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HOME | FILMS | REVIEWS The Duke Film Review average rating is 1 out of 5 Critic: William Hemingway | Posted on: May 2, 2023 Directed by: Kyle Acosta Written by: Kyle Acosta Starring: Romi Jay, Kasio Collins, Kyle Acosta, J. Adam Young Not to be confused with the charming 2020 British comedy drama starring Jim Broadbent and Helen Mirren about an elderly gentleman in the sixties who steals/borrows a painting by Goya from the National Gallery just to make some point about not paying his TV license, The Duke by writer/director/producer/star Kyle Acosta is a film about something else entirely. Supposedly. It's not easy to tell what Acosta's film is actually about though, as some of the basic markers, even for a low budget, amateur, indie film, just aren't there. A decent audio track, for example, you would think would be one of the basic things to get right, so that your dialogue can be heard, story can be exposed, characterisation can be expanded upon and the audience actually taken along for the ride whilst knowing just what the actual heck is going on. Not so in The Duke . Right from the off, in one of the most ridiculously constructed opening scenes in film history, the conversation between the characters can hardly be heard. Two bad boys enter a bar, saying something about who knows what, and they harass the bartender into giving them drinks even after last orders. Then a female bartender turns up and tries to get the bad boys out of the way, for which she ends up getting punched in the stomach and apparently raped out in the parking lot, all the while the male bartender does nothing about it, not even calling the cops. Suddenly an old man turns up, in a wide brim hat and trenchcoat, followed by an ugly little pug – The Duke (Acosta). We don't get to see his face but we know he must be important because he gets his own audio track which, as opposed to the others', we can hear because he has clearly recorded his lines in a recording booth, getting his mouth as close to the microphone as he can to breathe the words out in a low, raspy voice. Naturally, the old man saves the day and makes the bad boys pay but that's not all. He has other motivations for being there that night and he's not letting go of one bad boy in particular until he gets what he wants – which could be anything at this point as the audio stops us from understanding at least half of what is going on on screen. Things don't get any better as the film progresses, when after a scene involving the bad boy's father (Young) who apparently has history with The Duke (although God knows what), we switch to Eli (Jay) who looks like he's a security guard at a casino in Las Vegas. There then comes a scene involving a woman holding a knife to some guy's knackers in the ladies' restroom which is impossible to determine why it's there, as yet again the dialogue can't be heard, but also because it's a preposterously stupid scene with no lead in or follow up to give it context. We slowly get led in to Eli's life, again through an endless series of pointless scenes with conversation that can't be heard, and we watch him (we can at least do that) get embroiled in The Duke's affairs. I guess that The Duke is supposed to be a gritty crime drama with its hard men characters, over marginalised and hyper sexualised female characterisation, Las Vegas underworld and desert locations, and the odd chase/fight scene or gunplay. It's only a guess though as most of the story doesn't come across in the visuals, which to be honest seem random at best, and the rest of what might actually be there is lost in the dialogue that can't be heard. In the end The Duke is just unwatchable. The film-maker(s) haven't done enough to make sure that their feature is suitable for public consumption and therefore it can't hope to be watched or understood by any audience. The question is really, would the film have been any better or actually made any sense if the audio was of any use? And the answer is probably, No. The scenes we witness are poor and badly constructed and the camerawork is only serviceable in places while at other times being downright terrible with the camera being put into the wrong positions. There's not a lot to recommend The Duke , it's not a well made or well thought out film, so it's probably best to make it one to avoid. About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Round Film Review average rating is 3 out of 5 Critic: Julian Gaskell | Posted on: Jun 17, 2022 Directed by: A. G. Balázas Written by: A. G. Balázas Starring: Gary Wales, Kyle Pennington, Brad Bishop An indie short by A. G. Balázas that sees two contestants participate in a dystopian style drinking game with its roots firmly set in the present day. The ‘Game Master’ (Brad Bishop) enters the room wearing a hazmat protective suit and sets a small table with some drinking shot glasses, one of which he adds a mysterious white powder before pouring in the drink. He randomly rearranges the shot glasses in preparation for a Russian roulette style drinking game where the stakes are high. He finally loads a tape to the video camera before leaving the room. Next, we see the first contestant (Gary Wales) sat waiting in the room looking nervous and timid. In walks the second contestant (Kyle Pennington) with a bold swagger who sits confidently beside him. Both their brows are sweating by now as they eye each other up, the timer is ticking and then the buzzer goes signally it's time to choose their first shot glass to down. The contestants are quite different. The 1st contestant seems much more reluctant to play the game, whilst the 2nd contestant shows an intimidating arrogance. He's watchful of the first contestant, looking to make sure he is drinking properly. The dialogue between them is minimal but telling in what is an oppressed situation. The one contestant is clearly enjoying the game much more the other even though both are in the same predicament. There’s a nice sci-fi element to this brought about by the synth music and the CGI used in the game, which are both really effective, but oddly in juxtaposition with the overall staging of the short, where little attempt has been made to disguise its rudimental requirements. The location looks like a garage lock up, with some regular kitchen furniture put inside and the performers look casually dressed in their own clothing, which gives the proceedings more of a theatrical rehearsal impression (at least the Game Master gives some semblance of being in character wearing a boiler suit). This is in total contrast to the futuristic CGI graphics that are used in its ending that give the impression of some pretty powerful substances at work and some impressive technology that is not currently available today. Presumably these are to be washed over as time or budgetary restrictions for the imagination to fill in the gaps. It makes a nice premise for a reality TV game show in the ilk of a Hunger Games or Squid Games where great rewards await the winner with the losers left to face the ultimate consequence. About the Film Critic Julian Gaskell Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Triple Cross Film Review average rating is 1 out of 5 Critic: William Hemingway | Posted on: Jun 25, 2023 Directed by: Mirzamlk Written by: Mirzamlk Starring: Mohib Beg Mirza, Ansh Beg Mirza, Mirza Rakshanda Khan In the opening credits of writer/director Mirzamlk's film, Triple Cross we get to see some hyperstylised visuals which seem to promise a slick, modern thriller filled with guns, intrigue and smoke – lots of smoke. The credits roll as images of the three main characters are displayed and held, either staring intently into the camera or holding a pose that is presumably deemed to be cool, or mysterious, or exciting in whatever strange, bizarro world we seem to have stumbled into. For a film with only three real characters the credits take an incredibly long time to get through, but as we'll find out, this is only a gentle introduction into the vast emptiness and repetition of the rest of the film. Once we are into the movie proper, we find that the 'story' is split into chapters with each scene given a banal heading that supposedly helps us to understand what it's all about. Generally these chapter headings add nothing, but actually, when every scene takes place in the same empty, black space, with the same effusive smoke bubbling up from God knows where – constantly, and the same lighting options of full brightness straight on, or full brightness from behind are all we've got to choose from, the headings can sometimes be useful to differentiate one part of the film from the other. Despite the film being called Triple Cross , which you'd think would suggest lots of twists and turns and wiliness going on, there is literally no story to speak of in this lengthy two hour marathon. The characters never get properly introduced, with only one member – the henchwoman (Khan) – actually getting a name-check as far as I can remember, and the audience's guess as to what's actually going on is as good as anyone else's, especially the writer's. It seems that one guy (Ansh Beg Mirza) who I'll call Buzzcut on account of his hairstyle, has been hired to kill another guy (Mohib Beg Mirza), who I'll call Curtains due to the flowing locks which frame his face, and the whole film revolves around the stand-off which occurs when the two mercenaries meet. If you want any explanation or backstory as to why this is happening though – tough. This is literally the extent of what's going on in Triple Cross and even if you think you like the look of the slow-mo visual style and the over-dubbed hyper design of the sound effects, there is just no way that playing these things constantly on repeat can sustain a two hour film – and it doesn't. Very soon the constant crashing of thunder (in the foreground), the same single synth chord, the one and only drum beat and the replay of every single action shot from three or four different angles, will let the viewer know that what they are watching is an empty, vacuous, void and that the whole production is the epitome of style over substance. Add into all this the fact that everyone's talking in metaphor and that some scenes are literally up to fifteen minutes of the same shots and VFX on repeat, especially the matchstick and final shoot-out scenes, it's difficult to think of anyone who would be able to sit down and watch this for its entire runtime. Anything that actually happens could have been wrapped up in twenty minutes but Mirzamlk and their crew want you to spend two hours on this nonsense. Two Hours! Don't. About the Film Critic William Hemingway Indie Feature Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Hi, I'm Growing Up Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 6, 2023 Directed by: Funmi Adetola Written by: Funmi Adetola Starring: Funmi Adetola, Dipo Adetola, Ejibunmi Adetola An introspective high school student contemplates the changes his life is about to undergo in Hi, I’m Growing Up – a microbudget feature from director and star Funmi Adetola that creatively tells a personal story with filmmaking that outperforms its limitations. Over the course of a single day, Mike (Funmi Adetola) tries to come to terms with graduation from high school, and moving away from his home and his family. His mother (Ejibunmi Adetola) and father (Motunrayo Adetola) remain their typically overbearing selves, and Mike relies on his sister Ayo (Dipo Adetola) to feed back on his introspections. Among daydreams and drug trips, Mike aims to put his feelings into words in the form of a goodbye speech. A homemade project shot exclusively on an iPhone 7 and starring the director’s friends and family, Hi, I’m Growing Up is an impressive, creative and profound character study that despite some hits and misses, stands up as a fine piece of filmmaking – and not just in comparison to its shoestring budget. The film is a charming, touching, funny and consistently engaging story of growing up. Funmi Adetola strings his relatively straightforward plot together with amusing interludes which establish Mike as a young man searching for direction. His interactions with family further develop and demonstrate his personality – creating empathy in viewers who will no doubt have experienced the confusing, painful and awkward time in life when it becomes necessary to divorce oneself from their childhood. Adetola has a brilliant grasp of Mike’s character (likely down to the personal nature of the project) and brings so much to the role as both the film’s writer and star. Mike’s philosophical musings and indulgent broodings brilliantly walk along that tightrope of individual agency and lack of real-life experience – capturing the sense of late-teen angst in a manner more powerful and authentic than plenty of bigger-budgeted contemporaries. Mike’s speech, which ends up addressed to his family, results in a genuinely moving conclusion to the film that brings his drifting character full circle. The film’s iPhone-captured production necessitates largely fixed shot scenes. Adetola keeps these invigorating for the most part with fast cuts and creative visuals, but there are moments where this limitation does hinder conversation exchanges resulting in some disjointedness. Rough edges are on display – some of these forgivable such as minor shaky cam, and others less so such as a few violations of the 180-degree camera rule. But for any of these mishaps, it should be noted that the film’s creative circumstances are impossible to separate from its production results – with much of its successful charm emanating from the sincerity that drives a smaller-scale feature. Any such mishaps thankfully do not impact on the personality that is imbued or the extent to which character building is achieved – which are the film’s primary accomplishments. There are some experimental creative risks as well which are of mixed success. A short transition into anime early in the film falls flat, and adds little to the plot or Mike’s character, and sits at odds with the film’s tone. But a drug-fuelled hallucinogenic conversation with a teddy bear ends up as both a pivotal development for Mike’s character and one of the film’s funniest scenes. The license for creativity is fully embraced by the director, and adds to the uniqueness of the work when it is successful, as well as when it is not. So despite some clunky production and creative misfires, Hi, I’m Growing Up is a relatable and endearing story that exudes personality and a sense of director-driven vision. It firmly punches above its weight by championing a story about growing up, and is evidence to aspiring directors that the potential for great film-making exists with just a camera and a great story. About the Film Critic Patrick Foley Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Living As Leo Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Feb 6, 2024 Directed by: Cameron Lee Horace Written by: Cameron Lee Horace Starring: Joe Snape, Margaret Bunting, Jessica Hawkes, Helen Austin Leo (Snape) is an awkward teenager who finds it difficult to socialise and make friends. He lives at home with his Gran (Bunting) for reasons which remain unexplained, so we’ve got no idea what happened to his parents. We can probably assume that it was bad, though. Worried about Leo’s happiness and mental health, his gran gets him a new dog, and even though he can’t manage to think of a name to give it, Leo loves his new pal along with the company and friendship it provides. However, being the lonely, awkward teenager that he is, Leo also has other things on his mind and he has taken to watching his neighbour, Skylar (Hawkes) from out of his window with some binoculars. It is for reasons known only to himself as to why Leo would actually want anything to do with Skylar, as she is a completely toxic airhead whose main talent seems to be for bitching and putting people down. Still, Leo wants to put himself through the humiliation of actually asking Skylar out, so he goes for it the next day at the bus stop with excruciatingly foreseeable results. The fact that fellow toxic hosebeast, Lucy Loose Lips (Austin) is there to witness the whole fiasco only serves to make things worse. Just when things look about as bad as they’re going to get for Leo, something else happens which turns his whole world upside-down and he suddenly has a big decision to make which will affect his entire future. This all may sound like quite a lot to fit into a short film with a runtime of under five-minutes but really everything is introduced with a large set of kid gloves and gets passed over quite quickly, leaving writer/director Cameron Lee Horace with enough time to throw in a couple of stylish narrative segues along the way. Sadly these little diversions, such as when Leo breaks the fourth wall and starts talking to the camera for no reason at all, add nothing to the story or the overall feel of the film. Horace has also previously said that he was put off submitting Living As Leo to film festivals because of audio issues which weren’t up to the quality he expected, and this does come across during the film, although not enough to make that much of a difference to the viewing experience. There’s also the fact that Leo’s new dog pal is actually animated rather than real, and even though the cartoonishness isn’t badly done or jarring in any way, it is quite distracting when trying to get into the real life issues which Leo is facing. Whilst there may be something to be said for the highlighting of the trials and tribulations of adolescence there’s nothing here that hasn’t been said before and better elsewhere. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Boomslang 2: The Dinner Listen to our review on the film podcast What our film review said: READ FULL REVIEW This short is an entertaining experience with well-written dialogue, interesting characters and performances that succeed in being quite a joy to watch. Throughout its twelve-minute duration it never loses its ability to be comical and it will most likely provide the audience with a good laugh. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Scratch Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Nov 3, 2022 Directed by: James Clubb, Liam Steers Written by: James Clubb Starring: Cal Jones, John Bulwich The title of the short film Scratch can refer to the loss of peace and sadness due to unpleasant experiences that the protagonist Cal Jones is trying to recover from. The writer-director James Clubb and Liam Steers carefully build the script around the complexities of the brain and its long-term effect on the self as well as the people around. The plot of the cinematic piece revolves around two strangers (Cal Jones and John Bulwich) who are tied together in a situation with a mix of luck and destiny which proves to be a life-changing event for both of them. The nonlinear narrative style of storytelling is adapted by the filmmaker to give a sense of drama and thrill to the audience and to keep them hooked to the content. The short film opens with a black screen with a phone conversation which helps set up the tone of the creative piece and also establishes the subject matter of the movie. A series of transition shots and well-written, incorporated flashbacks to provide the required intensity and allow the viewers to learn from the film. The black-and-white colour palette, lighting, music, dialogue, costume, hair, and makeup complement the continuity and flow of the psychological thriller/drama Scratch. In the performance department, Cal Jones who plays the protagonist wants to live a normal life but a traumatic happening in the recent past keeps revisiting him with continuous disturbing thoughts. Jones depicts the internal, external, and emotional struggles to achieve some degree of normalcy as well as stability. The body language, eyes, and facial expressions are on fleek to communicate the emotional support he craves from his wife/girlfriend Lucy but rather opts for depending on alcohol. John Bulwich plays the role of a beggar who is a firm believer in luck, fate, and destiny. Bulwich portrays the stubborn and angry attitude of the character efficiently showcasing and strengthening the conflict of the storyline of the film, therefore assisting in maintaining the suspense and thrill in the climax of the film. Scratch reiterates the fact that every individual has their luck, fate, and destiny in life and just needs to wait for the right time to achieve what they want. The short film teaches the audience that true friends and family can help them emerge from every problem and they shouldn’t take their loved ones for granted. The piece also talks about life giving people the option of being strong and courageous to deal with it as one cannot delete the bad experiences and only enjoy the good days. The movie discusses the importance of the strength of the mind to keep oneself happy and healthy despite all the hardships thrown at us by life. Scratch also highlights and warns the viewers of the harmful effects bad habits like smoking, alcoholism and using your phone too much can cause and advises them to keep a check on these for a better future. I appreciate the efforts of the filmmakers in keeping an open ending so that the audience can interpret the story as per their understanding rather than restricting them to confine the thought process. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Inherited Film Review average rating is 4 out of 5 Critic: Sam Quarton | Posted on: Jul 29, 2022 Directed by: Humphrey Brown III Written by: Sekou Browne Starring: Damon Hoyle, Jessica Davis, Natoya Danielle, Humphrey Brown III Drenched in covid-induced familial anxiety, Inherited offers an emotionally articulate response to the question of covid-era representation. Now over two years on since the beginning of the pandemic, one we are still in fact shackled to, filmmakers have progressed past the unnecessarily tendentious question of whether it is too soon to depict the horrors of COVID-19 - and its cataclysmic impact on families - to broach a more pressing ethical quandary: how should we depict it? And while there is obviously no correct answer to this question, director Humphrey Brown III offers a deft and emotionally articulate response with Inherited. Mostly comprised of footage from several Zoom meetings, the short follows stalwart son Michael – played with apt emotional enervation by Damon Hoyle – and his quarrelling siblings as they attempt to find their missing father and pastor Michael Sr. during the height of Texas’ grappling with the pandemic. But Michael’s concerns bubble to boiling point upon discovering financial woes about Michael Sr’s floundering church, and how this might play a part in the pastor’s erratic behaviour. Based off writer Sekou Browne’s own period of covid-induced terror – Browne tirelessly cared for his ailing grandmother throughout the chaos of the pandemic – Inherited feels poignant and sincere. There is tangible fear here: Michael’s half smiling/half-worry leaden expression as he tries to assuage his bickering family’s concerns signposts that maybe everything won’t be alright after all. It’s the same sort of expression we have all grown to master during our own brush with the virus. Also running through this dizzying familial sadness is Joseph Zgamba’s pallid, overcast photography, which imbues the hazy Texan setting with a sense of foreboding worthy of a Scandinavian crime thriller. It’s as if the baleful spectre of death and misfortune hangs in the atmosphere like an unseen villain, waiting to strike Michael and his family at a moments notice. And unlike the latest wave of overly didactic covid dramas that attempt to chart an entire nation’s experience of the pandemic in one gelatinous mess – see the Chinese Government’s saccharine propaganda piece, Ode to the Spring – Inherited is imbued with tautness and palpable anguish that aptly focuses on one family’s travail and attempt at survival. About the Film Critic Sam Quarton World Cinema, Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dweller Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 4, 2023 Directed by: Fraser Denholm Written by: Fraser Denholm Starring: Jason Harvey, Meg Birley, Wendy Barrett Following a global destruction, a man's life inside a bunker gets interrupted by the arrival of a woman. A worlwide catastrophy took place, spreading death throughout the world. Pete (Harvey) has managed to survive for years by living by himself inside a secured bunker. His quiet life comes to an end when a woman named Sophie (Birley) enters the bunker. Strange occurrences begin to take place and it becomes apparent that something sinister is inside the bunker with them. Pete and Sophie must work together in order to deal with the menace and remain alive. A rather intriguing sci-fi thriller that is set in a post-apocalyptic world. Although the whole narrative takes place inside the bunker (it was filmed entirely inside a decomissioned Cold War Nuclear Bunker), the screenplay and mise-en-scene effectively create the impression that the events are happening after a global destruction. The two protagonists are rather different people and the only ones in the film. The core of the script is tha rapport that develops between Sophie and Pete, who spend a great deal of time trying to get information from each other, while simultaneously attempting to understand the bizarre events that proceed to take place inside the reinforced shelter, shortly after Sophies's arrival. These events include machines operating by themselves and a chilling sound that indicates that some sort of menacing creature is nearby. The suspense is plentiful and there is tension and interesting plot twists. Both Sophie and Pete make interesting protagonists, although Sophie comes across as much more friendly, an intelligent and caring woman who recognises right from wrong. Pete is less likeable, being unfriendly, refusing to trust others and swearing quite often. As mentioned, the whole story unfolds inside the bunker and the mise-en-scene includes computers, communication devices, intriguing clothing and weapons. Jonathan Brown deserves commendations for the stunning cinematography and praise also goes to the creativity that went into the stylised letters during the credits. Regarding the audio, the sound effects are cool and the music by Michael McGeoch is ominous and electronic and it is one of the film's strongest aspects. This short is a half-an-hour-long story that sort of resembles the first Alien film. However this is more than a post-apocalyptic science fiction story about survival, it is an emotional journey about morality, survivor's guilt, self-reflection, trust and selfishness. Very well-acted and with a screenplay that lays great emphasis on character development, this film is an impressive achievement. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Antlers Film Review average rating is 3 out of 5 Critic: Brady Clark | Posted on: Oct 26, 2021 Directed by: Scott Cooper Written by: Henry Chaisson, Nick Antosca, Scott Cooper Starring: Keri Russell, Jesse Plemons, Jeremy T. Thomas Scott Cooper’s Antlers has just enough creepiness, gore, and fright to hold its own leading into the Halloween weekend. Whilst it is not hugely original or standout in the horror franchise, Cooper manages to keep intrigue alive as he delves into the mythological beasts genre. Held up by two strong TV leads in the form of The American’s Keri Russell and Jesse Plemons of Breaking Bad and Fargo fame, Antlers also contains a clear Guillermo del Toro stamp within the majority of its scenes and in a script that is well suited to actors who do not need to say a great deal to raise their performance. In the film, teacher Julia Meadows (Russell) is concerned one of her young students may be suffering abuse at home, and, after a series of disappearances, suspects something worse is at play, bringing her Sheriff brother (Plemons) into the mix. Antlers is not without its problems. Whilst slower horrors can often still keep your heart rate high through ambitious concepts and powerful music, Cooper’s pacing tests the patience at times, and the score prioritises volume over appropriateness. The intelligence of the plot also decreases over the duration of the film, venturing into an unsatisfying conclusion that cannot justify the choices of its characters. Where Antlers struggles most, is in identifying its goal and underlying message. Cooper highlights abuse and poverty, but in circling them rather than exploring these subjects further, there is not enough depth to the film or its characters. Antlers is reminiscent of The Village at times, or at least its better parts, and delivers in providing the same bleak outlook and serious approach to a ‘creature feature’. But without striving for something beyond general expectations of this genre, Antlers comes out as a mediocre small-town horror that won’t stay in the mind for too long About the Film Critic Brady Clark Theatrical Release < All Reviews Next Film Review >

Sacrilege Official Trailer Sacrilege Heading to digital download from 27th September Bad Blood Films have confirmed that their folk-horror Sacrilege will be heading to digital download from 27th September. The film stars a host of British talent, including Tamaryn Payne (Hollyoaks ), Emily Wyatt (Rise of the Footsoldier ), Sian Abrahams (Complete Strangers ), Naomi Willow (A Guide To Second Date Sex), Ian Champion (Property ), Rory Wilton (Fisherman's Friends ) & Emma Spurgin Hussey (Poldark ). Four lifelong friends head to a remote lodge for a weekend of fun.What begins as an idyllic retreat quickly descends into a fight for their lives when a local Pagan cult offer them up to their Goddess as a sacrifice for the Solstice. Sacrilege was produced and filmed in the South West of England where Producer Mark Kenna and Writer/ Director David Creed reside. Much of the film was shot in nearby Forest of Dean, as well as Weston-Super-Mare. The film was scheduled for a UK wide release in March 2020 and premiered at Empire Cineworld in Leicester Square to a packed out screening. Unfortunately within days, the Covid-19 pandemic gripped the country and many of the film's screenings were curtailed. "We're thrilled that UK audiences will finally be able to get the chance to watch Sacrilege. We've been blown away by its reception in the US and it's great to see it finally come home after a tumultous eighteen months ", said producer Mark Kenna. Bad Blood Films pushed the limits of the budget by using a drone for the opening credit scene, as well as making use of a robot camera dolly and a five-camera set-up for the Ritual scene, casting 60 local residents as extras. Sacrilege will be available on digital download from 27th September and can be pre-ordered on iTunes here and Apple TV here The Bezonians Official Trailer Greeks take on geezers in The Bezonians, a satirical Brit gangster thriller that gets its UK debut on DVD and digital this May from 101 Films. Streamline Dive into Streamline, an emotionally rich coming-of-age-film, and a supremely impressive directorial debut from Tyson Wade Johnston, who also penned the piece. This gritty and gripping feature is produced by Australian swimming legend Ian Thorpe and stars Hollywood favourite Brit actor Jason Isaacs (The Harry Potter Franchise, Mass) is now set to wow UK audiences with its digital release on 11 April from 101 Films. Spears Watch the trailer for the indie film Spears, by filmmaker Gerard Lough. For more of the latest film trailers visit UK Film Review. First Date Check out the trailer for 101 Films' First Date. 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HOME | FILMS | REVIEWS Vortex, the Dawn of Sovereignty Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 8, 2022 Directed by: Michel Rousseau Written by: Michel Rousseau Starring: Cerise Rousseau, Emilie Rousseau, Michel Rousseau, Terence Rousseau A science fiction adventure filled with extraterrestrials, robots and spaceships. It is the year 2047 and the world is living in a state of dictatorship, where everyone is constantly being observed and living in fear. In Paris, a teenage girl named Serena is part of a resistance team and has found a way to travel to another dimension and that is through the use of special goggles that enable the wearer to see otherworldly portals that serve as paths to these dimensions. With the help of others, she must embark on a journey and find a way to be free. This feature wastes no time in showing the viewer that they are going to be experiencing extraordinary things throughout and it is quite a show. Right from the start the dystopian world is revealed, with vehicles of the authorities policing the streets, robot drones flying around, humanlike robots, plenty of guns and a flying gargoyle. However, things go to a whole other level when the action moves from the city and general human civilisation to space. Unsurprisingly, in space the mise-en-scene is rather different and there are spaceships, robots and all sorts of aliens, some of which look human while others look like insects. The audience follows Serena as she travels and meets a variety of characters. Michel Rousseau worked on this movie with his family. Apart from directing and writing, Michel also did voice acting for many of the characters and worked on the clothing, music and special effects. The result is quite rewarding to the eyes (and ears). The extraterrestrials and robots are all animated and so is most of the environment and vehicles. The 3D animation looks great and thanks to a great deal of imagination and creativity, the filmmakers created a world that will most likely make people think of Star Wars. There are plenty of weird characters to encounter, including an entity with a human form and a face filled with tentacles and a woman with hair that magically changes shape and colour. Although the special effects do not look very realistic, they are entertaining to watch and the movie does an OK job in mixing live action with animation. Sometimes, watching the animated scenes is like watching cutscenes from a video game. The music is one of the film's strongest aspects. It sounds dynamic and magical and it adds significant value to the scenes, creating an adventurous atmosphere. The cinematography looks beautiful and the editing makes effective use of the wipe technique. Generally, the acting is not very good and during the last twenty five minutes or so the film runs out of steam. The plot is fine, however the elements that make this sci-fi appealing belong primarily in the mise-en-scene, they are the surroundings, the animation and most of all the extraordinary characters. And as mentioned previously, there is the fantastic score. A small number of individuals collaborated in order to make this feature a reality and their efforts resulted in a movie that will most likely appeal to fans of science fiction. The story is about freedom, about being who one wants to be and Cerise Rousseau leads the film well as a character who is pursuing such goals. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >