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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 Below A Dark Wood Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Aug 2, 2022 Directed by: Bill Slovick Written by: Bill Slovick Starring: Jesse Massaro, Jackie McMahon, Lucy McMahon When will movie characters learn that you should never, ever, under no circumstances, go and stay in an isolated cabin in the woods. Quite frankly, they only have themselves to blame when some form of zombies/ghosts/monsters/demons/serial killers/insert other terrifying creature of evil turns up and ruins their time - I mean, they’re practically asking for it! Still, in ‘Below A Dark Wood’, a man (Jesse Massaro), who clearly hasn’t seen many films, does just that and settles down for a nice quiet time in the wood with his dog (Lucy McMahon). As expected, the man is haunted - though not by evil. No, this man is haunted by his past, something to do with a woman (Jackie McMahon), who is seen only in a photograph. That doesn’t lessen the tension, in fact, it only amplifies it. The serene sound of nature coupled with the monotonous sounds of everyday chores and activities. It’s bizarrely unsettling, and puts you on edge so that when no real shock comes, you feel slightly let down and disappointed. The ending, to an otherwise impressively tense piece, feels artsy for the sake of being artsy, and lacks any real punch. This is for two reasons, the first being the aforementioned boiling pit of tension ultimately just ebbing away into an anti-climactic finale. The second problem arises due to the overall vagueness of the film, which, whilst it suits the tension-building side, fails to add any character to the man, and leaves us with more questions than answers come the end of the film. For instance, we don’t know the man’s relation to this woman - presumably his mother or partner - and we are unclear of his motivations in his final act towards the end of the film. Nevertheless, this is a film which superbly builds tension, all without saying a word. The performance of Jesse Massaro is frightening - his eyes piercing into the mirror as though possessed by a spirit, and gazing down the camera sent shivers down my spine. Behind the camera, Bill Slovick does an admirable job, and frames the picture well - with some gorgeous shots of the haunting wilderness. It’s a film which feels as though it’s trying to say something, but the words just don’t come out - and not just because no words are spoken. The imagery of the man putting on a dress and some lipstick could be some veiled pointed message, however, we’re not given enough to truly follow what that message might be - in short, it’s too vague. There’s a lot going for ‘Below A Dark Wood’, but it ultimately comes to nothing, leaving you with a sour taste in the mouth. It has all the elements of a good story - it just doesn't stick the landing, which then causes everything which came before to crumble as well. If you want a lesson on how to build tension in a short film without saying a word - then look no further - however, for an exercise in a fully-formed story you will have to look elsewhere. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Passenger C Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 23, 2023 Directed by: Cassian Elwes Written by: Cassian Elwes Starring: Jon Jacobs, Eric Bruneau, Makenna Timm, Malcolm Kelner A film producer is deeply affected by his experience with a troubled young man during a flight. This feature is based on true events. On the 19th of August 2012, film producer and talent agent Cassian Elwes was on a flight, traveling from New York City to Los Angeles, when a fellow passenger began behaving aggressively, causing the plane to make an emergency landing in Denver. This movie focuses on the incident and the events that followed. The screenplay has an interesting structure. The first half or so consists of scenes that show what took place during the flight and they alternate with flashbacks about Cassian meeting his daughter's boyfriend. After this, the narrative becomes more linear and follows Cassian as he attempts to get the making of a film (Dallas Buyers Club ) in motion. At the same time, he feels sorry for Marco, the unruly passenger, and decides to reach out and try to help him. The feature does a good job in portraying the dramatic events that took place in the airplane and the effects they ended up having on Cassian, who had a conversation with Marco in an effort to defuse the situation. Thanks to strong performances by Jon Jacobs as Cassian and Eric Bruneau as damaged former marine Marco, the interactions between them are quite emotional. Through Cassian's character, the movie also offers an insight into the film industry, which is a significant part of the story. Filming was done in black-and-white and director of photography Andrew Parke delivers terrific cinematography. There is footage of real events, such as an Oscar Ceremony and quite a few wonderful aerial shots of Los Angeles and New York City. This feature portrays an extraordinary real-life incident and utilises it in order to tell a dramatic story about an unlikely bond that develops between two people who meet under very unusual circumstances. It is a film that explores mental health, redemption, support, self-discovey and friendship and it raises awareness of active assistance towards war veterans. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Head Returns Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Mar 8, 2024 Directed by: James Rolfe Written by: James Rolfe Starring: James Rolfe, Kirk Hart, Kevin Finn Twenty years after a malevolent floating head, commanded by a mysterious man adorned all in black, turned a psychiatric doctor’s world upside down and landed him in an asylum, that man and that head have now returned, forcing the doctor (Rolfe) to once again face his demons and his fears in an effort to finally uncover the truth and hopefully, free himself from this nightmare once and for all. To understand and fully appreciate The Head Returns , one must first look back to 1999, where actor/writer/director James Rolfe first introduced us to his crazy idea about an evil floating ventriloquist’s dummy’s head terrorising locals in The Head Incident . Then and there, a younger Rolfe’s initial offering which followed main characters Rick and Bob’s fight against evil was a clear labour of love that leaned more into the actual horror-ness of it all, setting out to make a fitting homage to B horror filled with grainy imagery, Ramones-esque wigs and, for the time and budget, decent practical and special effects. Now twenty years later, the head has returned and so has Rolfe, older, wiser and more practiced, but also with that same burning passion for movies in this genre that makes The Head Returns an enjoyable watch, even if it is a bit rough around some of the edges. The Head Incident as already stated, despite being made in 1999, had very commendable technical execution behind it for its time, so it’s clear that Rolfe’s filmmaking chops are innate. But Rolfe has clearly picked up a few more tricks since then, and it has only made him better and us luckier for it. The Head Returns offers us even better special and practical effects, better editing and better cinematography and Rolfe’s ability and clear desire to make this film look and feel as good as it can be is both applaudable and the very thing that gives it life. But although The Head Returns does nail the look and feel while marrying itself wonderfully to the original, the storytelling seemed a bit stronger first time round than it is here. The concept is a strong one for sure, Rolfe’s doctor is still struggling to comprehend the horrors he experienced while also living with the gnawing regret of disbelieving Rick all those years ago, which speaks to deeper themes of regret and takes things in a slightly different direction this time round which can be appreciated. But while the doctor’s journey for closure and forgiveness starts and ends strong enough, it lacks any significant pace or precision or purpose in the middle where the film loses a lot of steam and needed something else to keep things moving along. However, it is nice to see the same cast come back for another round, and also to see that the performances have also improved, for the most part. The Head Returns definitely shows that Rolfe has still got that passion and care to make films well worth a look. It works best when double billed with The Head Incident not just for some much-needed context, but to be able to see the beauty in a fun and silly idea brought to life with pure love and affection still have legs and purpose 20 years later. Both films are available to watch and enjoy on YouTube now About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Darkest Sorrows Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 25, 2021 Directed by: Brandon Gotto Written by: Brandon Gotto Starring: Margaux Colarusso, Raytan R.K. Rawling, Patrick Delandtsheer, Veronique Salme A father and his daughter go to their holiday home in the countryside, hoping to recover after a terrible tragedy. Unfortunately, things turn very sinister. Devastated from the aftermath of a fatal car crash that ended the life of his wife, Daniel (Rawling) and his daughter Iris (Colarusso) drive to an isolated property that they own with the intention of spending some time there by themselves and finding some peace. At first they talk and try to comfort each other, however Daniel becomes less and less able to control his emotions and begins drinking. Eventualy, he blames Iris for her mother's death, resulting in verbal and physical confrontations. This multiple award-winning feature is the directoria debut by Gotto and it begins as a poignant drama about loss and grief, gradually turning into a psychological thriller. The atmosphere is rather dark and the main focus is the unstable relationship between Daniel and Iris, which goes from bad to worse as he becomes more and more hostile towards her. There is a lot of drama and tension, scenes of confrontation, heartbreaking scenes, violence and nail-biting moments. Flashbacks offer a glimpse into the lives of the protagonists prior to the accident. There are also brief moments of tenderness, although there appears to be little hope that things are going to turn out OK. As the story progresses, spoken words become less and less frequent, in fact the final thirty minutes contain almost not words at all, relying on the actors' silent performances. Both leads deliver award-winning performances and they are outstanding. They both portray individuals whose lives have been deeply affected by the loss of a loved one. Rawling is terrific as a person who is struggling hard to come to terms with the passing of his wife and fills himself with rage, which he turns against his daughter. Colarusso is emotional as a fragile young person who becomes a victim to her father's rage. The cinematography by Gotto looks amazing and gives the film a downbeat look. Composers Ricardo Rodriguez and Rawling develop music that is dramatic, tense and melancholic and utilises sounds of piano and violin effectively. Slow motion is used in order to create dramatic scenes and there are beautiful establishing shots of landscapes. This is a rather bleak film that takes the audience down a dark tunnel, where there appears to be no light. It is filled with negative feelings and observes how two broken individuals can snap. It is not a comfortable viewing, however it is a viewing worth experiencing. About the Film Critic Jason Knight World Cinema, Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Kaamdev Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 18, 2024 Directed by: Prabhakar Pant Written by: Prabhakar Pant Starring: Vishal Om Prakash, Shriya Jha, Harleen Rekhi Hindi-language short Kaamdev is a short film in the mould of an Indian sitcom – a novelty to most UK-viewers – that handles matters like family strife, poverty and isolation with an affable, yet slightly lightweight humour. When he struggles with finances and the shame of earning much less than his wife, Dev (Vishal Om Prakash) receives an unexpected phone call. Promising him untold earnings, the woman on the end of the line, Sona (Harlee Rekhi), lures Dev in to what seems like an obvious scam. But the pair end up finding unexpected common ground between them as the truth comes out. Kaamdev is a surprisingly amusing and heartfelt short film that enjoys experimenting with genre staples to result in an original concept. Accompanied by a live-studio-audience-style laugh-track throughout, though never attempting to convince the viewer that it was shot as such, much of the film exists in a strange space whereby Dev’s story feels almost ominously surreal. This is never fully committed to by the director, yet the absence of the laughter as the film proceeds and becomes all the more sincere makes for a surprisingly powerful impact. The film is packed with similarly classic sitcom-esque humour. None of the jokes are particularly strong, though perhaps land better in the original Hindi than they do over translation. Dev’s financial circumstances are the basis for much of the back-and-forth in the film’s opening third, as well as when Sona becomes increasingly frustrated at her failure to extract money from her mark. It’s old-school humour, and perhaps much more prescient in its native country than in the UK, but much of it translates well enough. The plot of the film is straightforward enough and acts mainly as a vehicle for the humour. Where perhaps it falls short is that a major decision by Dev at the film’s end doesn’t feel earned, and doesn’t have any consequences of note once it is made despite significant build-up of Dev’s financial situation. The lack of a physical meeting between Dev and Sona is a factor in this, as is the general failure to land Sona as a sympathetic, or crucially, trustworthy character. Granted, it is a sickly-sweet sitcom where normal human behaviour need not always apply, but given the prominence given to contemporary political and societal issues, it undermines some of the better aspects of commentary the film includes. Perhaps it is the failure to really commit to challenging its own genre that left Kaamdev feeling like a film of unfulfilled potential to me, but a return to the comforting, ‘all’s-well-that-ends-well’ sitcom wrap-up meant this film felt ultimately average. It’s got a good heart, but lacks real punch or purpose. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Transmission Film Review average rating is 4 out of 5 Critic: Rob Jones | Posted on: Mar 22, 2023 Directed by: Carleton Rodgers Written by: Carleton Rodgers Starring: Jackson Allen, Jack McAvoy, Richard Clements, Janine Walker It’s so easy to get swept up in the beautiful visuals of Transmission that it takes another watch to really understand the story it’s telling. That isn’t a criticism against its narrative or anything like that, but more a huge compliment to something else that this film has achieved. Writer-director Carleton Rodgers is clearly a fan of Steven Speilberg’s work in the sci-fi genre, and a lot of the aesthetic signatures that we see in films like Close Encounters of the Third Kind and ET are in this, but it builds upon them in such a sweet, subtle way. Transmission starts with two kids playing in commando gear, pretending their dog is an alien that they’ve been tasked with neutralising. It feels like a very familiar set-up because we’re so used to all of the elements in it that amount to Americana. Any kid who grew up outside of the USA watching shows like The X-Files or films like Independence Day knows the feeling of otherness that comes with it. It’s not necessarily a bad thing, but you’re fully aware that you’re watching something that isn’t your story. Transmission uses some really interesting, really subtle tricks to play into that and to create something very surprising out of almost nothing at all. Without giving too much away, it brought a smile to my face that lasted the whole of its runtime. Another trait that it shares with the Speilberg sci-fis is that it’s actually a story about family. The nucleus of it all is two brothers who share an interest in space and all things otherworldly. All of the conflict is driven by this interest that they share, both with each other and with their parents. When one of them goes missing, it turns into something even sweeter than it already was. It’s now one boy’s mission to save his brother in any way that he can, and the key is the sense of wonder that the adults in his life have long lost. It’s so refreshing to see a modern film like this. In a time where the majority of sci-fi is dominated by either big franchises or stories about doom and gloom, this gives us a blast of nostalgia by taking the genre back to its more fantastical roots. It can certainly be accused of containing more than the odd genre trope, but they come across more as homages than just acts of laziness or a lack of creativity. What comes across in this more than anything is that it comes from a place of love, and when that can be said about a story like this, then it’s onto something special. Transmission is a sweet story that wears its influences on its sleeve, and is a fantastic experience for a non-American sci-fi fan. About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS One Life Film Review average rating is 5 out of 5 Critic: Brian Penn | Posted on: Jan 6, 2024 Directed by: James Hawes Written by: Lucinda Coxon, Nick Drake Starring: Anthony Hopkins, Johnny Flynn, Helena Bonham Carter, Romola Garai One of the simplest movie plots is the concept of good overcoming evil. Not necessarily the all-conquering superhero who jumps from the pages of a Marvel or DC comic; but a quiet, heroic individual who beats the odds and slips away when their work is done. One Life tells the story of a man rightly dubbed 'the British Schindler' and is a fitting tribute to the life of Sir Nicholas Winton. His daughter and biographer Barbara was strict regarding the terms of adapting his life story. Anthony Hopkins had to be cast in the role of Nicholas Winton. Her wish was duly granted as the twice Oscar winner performs with customary intelligence and flair. The film begins in 1988 with Winton (Anthony Hopkins) now retired but still surrounded by shadows of the past. With well-placed flashbacks the narrative links past and present as a compelling tale takes shape. Back in 1938 a young Winton (Johnny Flynn) has a keen eye on international matters. The Munich Agreement is in tatters as Hitler prepares to invade Czechoslovakia. Winton joins a group dedicated to the care of refugees displaced by Nazi rule. He soon decides to rescue hundreds of mainly Jewish children trapped in Prague. With the help of his mother Babette (Helena Bonham Carter) he negotiates a mountain of bureaucracy to organise the kindertransport. Meanwhile back in Prague Doreen Warriner (Romola Garai) gamely struggles to get the children onto trains. The older Winton wonders what happened to the children he rescued and those he couldn't save. Subsequent events lead to the recognition that was long overdue. Few films capture the cost of war more effectively than One Life. This is a rare feat as it portrays events before the war started. So the focus is on the symptoms and not necessarily the war itself. Director James Hawes manages to build two distinct stories that stand alone but also have a linear relationship. The imagery of Prague on the eve of war is vivid. This is in sharp contrast to the present and calm reflection of Winton in later years. Hopkins and Flynn are outstanding in their respective roles. In tandem they perfectly capture the essence of Nicholas Winton. A man who displayed courage and humility but still felt he could have done more. A testament to the human spirit and goodness we should all recognise. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Jane Austen's Period Drama Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Apr 27, 2024 Directed by: Julia Aks, Steve Pinder Written by: Julia Aks, Steve Pinder Starring: Julia Aks, Lachlan Ta’iuma Hannemann, Samantha Smart, Hugo Armstrong Jane Austen is rightfully widely regarded as one of the greatest authors of all time, and a pioneer for women in literature. Her works include the iconic ‘Pride and Prejudice’, ‘Mansfield Park’, ‘Sense and Sensibility’, and ‘Emma’, and over two hundred years laters her impact on popular culture remains. Most romance novels and films bare some feature or trope that was conceived by Austen, whilst her work has been immortalised on screen with film adaptations of her novels. The short film ‘Jane Austen’s Period Drama’ works both spoofing and in appreciation of Austen’s work, with incredibly witty and funny dialogue, it feels as though Austen was still alive with us. The title itself is a witty play on words, with film adaptations of Austen’s work over the years generally labelled period dramas, this doubles up, also referring to a woman’s menstrual cycle. It’s an Austen story, with the modern day awareness about a women’s menstruation and periods. IT feels at times like the kind of story Austen would have written had there been an openness regarding the subject as there is today. Writers Julia Aks and Steve Pinder revel in the wit and wordplay of bending an Austen tale to modern sensibilities to hilarious effect. Estrogenia Talbot, played by Julia Aks, has fallen in love with Mr. Dickley, who is played by Lachlan Ta’iuma Hannemann. Dickley, the Darcy of the film, is about to propose to Estrogenia when she gets her period, staining her dress. Unaware of periods, or frankly anything to do with women and the menstrual cycle, Dickley believes that she is injured, and abruptly sweeps her back to her home to receive medical assistance. Further hijinks ensue here, as we meet Estrogenia’s sisters, who are equally as wittily named, and their maid, Mrs. Bitts. Aks and Pinder write the film with a knowing tone, and every actor is in on the joke. Each line is delivered with perfect comedic timing, in purposefully hammy tones, and particularly Aks herself as Estrogenia excels as the slightly bemused Estrogenia. Her chemistry with Lachlan Ta’iuma Hannemann is marvellous, and as Dickley he is magnificent in his own right, knowingly playing into the cluelessness of his character, and yet still managing to maintain a heartwarming sense that he is nonetheless a gentlemen despite his lack of awareness. The film is also directed by Aks and Pinder with a similar visual wit and there is physical comedy to match the verbal humour. Overall, ‘Jane Austen’s Period Drama’ is a film that one would imagine Jane Austen herself would have approved of. It transforms and spoofs her iconic tropes with modern sensibilities and openness regarding the formerly taboo subject of menstruation, to raucously hilarious effect. You can’t help but wonder why this wasn’t made sooner. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Gubbaare Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 29, 2023 Directed by: Hammad Ul Hassan Written by: Sayed Saad Farrukh Starring: Sayed Saad Farrukh, Aghmaza Mubeen The title of the short film-Gubbaare translates to Balloons that can have connotations of light spirited joy and also making some kind of transition in life. The writer Syed Saad Farrukh and Director Hamad Ul Hassan have beautifully illustrated same through the leading pair (Syed Saad Farrukh) and (Aghmaza Mubeen). The plot of Gubbaare revolves around a boy (Syed Saad Farrukh) who is patiently waiting for the arrival of his train. He is content of his isolation and buried in a book until he is joined by a girl (Aghmaza Mubeen). The two cannot be more unlike- She is boisterous, emotional and all over the place while he is aloof and distant. Unexpected delay in the train sparks an unlikely relationship between the two. The film opens into the long shot of the railway station in Karachi Pakistan from the black background and the sound of the train horn to quickly establish the subject matter of the movie. The multiple colours like black, maroon, mustard, white, grey and maroon represent several roles we as people have to play in the world to making exits as per the will of the creator is a good thought by the makers to elevate the essence of Gubbare. The set design, lighting, sound, dialogues, costume, hair, makeup, and props complement the attempt to showcase the reality making the content relatable to the audience. In terms of performance, Sayed Saad Farrukh plays the male protagonist who is calmy waiting for his train to come in the company of his isolation with a book in his hands. He is very open towards the experiences in the journey. Farrukh has a very interesting as well as unique way to express himself. The actor’s body language, voice modulation, dialogues, facial expressions are utilised effectively so that the viewers hooked to the character and get them busy to figure out the multiple layers of Sayed Saad Farrukh. Aghmaza Mubeen plays the role of the leading lady. She is totally opposite to her counter part in Gubbare. Mubeen loves to explore and experiment in life to appreciate every moment. Mubeen understands the nuances of the girl in the narrative to fulfil the needs of the visualisation of the director so that the female protagonist stays with us even after finishing watching the dramatic piece. Gubbaare compares the world to a stage and life to a play where our time is very limited so we should enjoy the time to the fullest by being happy in the present instead of constantly worrying about the future on which we don’t have any control. The short film reiterates that emotional connection as well as bonding is the basic makeup of humans and sometimes simplicity does the trick. The cinematic piece discusses the importance of respecting any form of knowledge so it helps people to grow and become a better person in life to influence their friends and family. The creative piece restates the fact that it is of utmost importance to let go off all the bad memories to save oneself from depression or seek help from the friends and family for it. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >