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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. 15-year-old Benjamin Lane (Levi Miller – Pan, A Wrinkle in Time ) is an introverted and gifted young swimmer, on the brink of qualifying for the Olympics. Pushed by his ruthless coach, Glen (Robert Morgan – Hacksaw Ridge) and his sacrificial mother, Kim (Laura Gordon – Undertow), it's unclear if he actually wants the life he's seemingly being forced to pursue. When his enigmatic and estranged father (Jason Isaacs) is released from prison and tries to repair their damaged relationship, Benjamin struggles under the physical and psychological pressure and begins to self-destruct. Drawn into the debauched lifestyle of his two older brothers, Dave (Jake Ryan – The Great Gatsby, Home & Away), and Nick (Sam Parsonson – Hacksaw Ridge, Love My Way), Benjamin is pushed to the limits as he’s forced to grapple with deep-seated childhood Raw and masterful coming-of-age drama sees gifted swimmer contend with trauma and toxic masculinity – can he stay in his lane? Can he escape his troubled past and choose the right lane for himself? What ensues is a compelling, gritty, and immersive tale of young man struggling to define who he is in a male-orientated world of conflict, anguish, pressure, and competition. Boasting beautiful cinematography as well as a masterful and moving performance from Levi Miller, Streamline is a powerful and pertinent sports-drama like no other. Streamline arrives on UK digital 11 April 2022 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. Help Official Trailer Help from filmmaker Blake Ridder releases official trailer. Watch the trailer for Help from filmmaker Blake Ridder. The Bad Guys Official Trailer DreamWorks launch official trailer for The Bad Guys. Nobody has ever failed so hard at trying to be good as The Bad Guys. Across the Spider-Verse Part One Trailer Following the huge success of Spider-Man: Into the Spider-Verse, this trailer for Spider-Man: Across the Spider-Verse - Part One comes as no surprise but is certainly welcome. A Christmas Number One Official Trailer A Sky Original, A Christmas Number One is produced by Sky, Genesius Pictures, Lupus Films and Space Age Films. It will be available on Sky Cinema and streaming service NOW from 10 December. Spider-Man: No Way Home Official Trailer Currently slated for a UK release of December 15th, Spider-Man fans across the world were rocked with this official trailer for Spider-Man: No Way Home (2021). Eternals Final Trailer Directed by Chloé Zhao, the saga of the Eternals, a race of immortal beings who lived on Earth and shaped its history and civilizations. Moonfall Official Trailer Directed by Roland Emmerich and starring Halle Berry, Patrick Wilson, and John Bradley, Moonfall is currently scheduled for a cinematic release in the UK in February 2022. Uncharted Official Trailer From Sony Pictures UK, check out the official first trailer for the highly-anticipated UNCHARTED, based on the hugely popular video game franchise of the same name. The Real Charlie Chaplin Official Trailer The Real Charlie Chaplin is an Archer’s Mark, Passion Pictures and Smaller Biggie production, in association with Ventureland and Fee Fie Foe. Belfast Official Trailer 2 From lauded director Kenneth Branagh, and starring an acclaimed ensemble cast, Belfast is a personal and joyful story about the power of memory, set in late 1960s Northern Ireland. The Batman Main Trailer Currently expected for a March 2022 release, The Batman (2022) starring Robert Pattinson is one of the most anticipated films of next year. Warner Bros dropped The Batman Main Trailer and DC fans have gone crazy with excitement. Resident Evil - Welcome to Raccoon City - Official Trailer The official first trailer and poster for RESIDENT EVIL: WELCOME TO RACCOON CITY, the much-anticipated action horror based on the iconic videogame franchise, coming to cinemas 3 December. The Turn of the Screw Official Teaser Trailer Danny Arthur attacks in a prison officer in the hope to get moved off the wing, he has just joined Ambrose Cook in his cell, a black inmate who is waiting for his parole in a couple of months. The Beatles and India Trailer Now a new, award-winning feature documentary The Beatles and India from Silva Screen Productions and Renoir Pictures explores the lasting legacy from their ground-breaking visit to Rishikesh. Britney Vs Spears Trailer The world knows Britney Spears: performer, artist, icon. But in the last few years, her name has been publicly tied to another, more mysterious term: conservatorship. Britney vs Spears tells the explosive story of Britney’s life and her public and private search for freedom. A Boy Called Christmas Trailer In A Boy Called Christmas, an ordinary young boy called Nikolas sets out on an extraordinary adventure into the snowy north in search of his father who is on a quest to discover the fabled village of the elves, Elfhelm.

HOME | FILMS | REVIEWS The Inaudible Speech Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jul 24, 2023 Directed by: Achyut Prashast Singh Written by: Achyut Prashast Singh Starring: Achyut Prashast Singh ‘The Inaudible Speech’ is a strange film in that whether it should be classified as such is a question unto itself. The two minute runtime - less than two minutes when you minus the opening, which asks ‘can you hear his voice amidst the noise?’ - is not the issue in this debate. If it can be described as a film then it is most definitely a short film. Moreover, the reason this critic finds it difficult to distinguish ‘The Inaudible Speech’ as a film is that it appears as more of an acting audition tape than a film itself. It’s a short that clearly intends to spotlight the acting ability of Achyut Prashast Singh - who stars, directs and writes - yet it inexplicably fails to do that through some serious limitations in the screenplay. Instead, it comes across as simply an audition tape, with the actor merely proving that they can read lines, or perhaps a simple table read of a script. Indeed at times so much is this the case that it feels as though somebody’s speaking language exam has been recorded in an attempt to be stylistic. Singh reads, direct from the script, how he has lost his interest in studying. He hasn’t lost interest for any particular reason, simply where he used to love studying it now only brings boredom and feels like a chore. He details how this caused failures in class and backlash from his parents, before deciding to grow a pair and become proactive in his studying again, though now instead of studying out of enjoyment, he only studies for the prospect of a profitable career. This sounds like he’s going through some stuff - though such a flux is something everybody experiences on numerous occasions throughout their lives - but why should we care. Singh’s script doesn’t give us any reason to care about his turgid state of studying, and his sudden change of mindset. It’s essentially a monologue that allows no room for emotion, with its monotonous delivery reflected by the lack of drama in the speech which he is saying. Directing is little better, with only a few cuts - which are jarring - to suggest even the remotest sign of technical flair. Hence the film feels like an audition tape, with little technical skill involved, only it isn’t a script that enhances Singh’s performance, and instead only flattens it. The title suggests perhaps a hidden meaning within his speech. Perhaps some repressed emotion. Yet there is no subtext to suggest that ‘The Inaudible Speech’ has anything to say beyond its surface level frustrations over studying and a lack of motivation. Sure, occasionally the background noise threatens to render the speech inaudible, but you cannot stage your entire film around this one possibility and expect to engage people effectively. ‘The Inaudible Speech’ is a film, or audition tape, or English language speaking exam, that is devoid of passion, creativity, and filmmaking skill. The flatness of the film extends to acting, writing and directing, with an incredibly dull conceit that somehow was never questioned by the filmmaker during the process of making ‘The Inaudible Speech’. It defies logic, in the worst possible ways. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dimanche Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 8, 2021 Directed by: Fatty Soprano, Shawn Vasquez Written by: Fatty Soprano, Aidan Grossman, Marie Luciani Starring: Marie Luciani, Aidan Grossman, Geoff Mays, Mercedesz Mesza A teenage girl realizes that she is growing up and decides to make significant changes in her life. A young girl (Luciani) is at home, inside a large bedroom, where she is applying makeup on the face of a young man (Grossman), who is approximately the same age as her. That man is her brother and he is dressed in women's clothing. As she works on the makeup, she tells her brother soon she will be turning eighteen and that she has decided to use money she has saved to pay for breast implants. She explains that she is going to do this because a girl named Charlotte (Meszaros), who is a former friend of hers, did the same and her life changed. She became popular and began receiving offers to appear in photoshoots and rap videos. She seems to envy Charlotte's success and wishes to accomplish the same. And she believes that getting breast implants will get her there. This interesting short drama explores themes of coming-of-age, self-discovery, depression, jealousy, being different and how social media affect young people. During her long monologue, the girl mentions that Charlotte has many followers on Instagram, in comparison to her and she is annoyed by that as she seems to believe that being popular online is a big deal. The film seems to suggest that social networking services can have negative consequences on a person't psychology. The long monologue that the heroine delivers goes on almost throughout the whole film. Her desire to move on to better things is clearly expressed and so are her feelings. Apart from doing the makeup, she is occasionally seen standing in the room or lying on the bed while talking. Luciani plays her part well. Her brother remains silent, sitting still while the makeup is applied. With the exception of a few outdoor shots at the beginning, the entire narrative takes place inside the bedroom. The mise-en-scene is intriguing. The room's walls are covered with Christmas lights, CDs and posters of entertainers or television shows. There are various books scattered here and there and there is guitar. All these provide information about the characters' interests and hobbies. The cinematography is wonderful and according to the filmmakers, they aimed to give this project a 90s look. There is also brief black-and-white cinematography and a short montage of black-and-white stills. The beautiful piano music provides a melancholic feeling. During the final moments, the atmosphere changes dramatically, becoming rather sinister. A man enters the room, who appears to be their father. He seems angry with them and shows signs that he is about to use violence. Here, the film seems to be raising awareness for domestic violence. Dimanche provides an insight into the kind of influences that social media have on the lives of young people and will most likely offer the viewer a thoughtful experience. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

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HOME | FILMS | REVIEWS Wild Indian Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 2, 2021 Directed by: Lyle Mitchell Corbine Jr. Written by: Lyle Mitchell Corbine Jr. Starring: Michael Greyeyes, Chaske Spencer As angry a movie as you’re likely to see, Wild Indian pushes you to hope compassion and tenderness come to the most unlikeable man onscreen. When Makwa (an exceptional Michael Greyeyes) was a boy on the reservation, he and his best friend Ted-O (played in adulthood by Chaske Spencer) participated in something terrible. Ted-O never really got over it. Neither did Makwa, but now living in a high rise in Seattle and going by Michel Peterson, you might mistakenly believe he’s moved on. This man is possibly the most complicated character I’ve seen onscreen this year, and Greyeyes’s blistering performance delivers honesty that’s tough to look away from. Makwa/Michael is equal parts sociopath and lost soul. He is the result of his own upbringing, but also of suffering that goes back generations and reverberates outward to the sea outside his gorgeous upscale apartment and beyond. Writer/director Lyle Mitchell Corbine Jr. refuses to lean on stereotypes that would make the performance more comfortable viewing. Makwa is neither victim nor noble wiseman. Not entirely a villain, he’s nonetheless ill-suited as antihero or, god forbid, hero. He’s a survivor bound up in his own guilt and shame, taking advantage of whatever he can and hating himself and everyone around him because of it. Balancing that and breaking your heart as he does, Spencer’s Ted-O is a result of the same history of trauma, oppression, poverty. But the tenderness Spencer conveys in every scene, the humility and pain, give this film its humanity. Corbine Jr. contrasts Ted-O’s touching relationship with his sister and nephew against Michael Spencer’s robotic, even frightening reactions to the women in his world. The two men’s relationships in the workplace differ similarly. As the action builds toward an inevitable and bewildering climax, Ted-O is more sympathetic with every step he takes toward violence while Michael’s icy psychotic side emerges the more he tries to keep violence at bay. It’s a desolate world Corbine Jr. creates, but no less remarkable for its bleakness. A character study unlike anything else on screen this year, Wild Indian gives longtime character actors Greyeyes and Spencer the opportunity to command the screen with leading roles and they more than rise to the occasion. In his feature debut as a filmmaker, Corbine Jr. has also announced his own presence with authority. About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Bullet Train Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 3, 2022 Directed by: David Leitch Written by: Zak Olkewicz Starring: Brad Pitt, Joey King, Brian Tyree Henry, Aaron Taylor-Johnson It took us decades to embrace it, but Brad Pitt is really funny. We all saw those acceptance speeches, right? Burn After Reading ? And he was easily the funniest thing about the Sandra Bullock/Channing Tatum romance adventure The Lost City . But those were acceptance speeches and supporting turns. Pitt’s comedic stylings are front and center in David Leitch’s highly advertised Bullet Train . He’s not alone. There are about 100 other people on this train, most of them for the same reason. Hitman twins Lemon (Brian Tyree Henry) and Tangerine (Aaron Taylor-Johnson) are on a job for the mysterious Japanese gang lord known as White Death. Prince (Joey King) is a young woman with more plans for the trip than just finishing her book. Kimura (Andrew Koji) will do whatever it takes to keep his kidnapped son alive, and Wolf (Benito A Martínez Ocasio aka Bad Bunny) just wants to settle an old score with Ladybug. Pitt would be Ladybug, an adorable code name given to him by his handler (Sandra Bullock). His first job back from sabbatical is a quick, easy one: grab a briefcase off a train and then get off that train. But there are so many other stories and bandits and snakes and whatnot, and that automatic door just keeps closing station after station before Ladybug can make his exit. Leitch can stage action. You’ve seen Atomic Blonde , right? And since the director’s official 2017 feature debut (he gets an uncredited nod for the original John Wick ), his focus has been on slight, action-heavy comedies: Deadpool 2 and Hobbs & Shaw . His Bullet Train continues that tradition: it’s slight, action-packed, silly fun. He and screenwriter Zak Olkewicz adapt Kôtarô Isaka’s novel via a mishmash of styles, blending a spoonful of Edgar Wright with a heaping helping of Guy Ritchie and a smidge of Tarantino. It’s bloody and hyperactive with witty banter and surprise dot connecting, all trying their best to distract you from the lack of tension and bloated run time. The cast sure seems to be having a blast with it, especially Pitt. He makes Ladybug an endearing mix of daily affirmations and lethal force (with an unusual interest in lavatory facilities). Throw in a couple other big star cameos, and Bullet Train is a stylish concoction that never finds the right balance of hip action and self-aware absurdity. It’s clever but not really funny, full of high gloss stuck in economy class. The ride may seem fun while it lasts, just don’t expect anything memorable waiting at the destination. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Gabby Giffords Won't Back Down Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 13, 2022 Directed by: Julie Cohen, Betsy West Written by: Julie Cohen, Betsy West Starring: Gabrielle Giffords, Mark Kelly If the title Gabby Giffords Won’t Back Down immediately has you humming a certain Tom Petty tune, that’s fine. In fact, the way the film incorporates that and other hits, and music in general, is one of its many charms. Giffords was an Arizona Congresswoman and a rising star in the Democratic party when she was shot in the head while meeting constituents in Jan. of 2011. Music therapy was pivotal to Giffords’s quest to regain her speech, and directors Julie Cohen and Betsy West are gifted with intimate home video footage that conveys the magnitude of her comeback story. Giffords chances of surviving the gunshot were less than ten percent, and in fact her husband, astronaut Mark Kelly, was at one point informed that his wife had died. But when Gabby fought back, Kelly was convinced she would one day want to look back on her journey, so he picked up a video camera. There’s little doubt that Cohen and West (the Oscar-nominated RBG ) have a healthy admiration for Giffords, but they make a pretty compelling case why the rest of us should be “Gab-ified,” too. Her courage, strength and determination cannot be denied. Archival footage and interviews with fans (including former President Obama) outline Gabby’s transition from manager of the family’s Arizona tire store to fresh-faced Washington centrist. She’s nearly impossible to dislike, while her partnership with the space-traveling Kelly sends the all-American appeal into the stratosphere. And when Cohen and West line up footage of Gabby’s brain surgery alongside her husband’s intricate space station docking maneuver, it’s game over and the feels have won. So when the film transitions to the horrors of America’s gun violence epidemic, it seems at first like too much of a tonal clash. But as Kelly is elected to the Senate and Giffords focuses on her Gun Owners For Safety movement, it’s clear that the issue is just as much a part of Gabby as is the music she loves. Avoiding her current advocacy would result in an incomplete picture. Don’t be fooled by the relentless positivity here. Gabby Giffords Won’t Back Down isn’t simply a greatest hits mixtape made by fans for more fans. It’s a gritty story of survival, and of making a commitment to making a difference. And the joy of jamming to the 80s. Can’t forget that one. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dungeons & Dragons: Honor Among Thieves Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Mar 29, 2023 Directed by: John Francis Daley, Jonathan Goldstein Written by: Jonathan Goldstein, John Francis Daley, Michael Gilio Starring: Chris Pine, Michelle Rodriguez, Hugh Grant There is a new Dungeons and Dragons movie, Dungeons and Dragons: Honor Among Thieves . Unfortunately, there is not a topic on this planet about which Madd and/or Wolf know less than Dungeons and Dragons. It honestly took us decades to undersand that “zero charisma!” reference in E.T. Well, good news, then, that MaddWolf pack writer Cat McAlpine is a D&D expert! Bad news! Cat McAlpine was unavailable for the screening because she was – we swear to God this is true ­– playing Dungeons and Dragons. So, you’ll have to settle for us. And here’s the crazy thing: we liked it. We did not expect to. You should have seen the fit we threw when we realized Cat couldn’t review it and we would have to. Hissy levels. Obviously, we can’t speak to how closely the film sticks to whatever it is Dungeons and Dragons is/does/conjures. But as a comedic adventure film with a quest narrative and a game-like aesthetic, it succeeds. Co-directors John Francis Daly and Jonathan Goldstein (Game Night ), both writing with Michael Gilio (Kwik Stop ), find an easy humor that feeds off the charm and charisma of their cast. They inject a Guardians of the Galaxy tone into a narrative that mirrors role-playing level changes, and let a talented ensemble keep you entertained. Chris Pine is the lute-playing, wise-cracking Edgin, who teams with the badass Holga (Michelle Rodriguez) to bust out of prison and go on the run from that cad Forge (Who else but that cad Hugh Grant). They pick up young sorcerer Simon (Justice Smith) and the shape-shifting druid Doric (Sophia Lillis) along the way, and the foursome embarks on an adventure to retrieve a powerful relic that could help reunite Edgin and his daughter Kira (Chloe Coleman). Does any of this follow a D&D storyline? We don’t know. But even before Bridgerton ‘s Regé-Jean Page shows up to lampoon his own image as the dashing Xenk, the contagious, wink-wink swashbuckling had won us over. The fantastical creatures are plentiful (an “owl bear,” presumably cocaine free!) and gameboard-worthy, while Daly and Goldstein keep upping the ante with fast-paced plot turns that recall those “extra life” badge things that gamers rely on to keep the action pumping. And the adventure does run a tad long, sometimes feeling simultaneously overstuffed and superficial. But the tone it embraces feels just right, and Honor Among Thieves fulfills its quest to deliver likable characters, infectious humor, and escapist fun. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Screen and Story Film Festival The Screen and Story Film Festival is an open global festival giving filmmakers a platform to showcase their stories to diverse audiences across the world. Our first edition opened as a result of the pandemic in 2020 with our first virtual edition featuring 21 shorts from 10 countries. This year we are expanding our film programme to screenings of shorts, features and documentaries. The 2021 festival edition will bring its inaugural screenwriting competition to celebrate the power of storytelling combined with a full range of industry-leading events. All screenings, events and talks will be held virtually. Our 2021 edition sees a global open call for submissions that encourages all filmmakers to submit their work. With no submission or ticket fees, the festival focuses on one common mission: to enhance and empower worldwide filmmaking, providing a platform to all regardless of location, race, sexuality, gender identity, faith, disability or socio-economic background, with no exceptions. The Screen and Story Film Festival is run by likeminded volunteers from different sectors of the professional film community all working towards one common mission. We exist to enhance and empower global filmmakers and writers around the world, giving a platform to all in-discriminative of location, race, sexuality, gender, religion, disability or socio-economic background, with no exceptions. Our Values are to: - To find, develop and promote undiscovered international filmmaking talent, encouraging them to showcase their films and let their voices be heard in an engaging and inspiring atmosphere where creativity and powerful storytelling abounds. - To level the playing field for filmmakers, always providing equal opportunities to all through a broad open call free from theme at least once a year. - To create an all-encompassing support network of filmmakers for the filmmakers. Fostering connection for collaboration, encouragement and advice. - To give independent film a diverse and worldwide audience and reach a wide range of communities with films they may not generally have access to. - To be nomadic and take the festival to interesting and unexplored territories. - To be accessible to everyone, everywhere, regardless of location. SEE MORE FILM FESTIVALS

HOME | FILMS | REVIEWS My Autopsy Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 26, 2022 Directed by: Holly Mollohan Written by: Holly Mollohan Starring: Gareth Tidball, Dave Stishan, Devin Armel, Alexis Schneider, Serenity Valle A woman's life deteriorates after she gets involved with the wrong man. Rachel (Tidball) is a young woman who does not know what to do with her life. One day, she meets Vince (Stishan), who performs in a rock band and the two of them begin a romantic relationship. However, Vince turns out to be a vile person and mistreats Rachel and gives her drugs. Eventually, the relationship ends in tragedy and Rachel, who is now emotionally damaged, tries hard to get on with her life. This feature is a rather dark psychological thriller that focuses on the life of woman who goes through very serious misfortunes and being unable to cope, she ends up falling deeper and deeper into her own personal abyss. The narrative follows her as she goes through terrible ordeals that involve being tormented by Vince, suffering the loss of a friend and dealing with the inner damages that are caused by her experiences. Although she is supported by Jill (Schneider), she seems unable to leave Vince behind and move on. The film appears to show the negative sides of men, as the main male characters have immoral characteristics. Vince is shown to be the worst one as he is aggressive, controlling, violent and worse, and other men in the story are presented as being deceitful, disrespectful, inconsiderate and looking at women primarily with sexual intentions. Rachel falls victim to all these elements, which shows how such behaviour can ruin a person. As the protagonist, Tidball is very dramatic as an individual whose mental state goes from bad to worse as she goes through harrowing experiences that include violence and loss. Stishan is menacing as the dominating and violent Vince and Schneider is great in her role as a person who cares about Rachel and wants her to find happiness. There are nightmarish scenes and there is voice-over that reads the poems that Rachel writes in her notebook, which contain dark and upsetting subjects. The nightmares and the poems reveal the emotional pain that she is going through. Mollohan also worked on the editing and creates wonderful montage sequences that make effective use of fast cutting. Director of photography JP Fulks does a great job in developing cinematography that generates a melancholic atmosphere and Sean Mollohan makes a significant contribution with the score and the interesting soundtrack includes numerous songs by a variety of artists. This is a distressing story that explores the life of an individual as she goes through terrible suffering and finds herself lost in despair and sadness. It is an intriguing story about the devastating effects cruelty can have on a person and about discovering one's inner strength. It is not a pleasant viewing, it is a viewing with heavy drama that takes a hard-hitting look into some of life's harshest issues, such as wickedness, trauma, desperation and loneliness and how they affect people. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Michael Brennan I am a Yorkshire-born and raised film lover and gamer with a borderline problematic caffeine addiction. My love for film was established at a very young age through quirky, if somewhat inappropriate, comedies, such as DodgeBall, The Birdcage, The Truman Show, and Scary Movie. As I've gotten older, my love for cinema has drastically evolved beyond 90's and 00's comedy, and I've become a massive fan of animation, action, thrillers, and horror. As a writer, I am all about the story. I want to be moved through dialogue, character arcs, score and cinematography. I am constantly pushing myself to watch films that "aren't in my wheelhouse," which I think is the best way to approach life (and film). While I'm not a fan of lists or ranking films, I think you can tell a lot about a person's top 5 movies. My top 5 movies of all time, I hear you ask? Well, that list changes all the time, but I am going to contradict myself and say that my current top 5 films are: Room (2015) Scream (1996) The House Bunny (2008) I Smile Back (2015) The BirdCage (1996) Follow On Twitter Read My Film Reviews

HOME | FILMS | REVIEWS Drive-Away Dolls Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Feb 22, 2024 Directed by: Ethan Coen Written by: Ethan Coen, Tricia Cooke Starring: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein Is the flattery still sincerest if you’re imitating yourself? Because about 15 minutes into Drive-Away Dolls, the first installment of a lesbian B-movie trilogy from director/co-writer Ethan Coen and co-writer Tricia Cooke (Coen’s longtime producer/editor/wife), you can’t ignore how much this film reminds you of Coen Brothers movies. And yes, better Coen Brothers movies. Like The Big Lebowski, Burn After Reading, Barton Fink and A Serious Man , all of which get subtle and not-so-subtle nods in a twisting story of two young women and a mysterious, valuable briefcase. Jamie (Margaret Qualley) and Marian (Geraldine Viswanathan) are queer best friends in 1999 Philadelphia. Marian is sexually conservative, and the free-spirited Jamie hopes to get her friend some action while they accept a drive-away job down to Tallahassee and hit every lesbian bar they can find. What the girls don’t know is that the car they’ve been given has two very important items in the trunk, and it isn’t long before “The Chief” (Colman Domingo) and his two hapless henchman (Joey Slotnick, C.J. Wilson) are on their tail heading South. The cast is indeed impressive (with appearances from Pedro Pascal, Bill Camp, Beanie Feldstein and Matt Damon), but while the film serves up a handful of LOL moments, the vast majority of the nuttiness lands with more desperation than inspiration. It all feels so forced, except for Viswanathan, whose earnest delivery points out the artifice in Qualley’s. The Foghorn Leghorn-y of pre-millennium lesbians, Jamie’s every line draws attention to its own zaniness. It calls to mind The Ladykillers —and that’s never the Coen movie you want to make people remember. Much of the ensemble works magic, though. Camp is particularly, dryly memorable. But this script, and the unsteady direction, suffers from high expectations. Drive-Away Dolls is fine. It’s fun enough. It’s nutty. But if Coen and Cooke weren’t awkwardly chasing their own family history, it would have been more satisfying. About the Film Critic George Wolf Theatrical Release, LGBTQ+ < All Reviews Next Film Review >