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HOME | FILMS | REVIEWS Boundless Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 25, 2021 Directed by: Julie D. Dunn, Sean Higgs, Victor Lockhart Written by: Katy Jordan Starring: Katy Jordan, Kirsty Peacock, John Paul McGilvary Boundless is a plucky and ambitious series self-penned by star Katy Jordan which has gone on an impressive journey from a 7-minute stage performance, to a sprawling multi-series crime drama. It outperforms its limits impressively with committed performances from its cast, but still suffers from clunky dialogue and a story which begins to become convoluted as it progresses. The series follows a pair of best friends, Danielle (Jordan) and Julie (Kirsty Peacock) who are victims of a break-in. When Julie kills the thief, the pair are thrust into the middle of a shocking conspiracy which delves deep into the past. Assisted by police detective Greg Millar (John Paul McGilvary), Danielle realises there is far more to the story – and that the pair’s involvement is no coincidence. Boundless is very clearly a freshman project. The series’ rough edges are there to see, and imperfections do stand out. However, the series does have moments where it shines, and nails down some of the basics better than far more expensively-financed counterparts. The premise of the show is engaging, and the central mystery one which will keep viewers intrigued for the most part. The questions surrounding the break-in are explored consistently and are paced well throughout episodes. These do begin to wilt a little as the series goes on however, and the lack of production value cheapens some of the bigger revelations, which lack some of the impact a curated score could provide for instance. As the plot becomes more complex, audiences will have to keep track of many moving pieces in order to feel the real significance of the plot twists, which fail to really stick the landing too often. Performances are generally of good quality – particularly from Katy Jordan and Kirsty Peacock. Their chemistry as best friends Danielle and Julie is derived from their real-life bond, which translates effectively into their roles. Jordan’s chemistry with John Paul McGilvary also drives a growing love angle between the pair as they go about uncovering the truth of Danielle’s life. It’s a shame however that these performances don’t always match up with characterisation. Moments in which the lead pair do not share key information with one another comes across as strange given their supposed trust. Other characters appearing later in the series are lazy classic Scottish gangster stereotypes, pulled from the blandest ITV dramas you can imagine. It feels like the series ran out of steam with some of these personalities. There are some other notable flaws such as poor lighting in certain scenes, and the camerawork never really tells the story in any imaginative way. However, for all of these, the series does impressively stay focused on its premise and the directors choose to allow interactions between the cast to drive the plot – a wise choice given that the acting is one of the series’ stronger elements. Given that the series ends with a cliff-hanger, it also is difficult to judge the plot without knowing its ending. Hints in the finale suggest some major developments – which leaves the series we are presented with as something of an enigma. Boundless is flawed, and clearly suffers in parts due to its lower budget. However, with what she has accomplished with such restricted terms, promising creator Katy Jordan deserves the chance to continue this story – and with some crucial experience under her best – to iron out the kinks. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Glacial Ways Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 17, 2023 Directed by: Max Millstein Written by: Max Millstein Starring: Edlyn Gonzalez, Teresa Patel, Elle Nizzardo, Steven Gregory An environmental scientist goes through a mental health crisis while at a restaurant's outdoor dining area. It is a hot, sunny day and Noa (Gonzalez) is sitting at a table at the exterior part of an eatery, trying to work on some notes, surrounded by other diners. She is a famous environmental scientist and her knowledge regarding how humans are destroying themselves and the world with pollution and unhealthy lifestyles has led her to become anxious and apprehensive. She interacts awkwardly with those around her and struggles to control her actions. Eventually, she appears to let go and indulge in the pleasure of smoking and drinking alcohol, before a dramatic revelation. The beginning of this short drama is worth exploring. It begins with a title card containing a quote by American artist John Lurie, before the camera enters the outdoor dining area, moving around characters that Noa will interact with, before approaching her, as she nervously struggles to write. While this is happening, there is a voice-over conversation between two people discussing global warming and people's simple everyday actions that unknowingly harm them. This conversation is actually a recording that Noa is listening to on her device. All this is a rather effective way to introduce the heroine, revealing her interests and troubled state of mind. The story is told through Noa's perspective, which reveals the unique and maybe frightening way that she looks at the world, with animation, sound effects and camerawork playing a key role in this. She is knowledgable about what her body consumes, with animation sequences showing bacteria from alcohol or smoking damaging her system. She is rather observant, with close-ups showing what caught her eye and montages, along with her voice-over disclosing her dramatic thoughts. She interacts awkwardly with others, telling her eating habits to a waiter (Gregory) and being concerned about a little girls's (Nizzardo) well-being in the presence of her mother (Patel). Generally, her profession has ended up making her very worried and she seems to be near the point where she cannot take all the stress anymore and feels that she should let go. Gonzalez's performance is convincing, which is vital in order for the film to work. This short is a character study that utilises the filmmaking techniques mentioned above and also slow motion, fast motion, split screen and fast cutting in order to place the viewer inside the mind of an individual who is troubled by her environmental knowledge, which seems to be doing her more bad than good. With this in mind, the film also works as a commentary on self-reflection and mental health and raises awareness of unhealthy living and the damage that people do to the planet. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Goons Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Mar 22, 2023 Directed by: Alexis White Written by: Jose Duran Starring: Chad Anderson, Roberto Arrizon, Severen Cole, Chad Meisenheimer Funny films make us laugh for a multitude of reasons. Sometimes it’s because they’re so utterly insane that it’s impossible not to laugh, other times it may because it makes a fart joke, and at that moment we feel as though we’re ten years old. More often than not, however, we laugh because the characters offered to us in comedies are endearing, perhaps sometimes when they shouldn’t be, and because the humour, however bonkers, has a level of grounding in the human experience. ‘Goons’ has neither compelling characters nor a solid level of grounding in the human experience, and as a result most of its jokes fall flat, leaving a dull, if harmless, film. Leaning heavily into the mockumentary sty a slight 23 minutes ‘Goons’ sometimes feels like a knocked-down version of ‘The Office’, no doubt an influence on it’s creators Alexis White and Jose Duran, who sometimes use the offbeat interviews to the camera popularised by the iconic show. Naturally, of course, you also have the character prone to the ‘Jim-stare’ directly at the camera, in this case Johnny (Chad Anderson), who plays the part of group leader. He introduces himself as the CEO of the sanitation department at a well-known, mouse-related, company, in the film’s first, and possibly funniest bit. Johnny is joined by his ‘goons’, Andy (Roberto Arrizon) - the gym buff with dubious gang ties, Drew (Severen Cole) - the ‘looks of the group’ and a male stripper, and Sal (Chad Meisenheimer), the tech-savvy kid (grown man) loitering in parents basement’s across America. The introduction segment is as good as ‘Goons’ gets - a solid, and quite funny introduction to a seemingly interesting, if a little broad, collection of characters. From here the film could have explored the dynamic between the group, but the most we learn is that they’ve known each other for fifteen years. Alternatively, they could have been taken down a zany path, enriching their characters and endearing themselves as we see them confront a set of strange events, but instead the plot is relatively safe and uninventive. This means that we’re left with a set of stagnant characters trapped inside a tame plot, and so we become bored. Even the addition of a couple of side characters fails to add to spice up the group dynamic, they’re all beset with money woes in the face of their eviction notice but that’s pretty much all the insight we’re offered into them. This stagnancy isn’t helped by the the forced nature of Duran’s dialogue, which becomes loquacious and tiresome, giving a bad reflection of the actors, who come across as irritating more often than endearing. Though it doesn’t reflect tremendously in quality, it is evidently clear the passion which both cast and crew put into ‘Goons’, with Alexis White’s directing competent, and the actors always appearing just moments away from bursting into laughter themselves. The chemistry between the quartet feels natural, and is genuinely warming to see, making a not-so-good film at least put a small smile on this critic’s face. That’s all very nice, but it doesn’t take away from the simple fact that ‘Goons’ is lacking a great deal in actual quality, and most importantly it’s lacking in laughs. It’s as though they filmed a bunch of guys having fun together, without ever actually letting us in on the joke - funny to themselves perhaps, but everyone else is clueless as to why they’re laughing. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dead Silence Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Dec 9, 2021 Directed by: Duane D'Souza Written by: Duane D'Souza Starring: Duane D'Souza, Michael Jerome, Roby George Roy Opaqueness in filmmaking is an important tool for telling an effective story – and some of the best films of all time refuse to bare their inner meanings and themes just for clarities sake. However, it is vital that the film remains legible enough for viewers to actually WANT to ponder wider truths. Dead Silence fails to keep this in mind, and ends up confusing and difficult to understand. A young man (Duane D’Souza) begins to have dreams about a mysterious graveyard, and an imposing figure raking leaves within it. The next day, a local newspaper covers a similar story, and hints that the burial ground could be linked to multiple disappearances. He sets out to investigate, and uncovers unnerving truths about his own connection to the area. Dead Silence is a short centred around a disturbing mystery. However, its plot fails to adequately explore the questions it raises, or energise audience intrigue around these to keep viewers on the edge of their seats as its protagonist sets out to uncover the truth. It is not scary enough to be a horror, and not coherent enough to be a thriller – and ends up floundering between the two. The film fails to adequately explain key character elements, such as dynamics, backgrounds and relationships left entirely absent – and therefore leaving important plot developments meaningless and empty to viewers. A level of exposition would have been welcome, even at the cost of awkward dialogue, just to ensure the audience had enough information to come on board with the story. Director (and star) Duane D’Souza seeps the film in sepia, with a flickering camera effect imposed throughout. This is a particularly unwanted distraction during the opening credits, but thankfully eases off during the story. The effect conjures thoughts of traditional horror techniques, and does add a level of unease and fear to the film (though little would have been lost in toning it down somewhat). As a lower-budget production however, some imperfections may have been ironed out with the addition. Beyond the above there is little about the film that truly stands out. Performances are ‘meh’, and there is little in the way of innovative camera work or visual storytelling to write home about. Editing is slightly shoddy, with some awkward and amateurish cuts at moments which unfortunately stand out. It should be kept in mind that this is a small-scale production when pointing out these flaws, but when they are going to apparent, it is vital that the basics are in place. Unfortunately, it cannot be said to be the case. It is unlikely that Dead Silence will make much of an impression with audiences. The film does not take enough care when setting up or exploring its plot, and fails to develop characters anywhere near the level required. As a smaller production, its flaws can be forgiven to an extent – however many other similar scale films have accomplished much more with less. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Night Explorers: The Asylum Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 28, 2024 Directed by: John K. Webster Written by: John K. Webster Starring: Craig Edwards, Charlie Rich, Hannah Al Rashid ‘Night Explorer’ sounds like an entry-level job for a Springwatch presenter – and not the ominous pursuit of the online thrill-seeker. ‘The asylum’ part of Night Explorers: The Asylum ’s title is your clue that this is a grizzly horror – one that looks great and has an intriguing twist, but lacks in the character or originality department. Ghost hunters Ozi (Craig Edwards) and Jimboy (Charlie Rich) are looking for their next video location. Having faked footage for their previous work, the pair want something authentic – and an abandoned asylum seems like the perfect place. Too perfect. As they arrive with their crew, remnants of the asylum’s barbarity are everywhere. And as they delve deeper into the site, they discover that remnants are not the only thing that reside. The most striking takeaway from Night Explorers: The Asylum is how visually impressive it is. For a lower budget B-movie with big ambitions, the costume designs and set look great – with the titular asylum exuding threat and brutality that means intensity levels are already sky-high before the slashing starts. The film is dark, but thankfully doesn’t follow the recent trend of oversaturation or blacking out the screen to a degree that events are imperceptible. Director John Webster has a real knack for ramping up the tension – placing the audience in a stalker-esque vantage point over the crew before getting up close and personal when the hunters strike. Despite great visuals, the film is ultimately another story about wannabe YouTube stars biting off more than they can chew, which has charged at superspeed from vogue to tiresome in the horror sphere. There are differentials in the film, such as the identity of the sinister force hunting the crew, that do at least make it stand out a little from its contemporaries. But the same pitfalls are present – what is the film actually trying to say with its massacring? The notion that pursuing fame is a folly is surface level and played out at best. Ozi and Jimboy’s arrogance leading to a horrific collective punishment similarly lacks much punch. It’s premise over purpose – fine if you’re just looking for some gore but a hindrance for a deeper emotional connection. Craig Edwards gives a solid enough performance as Ozi. His hard-headed stubbornness makes him intentionally unsympathetic as a protagonist which adds layers of complexity as he does what he can to escape the asylum. Charlie Rich’s Jimboy comes closer to playing the emotional heart, and the softer performance makes him the more relatable of the leads. Much of the remaining cast bring little else beyond half-hearted bellowing – which given that we spend plenty of time with the crew as an ensemble, results in a glaring weakness as it is hard to truly become invested in their fates. Impressive visuals and staging prevent Night Explorers: The Asylum from being a totally generic slasher hunt. The story and characters fail to resonate emotionally and there’s little depth to be considered amidst the mayhem. The sound you heard just then is plenty of horror enthusiasts shrugging their shoulders – as well-shot slaughter is more than sufficient. But anyone after something really memorable will need to explore further than this. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Hallelujah: Leonard Cohen, A Journey, A song Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Aug 2, 2022 Directed by: Daniel Geller, Dayna Goldfine Written by: Daniel Geller, Dayna Goldfine Starring: Leonard Cohen, Nancy Bacal, Steve Berkowitz For longtime fans of Leonard Cohen, the continued pop culture embrace of “Hallelujah” can sometimes feel bittersweet. Other times it just makes you want to scream. Jeff Buckley didn’t write it! It’s not a Christmas song! And for God’s sake, stop messing with the lyrics! And even though that’s satisfying to yell when another TV talent show contestant attacks Cohen’s masterpiece with more bluster than feeling, you can’t deny you’re guilty of an equally false claim of ownership. As singer/songwriter Brandi Carlile rightly points out, by now the song “Is its own person. It has a life of its own.” So, how’d that happen? Back in the early 80s, “Hallelujah” was DOA, buried on a Cohen album that Columbia Records dismissed outright as unworthy to release. Alan Light first tracked the song’s ascent in his 2012 bestseller “The Holy or the Broken,” and Light serves as a consultant to co-directors Daniel Geller and Dayna Goldfine for their documentary examination. Straddling the line between biopic and expose, the film gives the uninitiated an overview of Cohen’s background while indulging veteran admirers with a deeper dive into his most acclaimed composition. Geller and Goldfine interview fans, friends and journalists, tracking Cohen’s unique troubadour life alongside the gradual wave of “Hallelujah” cover versions. It seems only right that Bob Dylan was one of the first to recognize the song’s genius, and it’s a treat to hear his interpretation set the stage for the mainstream breakthrough that came via Jeff Buckley and Shrek (John Cale in the film, Rufus Wainwright on the soundtrack). But the film’s strongest moments come through the intimacy of hearing from Cohen himself, and getting closer to his often tortured songwriting process (“If I knew where songs came from, I would go there more often”). We see notebook after notebook full of lyrics, while handwritten lines appear and disappear as guesses are made as to just how many verses (100? 180?) Cohen wrote for “Hallelujah” alone. At times Geller and Goldfine lean back on biography just when the musical detective work is cooking, but A Journey, A Song ultimately connects the two with a resonant thread. Leonard Cohen was a seeker, always striving to reconcile the primal with the spiritual. The process may have taken several years, but he wrote a song that lays that search bare with unparalleled eloquence. And though Cohen himself admitted before his death that “too many people sing it,” Geller and Goldfine are smart enough to include plenty of footage of Cohen performing the song himself, and to close with k.d. lang’s goosebump-time version that Cohen hinted was his favorite. About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Bezonians Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 26, 2021 Directed by: Savvas D. Michael Written by: Savvas D. Michael Starring: Andreas Karras, Vinnie Jones, Jamie Crew, Marina Sirtis, Lois Brabin-Platt, Jason Duff A bunch of people in London spend a great deal of their time at a social club named The Bezonians. Then a change of circumstances puts their lives at risk. Plato (Karras) is the proud owner of the social club and a family man. He enjoys socializing with the various individuals who frequent his business, some of which include Anthony (Crew), an intellectually disabled young man with a tragic past, Achilles (Michael) a quiet and dangerous bloke and Taz (Duff) a wild fella with a mohawk. Things are going smoothly for them, however a careless act of gambling puts them up against a ruthless debt collector named Willard (Jones). This crime drama centers on a Greek-themed establishment and the people who go there often. The characters are interesting and the narrative explores their lives well. There is violence, people being killed and a lot of profanity and beatings and there is brief nudity and a sex scene. The dialogue is sharp and the cast deliver convincing and entertaining performances. The movie also has humorous moments and drama. Although a large number of criminal activities take place, the film also explores other aspects of life, including the values of family and friendship and the importance of sticking together and supporting each other and overcoming obstacles. The cinematography by John Hoare looks great and the soundtrack is entertaining and includes frequent use of Jazz music and traditional Greek music. Michael's directing contains well executed long takes. Karras also provides narration and he does so effectively. Credit also goes to the stylized letters during the opening and closing credits and the use of freeze-frame technique. This is a crime film that will most likely appeal to fans of movies such as Snatch . The characters are intriguing and the screenplay will probably grab the viewer's attention. This is an achievement that is worthy of praise and attention. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Purgatory Film Review average rating is 4 out of 5 Critic: Lucy Clarke | Posted on: Aug 12, 2021 Directed by: Jack Stockley Written by: Jack Stockley Starring: Scott Hume, Shaylyn Gibson If all of our knowledge about life came via the glitz and glamour of Hollywood, we’d think that everyone should look perfect and that everyone’s lives ought to sizzle with drama. But, Hollywood’s airbrushing is a lot more dangerous when it’s relied upon to portray domestic violence. The audience is fed mistruth after mistruth. These are the movies where the beaten woman carefully covers her bruising cheek with concealer and wears gaudy sunglasses, so no one sees her black eye. There are many different kinds of abuse - from physical, emotional, to fiscal - but this stylised version of domestic violence usually involves a Hollywood dame getting slapped once after a heated argument, and then they immediately packing her bags. Nothing could be quite so far from the truth. Jack Stockley’s Purgatory analyses the realities of domestic abuse with precision. Purgatory challenges these misconceptions with ease: there are many different ways a person can be abused, and it is the most dangerous when the victim decides to leave. Lilith (Shaylyn Gibson) hasn’t been sleeping well recently, and she’s bleeding when she goes to the loo, a symptom she can’t explain. She’s worried that she’s sick, but her fiancée tells her not to be so silly, and it’s just something that would sort itself out on her own. Lilith is trapped in this suffocating relationship, and “just leave” isn’t even a possible thought for her. In any other situation, maybe Adam’s (Scott Hume) “advice” would be comforting. But there’s a fierce bite in the way he says this. He almost snarls at her at the mere suggestion to see a doctor. He insinuates she doesn’t know her body as well as he does. Of course, he knows what’s best for her. Lilith is in an abusive relationship, and Adam is an abuser. Scott Hume is incredibly well-cast here. One moment he is unnervingly kind, almost too nice. He gives Lilith cups of tea in bed and helps her into her dressing gown. There are a lot of I-love-yous said in this house. But Scott Hume’s characterisation of Adam is fantastically chameleon-like. One moment he is complementing Lilith’s cooking, and the next, he throws it around the room. He is a volatile, terrifying man who leaves the viewer walking on eggshells. Lilith is cocooned in blue tones, the colour of safety, of home, yet she is never seen to leave. While Adam has the luxury to go to work, Lilith must stay and keep house. The cool blue tones beckon the viewer into a false sense of security, along with Adam’s honeyed words. Like Lilith, we too are confused by his actions which oscillate from charming gentlemen to a volatile abuser. Purgatory may market itself as an educational film, but it goes beyond the mere boundaries of a public service announcement. At the end of the film, it has slowly turned into a focussed thriller, which feels like a nightmarish Groundhog Day . About the Film Critic Lucy Clarke Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Benediction Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: May 22, 2022 Directed by: Terence Davies Written by: Terence Davies Starring: Jack Lowden, Peter Capaldi If there is a time when poetry truly comes alive it’s during the carnage and mayhem of war. The rawness can be expressed so much more clearly in verse than ordinary prose. Siegfried Sassoon is one of the greatest poets to emerge from the Great War. This new film by Terence Davies explores a tempestuous life driven by the desire for acceptance and fulfilment. The story picks up in 1914 when Sassoon (Jack Lowden) answers the call to arms. He is commissioned as a Second Lieutenant in the Royal Welsh Fusiliers and serves on the Western Front. Sassoon wins the Military Cross but following a period of convalescence he reaches a momentous decision. Unable to cope with the war’s conduct he refuses a return to duty. Friend Robbie Ross (Simon Russell Beale) pulls the right strings and gets his court martial deferred. Declared unfit for duty Sassoon is sent to Craiglockhart War Hospital and treated for shell shock. He eventually returns to active duty but the emotional scars remain. Sassoon’s post war years are littered with a series of disastrous relationships. A toxic affair with Ivor Novello (Jeremy Irving) is followed by a fling with socialite Stephen Tennant (Calam Lynch) but later bows to convention when he marries Hester Gatty (Kate Phillips). Sassoon is played in later life by Peter Capaldi as he converts to Catholicism in the quest for answers that make sense. A rich source of material is betrayed by a film that is frequently dull and ponderous. It moves along at a snail’s pace with a fuzzy and confusing chronology. The first inkling we get the story has entered the 1920s is a couple dancing the Charleston. Similarly, the 1930s arrives only by reference to the Hitler Youth. Many of the characters portrayed invoke little in the way of sympathy. Sassoon is the only exception, who earns respect for his bravery and the stand taken on his comrades’ behalf. He was willing to meet his death by refusing to fight; but inhabits a world riddled by privilege and entitlement. The class system evidently spared him a worse fate as privates and non-commissioned officers would have been shot for taking similar action. The film is saved by a stunning performance from Jack Lowden and the inclusion of black and white archive footage. The flickering images are set to recitals of Sassoon’s poetry which remind us why we are watching. Like so many of his fellow poets Sassoon was a spokesman for an entire generation. These brief interludes tell the story that really matters. Sassoon was a tortured soul who only found his true voice in poetry. An adequate snap shot that does too little justice to other aspects of Sassoon’s life. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

The Human Voice Gets UK Release Date Chris Olson Friday, April 16, 2021 at 10:53:25 AM UTC Pathé are delighted to announce that the new short film, THE HUMAN VOICE , directed by Spanish auteur Pedro Almodóvar and starring Tilda Swinton , will be launched on 19 May 2021 at a special Event Screening in cinemas across the UK. The film will be followed by a pre-recorded Q&A with Almodóvar and Swinton hosted by film critic Mark Kermode. THE HUMAN VOICE is Almodóvar’s first work in the English language and had its World Premiere to critical acclaim at the Venice Film Festival last year. Madness and melancholy intersect to thrilling effect as Almodóvar reimagines Jean Cocteau’s short play The Human Voice for an era in which isolation has become a way of life. Laws of desire become the rules of the game as Tilda Swinton’s unnamed woman paces and panics in a glorious Technicolor apartment where décor offers a window into her state of mind. A short, sharp shot of distilled Almodóvar: passion, emotion, heartbreak, wit, and melodrama exquisitely bound up in a tale for our times. Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, numerous Goyas and over 100 further wins and nominations. His credits include WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, ALL ABOUT MY MOTHER, VOLVER and most recently PAIN AND GLORY. 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. 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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. 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HOME | FILMS | REVIEWS Slightly Red Handed Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Mar 2, 2022 Directed by: James Hastings Written by: James Hastings Starring: Wayne O. Reid, Adam Tucker, Katie McKenna The western genre has been enjoying something of a revival over the past decade or so. Films like ‘Django Unchained’ and ‘The Hateful Eight’ from Quentin Tarantino have given the genre a more pop-infused tone, whilst the likes of ‘3:10 to Yuma’ and ‘Hell or High Water’ have maintained the traditional dusty feel of an old classic like ‘The Good, the Bad and the Ugly’. The short film ‘Slightly Red Handed’ certainly feels more like the former films in tone. ‘Slightly Red Handed’ tells the story of a retired magician, Carson Avery (Wayne O. Reid), who has now settled into his ranch in Wyoming. One dark, stormy night an anxious reverend , Jericho Pile (Adam Tucker), turns up at his door searching for a miracle. He doesn’t get it. Tensions between the two come to the fore after the true reason for the reverend’s wife being ‘ill’ is revealed. As with all great westerns, the theme of redemption is overarching. Redemption is relevant to all three characters, including the reverend’s wife Dorothy Pile (Katie McKenna), but all in different ways. Our protagonist Carson Avery seems to be searching for redemption - it’s never explicitly stated but the character’s morals and the bodies hanging outside suggest that there’s something in his past driving his search for salvation. Ironic then that it should be a reverend who acts as the main antagonist, and the character most in need of atonement. Can his actions be redeemed? His incessant begging and bout of tears suggest a profound regret; the drawing of his gun suggests otherwise. Then, and perhaps most interestingly there his wife Dorothy, who is faced in the end with the need for redemption. In the spirit of redemption it is only right to mention another major influence on the renaissance of the western, not a film, but a video game - ‘Red Dead Redemption’. The vast popularity of those games have undoubtedly spurred on the rediscovery of the western, largely due to their massive scope and engaging stories. Elements of those games - in particular ‘Red Dead Redemption 2’ are also evident in ‘Slightly Red Handed’. For starters, the short takes place in 1503, at the dusk of the wild west, the same as the much-acclaimed video game. Furthermore, the character of Carson Avery resembles the two protagonists John Marston and Arthur Morgan from the games in his desire to retire and rest - and his inability to escape trouble. However, if there’s one thing you can take away from any western, its that trouble always finds its way back to you. That is no different in ‘Slightly Red Handed’, where our one-eyed jack is confronted with the priest. The issue is, that at times the film feels extremely gimmicky, in particular when the band pops up singing an old-timey cowboy tune. The song is good and fits the rather bleak mood of the film, but it instantly loses its cinematic feel when the band are show singing away in their cowboy gear. At that moment, a long, lingering shot on the ranch, on Carson, or just on the stars in the sky would have accompanied the song better. The other, though relatively minor problem with the film is that it suffers from bouts of mumbling from actors, in particular Adam Tucker as the reverend. This is particularly annoying because otherwise Tucker’s performance is phenomenal, portraying a believably corrupt churchman who’s soul interest is self-salvation. There are moments when he resembles Paul Dano in his mannerisms and facial expressions - it is a very good performance. Wayne O. Reid is imposing and charismatic as the retired old magician, working well with Tucker and creating an all round likeable character in just 15 minutes. Katie McKenna has a lot less to do, but when she does do it she is also charming in her own way. Aside from the inexplicable cuts to the band, the direction from James Hastings is impressive as well, creating an atmospheric and believable setting from the outset. The way the camera is set up on the table as Carson and the reverend have a little, let’s say, talk is nothing you haven’t seen before, yet it isn’t utilised often enough in shorts, so it’s a pleasant shot. In truth, it’s a story which could be expanded to a feature length version, and yet it tells a whole and complete story in just 15 minutes. By the end you’ll be wanting to see a lot more of Carson Avery, who is an enigmatic and engaging character that deserves a chance on a bigger screen. The film has its faults and so the title ‘Slightly Red Handed’ is fitting - it would have gotten away with the perfect short if it weren’t for the drops of blood on its hand from the bizarre cuts to the band. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Queen of the Beach Film Review average rating is 2 out of 5 Critic: Cat McAlpine | Posted on: Aug 19, 2021 Directed by: Christopher McDonell Written by: Christopher McDonell Starring: Shilpa Poojar, Christopher McDonell While returning from his trip filming traveling preachers in India, Chris McDonell becomes enamored with some young girls hawking their wares on a beach in Goa. One precocious girl, in particular, catches his eye, and her name is Shilpa Poojar. At the time, Shilpa’s only nine years old, and she works full-time to help support her family. Almost desperately McDonnell repeatedly asks her, “Do you have a dream? Are you happy?” Shilpa shrugs several times before finally admitting that she’d like to go to school, but she can’t afford it. Unable to shake the idea that this young girl is working instead of getting an education, McDonell sets out to change her fate. McDonell has many paths he could follow in his telling of Shilpa’s story, but he largely avoids any avenue except trying to convince her to go to school. As he returns to India year after year, Shilpa’s interest in school fluctuates. She’s the breadwinner for her family, and if she stops earning an income her family won’t eat. It’s rare that you see a documentary so heavily dependent on the director inserting themselves into the narrative, but McDonell is determined to “save” Shilpa in the way he deems best. As he is entangled with Shilpa’s family, McDonell grows disheartened that there isn’t an easy win ahead of him. The girls he’s desperate to help are businesswomen who easily out-barter him. He’s constantly promising them gifts in exchange for their participation in the documentary, and his proximity to the young girls sometimes feels uncomfortable. He never acknowledges the obvious power imbalance between himself, a white adult man with the promise of money, and the young Indian girls who are desperate to earn their daily keep or otherwise be beaten. Once or twice, McDonell recognizes that India is often a location for sex tourism, but he doesn’t delve. McDonell never delves, in fact. He is desperate to make a documentary about sending Shilpa to school, and that’s the documentary he makes despite all odds. He never ends his mission, even when Shilpa is run out of her shop on the beach because she is accused of having an inappropriate relationship with McDonell. “I come here to help, and instead I cause all of these problems.” He worries out loud to her. “This is called life, Chris.” She consoles him. “This is India life.” The documentary is worth watching just to meet the whip-smart, incredibly charismatic Shilpa, who carries on despite horrible circumstances. But her journey seems halted and messy through McDonell’s insistence that she receive his help the way he wants to give it. Cultural context is sidestepped and ignored. Her story ends with no update on her adult life. Does she still have dreams? Is she happy? We are left with a multitude of unturned stones and unanswered questions. The only thing that is clear is that McDonell is proud of what he thinks he’s accomplished. About the Film Critic Cat McAlpine Digital / DVD Release, Documentary, World Cinema < All Reviews Next Film Review >