the world – even when it feels like no-one is watching. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Doll Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 16, 2022 Directed by: Louis Taylor Written by: Louis Taylor Starring: Louis Taylor Alone in his home, a man is tormented by a mysterious and sinister entity. A man (Taylor) is lying on a couch in his living room, taking a nap when he starts hearing bizarre noises that include thumps and laughter that sounds like that of a little girl. Disturbed by this, he searches his property, trying to locate the source. This short is a spooky horror story that is based on the 'haunted house' concept. The plot is rather simple: an individual is home alone and something bad proceeds to take place. The majority of the narrative follows the protagonist as he looks around the house, looking for whatever is causing the sounds. He often hears the laughter, which sounds menacing and there is a constant feeling that something terrible is about to happen. There is a brief nightmare scene that is quite frightening due to the camerawork and sound effects. The laughter that is heard throughout the film sends shivers down the spine and the sinister music by James Horton adds to the scary atmosphere. Credit also goes to the creative work by makeup artist Sheila Cursley. There are no spoken words and the man is the only person in the film, making Taylor's performance vital in order for the viewing to have an effect and he plays his part convincingly. This film has a duration of approximately ten minutes and during that time, it succeeds in being a spine-chiller. It is a good example that creepy sounds can create dread, fear and suspense. It may not be very original, with a plot that has been seen many times before: a home in which there is an evil entity looking to harm someone. Nevertheless, it is still a decent horror film. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Are You There God?, it’s Me Margaret Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: May 26, 2023 Directed by: Kelly Fremon Craig Written by: Kelly Fremon Craig, Judy Blume Starring: Abbey Rider Fortson, Rachel McAdams, Kathy Bates It’s easy to baulk at any film that is badged as a family drama and one that explores the angst of puberty can plunge even deeper into the depths of sentiment. However, the kitchen sink drama that feels made for television can occasionally flourish on the big screen. This new film directed by Kelly Fremon Craig gently tugs at the heartstrings but is never predictable with an original twist in a familiar storyline. The quirky title betrays its origins as a novel from the pen of children’s author Judy Blume. Margaret Simon (Abbey Rider Fortson) is 12 years old and about to enter 6th grade. However her world is turned upside down when the family up sticks and move to New Jersey. This means a new school and new classmates. Margaret is quickly welcomed into a private club headed by Nancy, who to her horror is the owner of a 32A bra. The girls set each other a series of challenges including who will be the first to get a period. The pressure cranks up even more for Margaret whose family is divided by religion. Her father Herb (Benny Safdie) is Jewish, and when he hooked up with Barbara (Rachel McAdams) it caused a deep rift in her devoutly Christian family. Margaret desperately clings to Jewish grandma Sylvia (Kathy Bates) for comfort, but is slowly being sucked into a domestic war. However, her teacher Mr Benedict makes a suggestion, write a project about religion and what it means to her. This is a deeply pleasing film that confronts the more corrosive effects of family dynamics with humour and sensitivity. Margaret falls between two stools where her faith is concerned and is baffled by her parents’ indifference to religion. She continually questions God and looks for an indication he might be listening; her strength of faith hinges on the things that go right or wrong. The critical phases in her young life are captured with humour and sensitivity. Margaret is old enough to question the world around her but too young to truly understand it. It’s a well observed piece that deserves more attention than it will actually get. Kathy Bates lends sterling support, but Abbey Rider Fortson looks to be a star in the making, if she can survive growing up? About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Encounters Film Festival Happening in-person for the first time since 2019, Bristol’s largest international film festival returns to Watershed with a packed programme of short film, animation and virtual reality. Pass-holders will gain access to exclusive industry talks and workshops, as well as an exciting line-up of evening events. Celebrating their 28th festival edition, Encounters has provided an international platform for new and emerging talent in filmmaking for over 25 years. This year’s line-up features titles drawn from 41 countries around the world, delivering extraordinary and original storytelling across a multitude of genres. The International Competition is a gateway to the world’s most prestigious awards– filmmakers who screen their shorts at Encounters can go on to win the Academy Awards® the BAFTAs and the European Film Awards. See them here first. The Encounters Film Festival 2022 dates are: 27/09/22 - 2/10/2022 SEE MORE FILM FESTIVALS

HOME | FILMS | REVIEWS Bad Penny Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 28, 2023 Directed by: Tony Hipwell Written by: Tony Hipwell Starring: Andrew Dunn, Arron Dennis, Andrina Carroll An antique dealer is tormented by a peculiar coin. Fred (Dunn) works in an antique shop. A regular customer approaches him, who clears out the homes of the deceased for a living and brings valuables to the establishment for money. This time, among the items is an unusual coin that Fred has seen before, as all its previous owners ended up dead. Fred is alarmed by its presence and refuses it, however the customer forces him to keep it. Fred leaves the coin at the shop and goes home. However, some evil force seems to be after him, making him retrieve the strange piece. Beginning with a story about antique dealing, this short takes a sharp left turn with the appearance of the coin. Although its dark history is revealed, initially it is not clear why Fred is so afraid of it (terrified of it actually), giving the impression that he might be insane. Things get quite spooky when he starts hearing odd noises and later enters the shop after closing time, late at night, holding a flashlight, on his way to get the coin. He encounters a terrifying figure and what follows is an atmosphere filled with dread and nail-biting moments. The concept is basically one simple person attempting to avoid an unknown evil entity and prevent more bad deeds from taking place. The film successfully creates a horror story, with jump scares and the terrified hero alone in the darkness, wondering around and being pursued by an otherworldly entity. The story relies heavily on Dunn's performance in order to work and Dunn pulls it off spectacularly. The clicking sound effects are quite effective in creating dreadful feelings and commendations go to Alexander King for the tense and sinister score that helps a lot in creating a scary and dreadful atmosphere and praise also goes to Kalieigh Ellison for the creative makeup. This is a haunted-object phychological horror ghost story with plenty of darkness, ominous sounds and voices, a horrifying figure and a strong performance by the main lead. It is a frightening experience that will most likely send a chill down the viewer's spine. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Bigfoot Unleashed: Part VII Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Sep 9, 2023 Directed by: Don Swanson Written by: Joe Fishel Starring: Valena Zitello, Joe Fishel, John W. Iwanonkiw Forming part of a larger feature ‘The Haunting of Prince Dom Pedro ’ but released as a stand-alone short, Bigfoot Unleashed: Part VII draws upon classic horror film presentation in an attempt to ingratiate itself as a self-aware B-movie, but severe lack of substance means its overall oddness is more confusing than charming. A secretary (Valena Zitello) working for a construction company that is mining in woods of Appalachia finds herself constantly under threat from the legendary Bigfoot, who is angry at his territory being invaded. As she attempts to escape for a seventh time, it appears her luck has finally run out. But Bigfoot may not be as terrifying as he is made out to be… Bigfoot Unleashed: Part VII is not shy about the fact that it was produced on a very limited budget, and its circumstances of being a segmented part of a longer production mean it is difficult to know exactly what it is looking to accomplish. Judged on its own, it is a highly limited short film that elicits some amusement at the hokey Bigfoot costume it employs and the call backs to B-movies of the 70s and 80s. But ultimately, it contains only the semblance of a storyline that makes little sense to viewers, and ends on a strange, disconnected and unsatisfying note that leads viewers to question what it is ultimately for or about. Perhaps this was the point – and director Don Swanson was aiming squarely at ‘so bad it’s good’. But even the bad has to have purpose – and Bigfoot Unleashed: Part VII does not. It’s not a straight horror. It’s not a parody (or at least it is not clear what it’s parodying). It’s not a comedy. And it’s not good enough to be undefinable. Low production values are part of the package, and the film at least tries to work with what it has, and embraces making use of this in place of what it hasn’t. The director tries some innovative shots – such as when Valena Zitello’s character is chased by the titular creature, but these are few and far between. It’s as though someone forgot to add an actual plot to Bigfoot Unleashed. Beyond an opening title card, viewers would have zero idea about the big business/environmentalist elements to the ‘story’, and the protagonist’s previous history with Bigfoot is told solely through bizarre shots of the actress screaming. Budget restrictions really are the least of the film’s problems – the key question is what does this film try to achieve. It’s a mystery bigger than Bigfoot. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Drive My Car Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Jan 12, 2022 Directed by: Ryusuke Hamaguchi Written by: Ryusuke Hamaguchi, Haruki Murakami, Takamasa Oe Starring: Hidetoshi Nishijima, Toko Miura, Reika Kirishima Adapting a short story into the three-hour class on storytelling that is Drive My Car (Doraibu mai kâ) , writer/director Ryûsuke Hamaguchi turns a seemingly simple premise – a visiting theater director begrudgingly accepts a chauffeur from festival organizers – into a sprawling study of the human soul. The key word here is seemingly , because there is nothing simple about the way Hamaguchi structures a screenplay. Yasuke Kafuku (Hidetoshi Nishijima) is a Japanese stage actor and director who shares an unusual method of creative inspiration with his playwright wife Oto (Reika Kirishima). But just when you think this is a film about their complex relationship, it’s not. Jumping ahead two years after a sudden tragedy, Kafuku travels to a Hiroshima theater festival to direct an adaptation of Chekov’s Uncle Vanya. Though he cherishes thinking through his projects alone in the car during long commutes, Kafuku is forced to accept a chauffeur during his time in Hiroshima. Casting and rehearsals get underway, and Kafuku’s art begins to imitate his life, and vice-versa. Just as one of his star actors gradually reveals long held feelings for Oto, Kafuku slowly learn to trust his driver Misaki (Tôko Miura), a stoic young woman with a complex past of her own. Hamaguchi’s resume includes both four hour and five-hour films, and he has become a master at layering long form narratives so skillfully that there isn’t one minute that seems self-indulgent, or the slightest of human interaction that doesn’t weigh heavy with meaning. The performances from Nishijima and Miura are equally understated and affecting. They peel away their characters’ defenses with a deep sense of purpose, cementing Hamaguchi’s use of those long drives as a metaphorical journey. As secrets are revealed and burdens lifted, Drive My Car becomes a soaring treatise on grief and trauma, of forgiveness and moving on. Not to mention the unending lure of a fine automobile. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >