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HOME | FILMS | REVIEWS Whippy Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Apr 12, 2024 Directed by: James Rooke Written by: James Rooke Starring: Emun Elliott, Kal John, Aaliyah Iruoesiri In Whippy, director James Rooke brings to screen the most intense ice cream war seen since Peter Kay donned his ‘Mr. Softy Top’ wig. This short Scottish send-up of bloody gangland movies is great value for a mini-milk sized comedy that brings a new meaning to brandishing a magnum. Glasgow, 1983. A turf war has erupted around the outer-city tower blocks over an addictive white substance that makes people go crazy when they hear music. Dealers fiercely protect their parks, and when a notorious seller known only as Mr. Sprinkles (Emun Elliott) hears that John (Kal John), a new ice-cream man has been selling 99s on his patch, he takes drastic action. A tense stand-off threatens to spill strawberry sauce, until a demanding customer (Aaliyah Iruoesiri) intervenes… At its screwball centre, Whippy is a fun and clever comedy short that works brilliantly as a short parody of intense gangland bloodbath movies. It uses its central premise of a violent ice-cream turf war to deliver some great gags and play with the genre it upends. Played absolutely straight until the final few seconds, the sheer novelty of hardened Glaswegian accents snarling over the severity of the cornetto market is inherently great. The additional use of ice cream-adjacent props for humour, including one particularly unlucky cone and some surprisingly voluminous sauce is the flake on top of the 99. At only 5 minutes long, the film is a little more Calippo than Ben & Jerry’s in the depth department. It never really aims to be more than a drawn-out gag, a great scenario but one that receives little more development than it requires for its base premise. The last bite of an ice-cream is often the best, whether it’s the bottom of a cornetto or the melted creamy remnants at the end of a McFlurry – and the reason why is because it leaves you wanting more. Whippy ends the same, quickly and neatly running through its story satisfactorily, but leaving plenty on the table. Emun Elliott and Kal John are both menacingly great in their roles, bringing an intensity that is critical for the ridiculousness to land when one remembers that these two grizzled, brutish operators are fighting over desert. No strangers to much more serious projects, the film cleverly makes central the unknown but evident personal rivalry between the pair, and lets the humour flow from audience amusement at the premise rather than forcing gags or needing to explain the farce of their battle. A brilliant quick comedic treat, Whippy will tickle those with love for the gangster genre and beyond. Much like an ice-cream, it comes and goes far too quickly, but is a great ride whilst you’ve got it in your hand. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Filmmaker Features Chris Olson Mar 31, 2023 4 min Filmmaker Interview With Xinyu "Ciao" Zhao Chris Olson Feb 17, 2023 1 min Interview: Saudi filmmakers hit comedy Sattar UK Film Review Mar 31, 2021 2 min The newest Film Podcast on Spotify Chris Olson Mar 18, 2021 4 min Filmmaker Interview with George Louis Bartlett Patrick Foley Feb 28, 2021 3 min Death Offers Life short film review Patrick Foley Nov 3, 2020 3 min Cowboy and Preacher indie film review

HOME | FILMS | REVIEWS Strange World Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Nov 21, 2022 Directed by: Don Hall, Qui Nguyen Written by: Qui Nguyen Starring: Jake Gyllenhaal, Jaboukie Young-White So, one of the main characters here looks exactly like John Krasinski, but is voiced by Jake Gyllenhaal? Strange World , indeed, but that’s just an amusing footnote in Disney’s latest animated feature, an enjoyable family adventure with a straightforward message and commitment to inclusion. Jake is the voice of Searcher Clade, a contented farmer still dealing with the ghost of his famous father, Jaeger (Dennis Quaid). Twenty-five years ago, Jaeger vanished during the family’s quest to discover what lies beyond the mountains of Avalonia. But while Jaeger was lost on the expedition, Searcher brought back a vital new resource for his homeland: the Pando plant. Pando now provides the energy that drives almost everything in Avalonia, which is all fine until the crops show signs of a serious infection. Putting aside a vow not to follow his father’s adventuring path, Searcher, his wife Meridian (Gabrielle Union), their son Ethan (Jaboukie Young-White) and their three-legged dog join President Mal (Lucy Liu) on a mission to cure the Pando plant and preserve their comfortable way of life. Writer Qui Nguyen (Raya and the Last Dragon ) joins his co-director Don Hall (Raya, Moana, Big Hero 6 ) to craft an ecological allegory seemingly inspired by the union of a role-playing board game and one of those cute posters you pass while waiting in the lines at Disney World. The animation itself is stunning, whether snowy peaks, verdant village or trippy, drippy otherworld. Strange World lives up to its title, delivering a visual feast. But there’s more on Nguyen’s mind than eye candy. His story offers a world where generations do not have to be defined by what they always believed was right, where masculinity has no concrete quality but is a term owned by the individual. More importantly, this Strange World is one where creature comfort is not more important than survival. Often the film feels like it’s trying too hard to correct the stereotypes nourished by generations of children’s entertainment. But there’s a kindness and a sense of forgiveness throughout the movie that does make you yearn for a world like this one. About the Film Critic George Wolf Theatrical Release, Animation < All Reviews Next Film Review >

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March Movie Trailers It's post-award season, and March is the movie calendar's equivalent of The Godfather III. With that being said, we hope we have scavenged some decent enough movie trailers of films coming out in March 2020 that you can at least have something to watch through all the tears streaming down your faces (was that a Coldplay lyric?). All of these trailers are on YouTube, either via the official distributor's channel or the EXTRA SPECIAL UK FILM REVIEW YOUTUBE CHANNEL. Use the YouTube link in the footer of our website to SUBSCRIBE. That way you get to be part of our super duper trailers community. It's pretty much like any other YouTube channel except our's is messier...Don't tell the Editor we said that. You can also find our march movie trailers on our Facebook page, where we post them regularly. Or you can use the "Videos" tab to search for an older film trailer and binge until your heart's content. Although, why we are on the subject, why does Facebook call them videos? Nothing is on videotape anymore. Sure it should be called something else by now. Anyway, this is all by the by. Take a look at the trailers below and enjoy March in all its movie sadness. Onward Movie Trailer Trolls World Tour Movie Trailer Mulan Movie Trailer Misbehaviour Movie Trailer Back to MOVIE TRAILERS

HOME | FILMS | REVIEWS I Miei Occhi (My Eyes) Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Nov 14, 2022 Directed by: Tommaso Acquarone Written by: Tommaso Acquarone Starring: João Farina, Kseniya Rappoport I Miei Occhi (My Eyes) is an Italian-language film where a woman offers a street performer home and the journey proves to be a life-changing experience. Situated in the single scene in the woman’s car, director Tommaso Acquarone ensures that this is a short film jam-packed full of surprises. Deeply intriguing and emotionally raw, their motivations cannot be placed, but it is clear that they connect over their conversation as they drift through life. Their curiously friendly dynamic certainly creates the backbone of the film and it may be simple in terms of plot, but it is definitely very complicated in terms of execution. Driving around as if she is searching for something, the woman is emotionally vulnerable through her silence and her facial expressions. Nothing is revealed about her except that she seems stressed and is avoiding phone calls. It begs the question what is she escaping from? Throughout the short, it slowly becomes clearer and elements of her life are slowly revealed – but only subtly, so they have the potential to be missed if the audience is not concentrating. Acquarone’s considerations of the scene are brilliantly authentic and do not miss a trick. The woman tries to interact multiple times with the street performer, at first appearing to just be nice to him. However, when she deliberately seeks him out and offers him a lift in her car, her motivations to helping him are curious. Do they know each other, or have they just met? Her lack of consideration for herself is alarming at times, but even more interesting as the film progresses. As day fades into night, the woman becomes more vulnerable as there is a lot unspoken between her and the street performer. It is clear that they are very different and suddenly, the wind changes and creates a very unexpected result. It is shocking and saddening of equal measure and a powerfully real film is created as a result. Action takes place mostly in the woman’s car with a beautiful coastal landscape on a rainy, breezy day. However, their surroundings are just out of reach as the camera does not give them any attention, making the dialogue between both characters more consuming. Camera shots are up-close and personal and feel all-consuming as the woman drives around. It is as though we exist purely in her world inside the car as we purely focus on her actions. Filmmaking is aesthetic and beautiful and very considerate of the two characters, as they are filmed from behind so as to not have us look at their faces head-on. It feels as though the viewer is sat in the back of the car watching as a silent witness to the conversation, making it feel more over-powering. Sounds of the car propel the viewer into the car to experience every deliberate moment of this short film. Mobile phone aside, it has a timeless feel as though it could be set in any time period. With the score being the car radio in the background, it feels very simple and realistic. As darker thematic elements emerge towards the end, there are many confusing and heart-breaking moments and emotions to consider that are heart-breaking for the lone woman in the car. Suddenly, it is as though you could watch the entire twenty minutes again in a completely different way. I Miei Occhi is surprisingly engaging and keeps viewers hooked the entire way through, as they seek to understand who they are riding in the car with. It is a deeply emotive and mysterious watch and Acquarone does well to keep the frustrations and fears of both characters at the forefront. About the Film Critic Amber Jackson Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Ribbon Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 22, 2021 Directed by: Cade Thomas Written by: Cade Thomas Starring: Hannah Gray, Joseph Beard, Matthew Brown, Debbi Tucker A story about two siblings, a homeless woman, a new boss and ribbon dancing. Maggie (Gray) is a young woman who is tired of living at her parents' house and decides to temporarily live with Michael (Beard) her brother, at his apartment. Michael works at a well-established company and the owner has passed away, leaving his son Connor (Brown) to fill his shoes. Connor attempts to befriend Michael and asks for his help regarding the outrageous plans he has for the company. Meanwhile, while job hunting, Maggie learns about a ribbon dancing competition that is taking place at a shopping centre and wants to take part for the cash prize. However, competition rules state that she must have a partner. She then encounters Pearl (Tucker), a homeless woman who claims that she is a ribbon dancer and is willing to support Maggie with the competition. Delighted, Maggie invites Pearl to live with her at her brother's home, leading to all sorts of complications. This low-budget comedy-drama provides a comical insight into life in present-day United States. It explores family values, self-discovery, the challenges of dealing with a new employer, homelessness, the idea of supporting others, looking for opportunities and moving on to better things and it shows that sometimes people are not what they seem to be. The narrative takes consists of two storylines which consist of Maggie's efforts to prepare for the competition and Michael as he tries to cope with Connor's demands. There is plenty of humour and awkward situations. There is significant character development as the two siblings face their problems and begin to find out more about themselves. The performances are OK, with Gray being convincing as a cheerful, optimistic and also naive individual. Tucker is believable as a homeless person and Beard does a good job as a down-to-earth guy. Brown is entertaining as a man who has been given responsibilities he does not want. Although the majority of the movie is in colour, it includes sequences that utilize black-and-white cinematography and it is unclear why these sequences are like that and feel strange. At certain points, the camerawork is clumsy or shaky. The filmmakers use the split screen technique effectively. The music by Chrim is rather interesting and amusing, adding positive qualities to the viewing experience. Ribbon is mostly a comedy that teaches some lessons about life, including the need to have a goal and the importance of helping each other. The characters are interesting and the plot is likely to keep the viewer engaged. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Where The Merrows Roam Listen to our review on the film podcast What our film review said: READ FULL REVIEW Proving the old adage that pictures speak a thousand words, Where the Merrows Roam is a slow-burn that provides audiences the opportunity to lose themselves in a mercurial daydream. The experience will not connect with every viewer, and the story becomes overly intricate at times. But the inventiveness of the storytelling means that those it does reach will remember their experience. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Micky Hardaway Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Feb 25, 2023 Directed by: Marcellus Cox Written by: Marcellus Cox Starring: Stephen Cofield, David Chattam, Kimberly Christian Content warning: abuse, domestic violence Mickey Hardaway is a feature film that sees a young sketch artist pay visit to a renowned psychiatrist as he begins to lose control of his life. Throughout the feature, protagonist Mickey wrestles with his inner demons as he fears personal failure. Acting as the feature length film of the earlier short Mickey Hardaway (reviewed by UK Film Review in 2021 ) and successfully provides an even deeper insight into how abuse has affected Mickey and his ability to recognise his potential. Writer and director Marcellus Cox fully encapsulates one man’s reality crumbling around him in a beautifully conceptualised way and portrays vulnerable masculinity in a way that is seldom seen on screen. A man allowing himself to feel vulnerable and express his vulnerability in a society that rejects that is a brilliantly inspired commentary on masculinity. The emotive script not only acknowledges trauma, but sees the main character seek to process it and at least attempt to release negative feelings for the first time. It is a cathartic and intelligently made film that jumps straight into the action, as though Mickey is directly reliving life events during a therapy session. Discussions concerning life’s hardships and mental health difficulties contribute towards a journey from hardship towards some type of personal healing. This sees thoughtful and deeply emotive performances from every actor, who all clearly understand the character that they embody. This feature feels like an ode to a film style that directors like Barry Jenkins use to make the viewer a part of the action, with its realistic dialogue, soundscape and setting to create a real-life location and society. Background noise in each location adds to the atmosphere of the film, giving it a realistic feel and a clear sense of place. Somehow, being mostly in black and white feels more authentic somehow, as though we are witnessing a snapshot in time. The cinematography ultimately acts as a beautiful metaphor for Mickey’s progression, and struggles, as he seeks to process and handle his emotions with grace. Camerawork also acting all-consuming in this way with plenty of close-up shots also shows another side to his vulnerability. Although there are some issues with the film’s pacing, this in no way detracts from Mickey’s story as he is aided to confront his personal demons. His fight for individual agency despite being knocked back multiple times is admirable and incredibly moving, as he vocalises anxieties over not living to his full potential. Sympathetic characters accompany Mickey on his journey from childhood, yet it feels as though everyone is failing him. This is a feature that captures how insular and alone its protagonist feels in the aftermath of a broken family and broken dreams. At the end of it all, the viewer finds themselves wishing that there was more to this beautiful story. Mickey’s story is a heartbreaking reminder of human survival and he ends up facing his melancholia head on. Cox’s film interrogates what it means to be a man and to be vulnerable, as well as other vibrantly hard-hitting themes such as breaking the cycle of generational trauma. It is a fantastic feature well worth seeing, as it attests to the absolute skill and dedication of its filmmaker who, despite a small production, has delivered a huge success. About the Film Critic Amber Jackson Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Remembering Gene Wilder Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 3, 2024 Directed by: Ron Frank Written by: Glenn Kirschbaum Starring: Gene Wilder, Mel Brooks, Carol Kane Maybe the smartest choice director Ron Frank made when putting together his affectionate documentary Remembering Gene Wilder was to pull audio from Wilder’s own autobiography. Sure, we hear from many who loved the comic actor—Mel Brooks, Carol Kane, Alan Alda among them. But everything they tell you about his authenticity, humility, humanity, and perfect comic timing you can hear for yourself as Wilder spills the beans on his life. You remember the hair, of course. And probably those eyes. But that voice proves, in case you have forgotten, that there was something deeply, bubblingly, undeniably delightful about Gene Wilder. And he could act. Frank, working with writer Glenn Kirschbaum, hand picks some of Wilder’s best scenes. Not necessarily the most iconic, but the most confounding, the scenes where he made a creative decision no one else would have considered, creating an indelible moment on screen. This is a film that loves Gene Wilder, and it makes a pretty good case for that. We hear about is childhood, about Willy Wonka, Young Frankenstein , Richard Pryor, Gilda. Each story showcases the gentle, charming creature that was Gene Wilder. Though Frank doesn’t break any new ground cinematically—talking head interviews flank home movies, film clips surround family photos—the mellow approach belies a deep emotional connection. Remembering Gene Wilder is not just a greatest hits. Although the film does not delve into any of the actor/director’s box office or critical missteps—nor does it devote a single moment to anything that would make Wilder out to be anything other than a treasure—it acknowledges low times. Even those just make you want to hug him. Not every film or character of Wilder’s has aged well, but his good nature and talent shine none the dimmer. Remembering Gene Wilder certainly does not unearth any ugliness, bares no startling truths. It’s clearly the product of a filmmaker who truly loves his subject. He doesn’t seem wrong, though. About the Film Critic Hope Madden Theatrical Release, Documentary < All Reviews Next Film Review >

Plant Life Listen to our review on the film podcast What our film review said: READ FULL REVIEW The main totem of this loss is a plant they got together, which he now wants her to care for. He speaks to the plant as though it will speak back, their communication clearly intended to replace that of his previous relationship. The breakdown of communication between him and his ex is partly supplemented by trying to act out the feelings he has towards her. “What are you looking at?” he asks it frustratedly, evidently taking out some misplaced anger. Contrasting this, he then plays guitar for it, expressing some romanticism and love. The acoustics are rich and warm, filling the empty space with something more lively. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Neptune Frost Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jul 27, 2022 Directed by: Anisia Uzeyman, Saul Williams Written by: Saul Williams Starring: Cheryl Isheja, Elvis Ngabo, Bertrand Ninteretse Drawn by common dreams, individuals from all around post-war Rwanda journey to a place, time and reality they can call their own in Anisia Uzeyman and Saul Williams’s Afrofuturistic musical, Neptune Frost . The nightmare of war in the recent past, the oppressive religion, and the reality of the economy take shape on the screen. What is Rwanda today? Williams and Uzeyman use something that feels like performance art to depict Africa’s place in technology’s journey to consumers. Tech’s raw materials—from the coltan (a raw material used in electronics) characters mine to computer refuse strewn and useless across the landscape—are woven into different character costumes. Visually stunning, the aesthetic emphasizes the story’s earthy yet techno quality. Bursts of color and texture in costume design, in particular, along with surreal, day-glo dream sequences are gorgeous. At the same time, the filmmakers braid together varying uses for the word binary. An obvious term in relation to the lo-fi tech landscape, the word takes a more complicated meaning with the fluid presence of Motherboard, played at first by Elvis Ngabo and later by Cheryl Isheja. The word is again reexamined as Motherboard is received by Innocent (Dorcy Rugamba), and then Matalusa (Bertrand Ninteretse). Traveling from one age to another, one realm to another, one gender to another, Motherboard is an agent of transformation. They tell us they see through what blinds others, they see the past and present and future altogether. In time, the very word binary becomes meaningless, a limitation. Frequent mention of binary crime theory, a concept deepened by the line “to imagine hell is privilege,” offers stark reminder that this is a Rwandan film. For Neptune Frost , there is not one or the other, not past or future, not good or evil, not male or female, not miner or mine. This fluidity makes the film tough to properly summarize, and the ambiguous and ambitious plot structure becomes frustrating during the middle section. But Neptune Frost is never less than fascinating. Rich with symbolism that brings past to present and reinterprets it for the future, the film speaks of resilience and power. And it does it like no film you’ve seen before. About the Film Critic Hope Madden World Cinema, Indie Feature Film < All Reviews Next Film Review >