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HOME | FILMS | REVIEWS Yellow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 16, 2023 Directed by: Elham Ehsas Written by: Elham Ehsas Starring: Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas In August 2021, the Taliban overtook Afghanistan. This short drama explores the aftermath. It is a busy market in Kabul and a young woman (Dehrouyeh) is looking to purchase her first chadari. He enters a clothing shop and requests one from the assistant (Ehsas). He helps her make the right choice, gives her advice and is quite helpful. She does not seem to be fond of the garment and appears to realise that her life is changing. This film is about a turning point in a woman's life, following the Taliban's conquest of Afghanistan. It is obvious that it is the first time she is wearing a chadari, as she does not know how to put it on, which highlights the change that she is going through. Through her eyes, the audience sees a procedure that many women in Afghanistan are going through: getting a chadari for the first time and entering a new stage in their life. The screenplay calmly examines the procedures that the heroine undertakes in order to obtain a chadari and thus (in some ways) go through a transformation and become another person, a person who the Taliban approve of. The film dramatically points out some of the effects of the Taliban takeover. One is the degradation of women, which is explored through Dehrouyeh's character and a television news broadcast about the strict laws applied by the Taliban regarding women wearing a chadari. Another is the banning of music, which is briefly shown through Ehsas' character. One part that stands out is a dance scene that feels almost magical thanks to slow motion and creative editing by Ehsas and Ross Leppard. Director of photography Yiannis Manolopoulos does a great job with the cinematography and commendations go to Jessica Holme for the costumes. An effective point-of-view shot places the viewer in the heroine's position, helping them feel how she feels. This film is a poignant and hard-hitting commentary about the Taliban's seizure of Afghanistan, how it affects the people of that country, particularly women. It provides an insight into the current situation, painting a bleak vision of the future. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Jellyfish and Lobster Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 31, 2024 Directed by: Yasmin Afifi Written by: Yasmin Afifi Starring: Flo Wilson, Sayed Badreya, Sergute Mariam Jellyfish and Lobster (2023) is a heartwarming, hopeful piece of dramatic short filmmaking. Clearly constructed with deep passion, it tells a bittersweet story: set in a care home, a woman (Grace, played by Flo Wilson) has cancer; she befriends a man (Mido, played by Sayed Badreya) who has Alzheimer's disease. Together, they find a swimming pool which holds fantastical qualities, allowing them to live as their younger selves when submerged. It’s a fairytale of sorts – youth rediscovered; romantic passion relived. The pool acts as a fascinating narrative device, used to illuminate our protagonists’ passions for life which, in turn, informs how they are to approach their current situation. These less realistic sequences also serve as a much-needed break between the more upsetting content of the screenplay. Utilising a conceptual story-trait as a way of subtextually complementing ‘real world’ characteristics is not uncommon is short films; however, while fantasy most certainly plays a part in the characters’ journeys, they maintain an emotional realism. One really senses their sadness and then their contrasting excitement. In this respect, it’s an impressively experiential work. Tone, and the ability to gage, balance, and manipulate it, is one of the most significant traits of a movie -- truly a make-or-break when it comes to the success of any work. What’s unique about Jellyfish and Lobster is its approach to combining comedy with deep discussion of real-world issues. Subtly, we often transition from amusing to tragic in the space of a few seconds; but these transitions are always fueled by the narrative trajectory. It must be said, there are a few lines that feel slightly clunky or unnatural; yet the script is incredibly strong overall, harnessing these fluctuating emotions with expert precision. A huge factor, of course, are the central performance(s), and thankfully they deliver. There’s some brave acting on display – never afraid to explore the darkest territory, yet embracing a sense of fun when they see the light. In particular, the portrayal of Grace is the film’s best quality: as playful as she is acidic, Flo Wilson brings a wonderful complexity to the role. Displaying a range of emotions and never appearing detached, we’re always brought along for the ride. When it comes to the more technical aspects, the film is working at an exceptional level. Cinematography-wise, there’s a lot of beautiful lighting and photography to feast your eyes on. The use of widescreen is effective in its suggestion that what we’re viewing is a grander, more epic journey than we might be led to believe; and the film grain is also a pleasant addition – after all, the short is about travelling back through time, in a personal sense. Not too dissimilar from the piece’s content, the look is soft and vibrant, matching the story perfectly. Despite the serious subject matter, the film manages to be joyful and cathartic. In part, this is due to the high-concept, fantasy element... but more so it’s a tale of friendship and finding solace through those around you. With pitch perfect performances and a story that’s always engaging, there’s no doubt that audiences will be moved by Jellyfish and Lobster . About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Community Service Listen to our review on the film podcast What our film review said: READ FULL REVIEW Taken from a story by London care-giver Will O'Keeffe, Community Service strips bare the realities of a life not well lived. We struggle along with Hugh as the days unfold and nothing gets better and we look on helplessly as he fumbles around trying to keep the pieces of his life together. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Nope Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 20, 2022 Directed by: Jordan Peele Written by: Jordan Peele Starring: Daniel Kaluuya, Keke Palmer, Steven Yeun There are some truly frightening moments in Nope . Some revolve around things you may think you know based on the trailer. Others feature a bloody monkey in a party hat. All these and more are tucked inside the kind of patient and expansive brand of storytelling you might not expect from writer/director/producer Jordan Peele. Where the filmmaker’s first two exceptional features explored wildly different styles of horror, his third effort, though scary, taps much more into Sci-Fi. And Nope has plenty to say about Black cowboys, the arrogance of spectacle, and getting that elusive perfect shot. OJ Haywood (Daniel Kaluuya) and his sister Emerald (Keke Palmer) work under their father Otis, Sr. (Keith David) at the only Black-owned horse training business in Hollywood. The Haywood lineage dates back to the very first “assembly of photographs to create a motion picture,” and Haywood’s Hollywood Horses serves various TV and film productions out of a remote California ranch. But recently, OJ has also been doing business with Ricky “Jupe” Park (Steven Yeun), a former child star who runs a nearby tourist attraction. Some amazing things have been happening there, and Ricky seems to need more and more horses to keep the people amazed. Toss in Brandon Perea as a dangerously curious tech store worker and the inimitable Michael Wincott as an esteemed and disenchanted cinematographer and you have a remarkable set of oddball characters, each brought to life with peculiar but sympathetic performances. Peele’s direction and writing effortlessly mine comedic moments, but Nope is no comedy. He unravels a mystery before your eyes, and his shot-making has never been so on point. The way he splashes color and motion across this arid landscape is stunning. His visual cues—often executed with macabre humor and panache—amplify the film’s themes while inducing anxiety. Palmer and Kaluuya are a fantastic pair, sharing an uneasy, lived-in familial tension. Their battling energy—OJ is slow-moving and soft-spoken to Em’s live wire—contributes to the film’s discombobulating feel. Yeun delivers a surprise turn as a man still trading on past glories at a theme park. But everyone here has a relationship to the dangerous, life-altering, perhaps idiotic act of filming, of entertainment, of spectacle. It feels a bit like Peele is saying that making a movie will kill you, if you’re lucky. But opening a film with a Biblical passage is no accident, and on a grander scale, Peele has crafted a genre-loving ode to a comeuppance tempted by grandiose delusions. Nope is a tense, gorgeous, funny, insightful and ambitious thrill ride, which updates the filmmaker’s scorecard to three for three. And while Peele may still feel like he’s chasing perfection, here’s hoping he just keeps chasing. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS No Bears Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 8, 2023 Directed by: Jafar Panahi Written by: Jafar Panahi Starring: Jafar Panahi, Naser Hashemi, Vahid Mobasheri Even of you know nothing of acclaimed Iranian filmmaker Jafar Panahi, No Bears (Khers nist) should be an absorbing and compelling experience. But when you consider that Panahi (This Is Not a Film , Taxi, Closed Curtain ) not only shot the film in secret, but currently sits in a Tehran prison, and is barred from writing, directing, giving interviews or traveling outside Iran until 2030, his continued commitment to agitation through artistic expression grows immeasurably inspirational. With No Bears , Panahi uses the parallel lives of two Iranian couples to comment on the struggles of that expression, and on the powerful forces that conspire to restrict free will. Panahi plays himself, arriving at a small village near the Turkish border to set up a base where he can direct his latest film remotely, joining the set through internet connection. While two actors in his cast (Mina Kavani and Bakhtiyar Panjeei) are trying desperately to land fake passports and flee Iran, Panahi quickly becomes a person of interest in the village. Word has spread that Panahi may have unwittingly snapped a photo of a young Iranian woman (Darya Alei) with a man (Amir Davari) other than the one who has “claimed” her. Villagers are demanding the photo as proof of a grave misdeed, while the woman in question fears the bloodshed that will come from the photo’s existence. Despite numerous reassurances to Panahi about “honorable” intent, the pressure from the villagers only increases, much like the desperation of his actors looking to start a new life. Panahi films in a style that is understandably guerilla, but stands in sharp contrast to the dense, and thrillingly complex storytelling at work. He is deftly calling out both the oppressors and the enablers, while he weighs the rippling effect of his own choices amid a deeply ingrained bureaucracy of fundamentalism and fear, superstition and gossip. No Bears is a brave and bold blurring of fact and fiction, with Panahi embracing the gritty authenticity of the most urgent first-person documentary and the layered storylines of a political page-turner. It may be his most daring project to date, accentuated by a defiant final shot that teeters on the line between ending and beginning. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dog Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 17, 2022 Directed by: Reid Carolin, Channing Tatum Written by: Reid Carolin, Brett Rodriguez Starring: Channing Tatum Dog —the new Channing Tatum film about a former Army Ranger driving cross country with another former Army Ranger, this one an angry Belgian Malinois named Lulu—is not what you expect. I wish that was a good thing. Because what you expect is likely not that good to start with: hunky but irresponsible man learning love and responsibility from an anxious but lovable hound. And you do get that. The emotional trajectory of Dog is no more in question than whether the two bedraggled messes will make it on time to their final destination, the funeral of a fallen comrade. But if you are expecting to laugh, even once, you are in for a surprise. The film, co-directed by Tatum (his first effort behind the camera), makes a number of weak attempts at comedy. If you’ve seen the trailer, you’ve seen all of them. Not a single one lands, and each supposed joke is so lazy, so telegraphed and tired. Dog is a road trip film, which is often an excuse to string together random comedy sketches. Sometimes this works (Vacation, The Mitchells vs. the Machines ). Usually, it doesn’t. Certainly, Dog doesn’t take advantage of the opportunities for hilarity inherent in the cross-country trip. But don’t dismiss Dog as simply a decidedly unfunny comedy. Tatum and co-director Reid Carolin, who co-wrote the script with Brett Rodriguez, use the gags as a sweetener on top of a very dark story about PTSD and living with the emotional and physical damage of war. What lies just beneath the weakly attempted comedy is an incredibly dark film. Not a dark comedy—not by any stretch. Tatum and gang are not going for laughs at the expense of these two scarred veterans and their collective trauma. Lulu is every embattled, broken veteran and we don’t want anything bad to happen to Lulu. Why, then, are we so careless with our broken and embattled veterans who are not also beautiful Belgian Malinois? It’s a worthy message trapped in a sincere, tonally chaotic, humorless, lazily constructed mess of a movie. Dog has merit I did not expect going into it. I wish it was a better movie. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Fool's Game Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 31, 2023 Directed by: Laurence Roberts Written by: Angela Bell Starring: Jordan Duarte, Lora Burke, Fuad Ahmed, Angela Bell Two couples get together for a friendly dinner that leads to unexpected complications. Married couple Peter (Duarte) and Ava (Burke) have invited Matt (Ahmed), an old acquaintance of Peter, to their home for a nice dinner and some catch-up. Joining them will also be Matt's partner Sam (Bell). Initially, the four of them will chat and laugh while sitting at the table, discussing simple things, however the subjects of discussion will eventually become more serious and the drama will arrive. An intriguing short drama about a get-together that does not go the way the attendees expect it to. The four of them will talk about a variety of subjects including work and past experiences, including how Matt and Sam met, generally innocent things to begin with and the conversation turns dramatic and confrontational when they proceed to talk about gender equality in the workforce and open marriage. Now would probably be the time to point out that the popular board game chess plays a crucial role in this film. The short begins with a quote by French political leader and military commander Napoleon Bonaparte which suggests that people are either kings or pawns, emperors or fools. The film connects this quote to chess and to the narrative. The screenplay constantly cuts to a chessboard with chess pieces, with one or two being moved by an unseen person (their identity could be anyone's guess). The significance of this is that the pawns represent the four characters and everytime one of them makes a comment that offends someone, the film cuts to a chess piece making a move, signifying a sort of attack. Also, considering the quote above, the film implies that among the protagonists there are pawns and those who control them, which is perhaps more obvious in the situation between Ava and Peter, as she gave up her career in order to take care of their daughter, while he maintained his job and therefore (in some ways) became superior to his wife. The opening credits deserve credit for the interesting creativity involved. Each time an actor's name shows up on screen, it does so with the close-up of a chess piece, indicating that particular chess piece represents the character and the result is Peter and Ava being the white king and queen and Matt and Sam are the black king and queen. This technique also indicates that the two couples are engaging in a battle between them. Bell's sharp script creates scenes where the characters get into confrontation but not directly, instead unwilling insults resulting in drama and revealing a person's flaws. One character whose flaws are obvious is Matt, who repeatedly checks his phone while others are talking. Regarding the technical side of things, the film is beautifully shot by Roberts and the cinematography looks wonderful thanks to Stephen Bell and Eric Moniz. The dramatic music by Ian Cusson is also a great plus at it creates an interesting atmosphere with the violin and piano melodies. The scenes with the chess pieces are probably the most memorable part in this short, which does not mean that without them there is no significant value, as the clever dialogue, the strong performances, the explored themes and the revelation at the end make this a viewing experience well worth one's while. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Mayonnaise Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Feb 17, 2023 Directed by: Eli Speigel Written by: Eli Speigel Starring: Jack Hirschfield, Veronica Slowikowska Working in the film industry is hard. For many, it’s a fruitless endeavour involving long hours for low pay, and being constantly ordered around by those above you. It can be soul-crushing and break people’s dreams of glitz and glamour, but people persevere because sometimes there’s a happy ending with a successful career doing what they love. ’Mayonnaise’ understands this, but doesn’t probe deeper into the hardships, nor the dreams, and becomes an ultimately fruitless exercise itself. Written and directed by Eli Speigel, ‘Mayonnaise’ focuses on a film production assistant, Sam, played by Jack Hirschfield, on the set of an advert for some mayonnaise. The advert plays similarly to an M&M ad which has run the past few years and is nothing original stylistically. Nevertheless, it requires a big crew, three production assistants alone, each of them disgruntled by their failure to break further into the industry at this stage in their lives. We hear one PA tell the story of one set where he refused to work with the director, and despite his silent response, it’s clearly working away at Sam’s mind. Hence his frostiness to the admittedly hypocritical and overbearing production manager who overloads him with orders - ‘make coffee here’, ‘deliver a chair there’, ‘drop off these beers later’. One of his orders is to drive home one of the film’s producers, Sarah (Veronica Slowikowska). The task begins on a familiarly frosty front with Sam reluctant to allow Sarah into his car, and a general lack of conversation once they get on the road. As things take a strange turn, involving one of the best fake-orgasms on screen since Meg Ryan in ‘When Harry Met Sally…’, the film loses its direction, and in turn takes a severe turn away from any dramatic, or even comedic focus. It becomes quirky for the sake of being quirky, losing its story thread to the point where even Sam is left flabbergasted by the end. Yes, we understand that you’re weird, with a title like ‘Mayonnaise’ we expect that, but that doesn’t mean that you can just completely drop the story in favour of supposedly comedic nonsense under the pretence of being offbeat. ‘Mayonnaise’ is a fairly solid film, it’s definitely well shot, until the car ride takes a weird turn, where it descends into sheer lunacy. One irritant which persists throughout is the film’s insistence on jump cuts mid-sentence - it may be funny the first time, but it most certainly isn’t the second, third or fourth. On the other hand, the performances of Jack Hirschfield and particularly Veronica Slowikowska are impressive. One subtly says everything with just his worn eyes, the other gloriously overreacting with a script which gives her a lot to chew on. The issue with ‘Mayonnaise’ is that it’s too full of itself, and consequently ultimately amounts to nothing. A shame given the promise offered early on, and the good performances alongside a competent script. Ultimately meaningless fluff, which once showed early promise would be a good summary of much of the film industry, so perhaps ‘Mayonnaise’s best comment on the business is through its aimlessness. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Beatles and India Trailer Official Trailer for The Beatles and India Released “The Beatles were tired of the west’s commercialised capitalist culture and looking for spiritual peace, but we looked upon them as exciting symbols of modern culture” Ajoy Bose, director When the world’s most famous band The Beatles made their seminal trip to India in 1968, not only did it inspire a new musical direction for the band, it paved the way for a brand new sound that still resonates across cultural and musical landscapes to this day. 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. It sheds light on how India shaped the development of the greatest ever rock band and their pioneering role in bringing together two vastly different cultures. The film is set for its UK digital release on 4 October, courtesy of 101 Films and will also screen at select Everyman Cinemas on 31 August as part of their Everyman Music Film Festival. This unique historical film chronicles the enduring love affair between The Beatles and India that began more than half a century ago. The Beatles and India follows a rarely seen, fascinating time in John, Paul, George and Ringo’s career and brings it to life with archive footage, recordings and photographs, alongside eye-witness accounts, expert comments and visually stunning location shots. In 1968 the legendary band brought their Western celebrity circus to a remote Himalayan ashram in Rishikesh in search of spiritual enlightenment. What happened next had a profound effect on the whole band… and the whole world. Inspired by Ajoy Bose’s book, Across The Universe - The Beatles In India, British Indian music entrepreneur Reynold D’Silva has taken the amazing saga further by producing Bose’s directorial debut. Bose and cultural researcher, co-director, Pete Compton, have created an audio-visual presentation that stands apart from the many documentaries on the band, delving deep into the most crucial period of their evolution from the world’s most famous pop stars into multi-faceted pioneering musical artists. The documentary won Best Film Audience Choice and Best Music in Tongues On Fire, the 2021 UK Asian Film Festival, where it premiered earlier this year. An accompanying album, Songs Inspired By The Film The Beatles And India performed by Indian artists and the score album will be released on Silva Screen Records on 29 October, along with a DVD and Blu-ray release of the film from Cherry Red. Released on digital 4 October 2021. 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 jar Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Aug 17, 2021 Directed by: Carleton Rodgers Written by: Carleton Rodgers Starring: Brandon Brownlee, Paul McGuinness, Rachel McGrane, CaolanJohnson, The film opens with a child wearing a space helmet with instructions of a mission playing in the background. This scene gives the audience the idea that the little boy has a dream of becoming an astronaut. The child collects money in a jar for the same purpose. The plot also revolves around the relationship between the father and son. The father (Paul McGuinness) tries very hard to support Jake's dream despite the financial troubles and work difficulties. The story also focuses on the struggles the little protagonist faces as a family unit and at school to fulfill his desire to embrace space. Jake(Brandon Brownlee) finds himself closer to his wish of attending a space school by facing all the challenges put forward by Brandon(Caolan Johnston). The plot point that breaks Jake into pieces is when he finds his dad injured because of an accident. The father is in a deep financial crisis. The money in the jar is the only way the duo can pay for the rent and food. Jake can only watch his dream shatter in front of his eyes. He wears his helmet and goes into his fantasy land of the planets and stars, moves towards the sun to avoid the reality of his life. Jake comes out of his dream to find out that his jar is empty. Paul McGuinness can portray the father's feeling so effortlessly. The father is very emotional, heartbroken, and helpless when he has to destroy all the hopes and dreams his son had out of life to deal with the monetary issues in their household. Sarah (Rachel McGrane) and Norton (WillOHare) are two more members from Team Jake who support him at school. Sarah is a courageous person who holds Jake together as she dares to stand up to Brandon when he tries to be unreasonable towards Jake. The viewers make up the fourth pillar in the support system of Jake. The audiences choose to dislike Brandon as well and protect the lead character against all odds. The director/writer (Carleton Rodgers) has managed to keep the audience involved with the film up until the end. The screenplay is simple, and it does not seem to be lengthy. The film has an open-ended closure. The viewers get the freedom to analyze and interpret the cinematic piece as they want to. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS A Love Song Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 26, 2022 Directed by: Max Walker-Silverman Written by: Max Walker-Silverman Starring: Dale Dickey, Wes Studi Filmmaker Max Walker-Silverman’s feature debut A Love song blesses us with 81 minutes of Dale Dickey, a gorgeous western landscape, and not much else. It is enough. Dickey is Faye, a solitary figure with a face full of longing at Campsite 7. She sets her crawdad traps, makes her coffee, studies birds and their calls by day, stars and their positions by night, and waits. Dickey’s performance is a master class in authenticity, as always. She’s been the grizzled Appalachian or the kindly townsfolk in countless films and shows. Rather than hide the years that stretch across her face, she looks out from behind them, eyes bright and observing. She wears a lifetime of experience, and that, along with her instinctive natural performances, creates depth and richness. All that and more is called for in Walker-Silverman’s film because for about 80% of its running time, we’re alone with Faye and witness to Dickey’s achingly real performance. Faye’s solitude is broken up here and there. A friendly couple a few campsites over invite her for dinner. An odd group of siblings arrives with a peculiar request. A kindly and encouraging mailman stops by. Eventually, Faye’s patience pays off in the form of her childhood friend, Lito (Wes Studi). Decades of absence and years of meaning stand between Lito’s charming smile and Faye’s searching eyes. There’s magic and nostalgia for old-fashioned love stories in Walker-Silverman’s script, but these veteran actors don’t bend to sentiment. Both know how to blend innocence with renewal, reimagining coming-of-age as they do. Walker-Silverman’s camera lights on visual metaphors: hearty wildflowers bursting through dried earth, a transistor radio that always seems to know what to play. His film brims with the kind of beauty and type of characters reminiscent of Chloé Zhao’s work, but A Love Song is more meditative. It’s beautiful, touching and real. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Blazing World Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 14, 2021 Directed by: Carlson Young Written by: Carlson Young Starring: Carlson Young, Udo Kier, Vinessa Shaw Creepy twin stuff, Udo Kier, alternate realities—yes, The Blazing World . I am in. Co-writer/director/star Carlson Young takes us on a strange journey as Margaret Winter, haunted twin who lost her sister ten years ago. Struggling to get by, she relents and visits her needy mother (Vinessa Shaw) and difficult father (Dermot Mulroney), who are packing up Margaret’s childhood home for sale. And that is the last normal thing that happens. Working with cinematographer Shane F. Kelly (Boyhood ), Carlson conjures a beautifully melancholic world, one that almost seems like our world but only if you squint. The colors and music suggest a vibrant but eerie dreamscape, the ideal spot for Margaret to lose herself – and maybe find her sister. The title suggests Margaret Cavendish’s 17th Century feminist utopia, but Young’s script (co-written with Pierce Brown) takes only the loosest inspiration. Rather than the tale of a woman learning to lead in another realm, this The Blazing World reimagines one life’s greatest traumas as fantastical games to be overcome. Carlson herself does a solid job of shouldering heroine duties, and she surrounds herself with talent. While Shaw and Mulroney deliver wild and eerie performances, it is Udo Kier you’ll remember best. Of course it is! As gamesman, devil and guide, he charms in his wearily creepy way. Young’s writing can’t quite keep up with her knack for casting, though. While several scenes in and of themselves stand out spectacularly, and the weaving together of the various images creates a strange and intoxicating flavor, the underlying story is just too slight and the metaphors somewhat tortured. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >