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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 Emily Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2023 Directed by: Frances O'Connor Written by: Frances O'Connor Starring: Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead Wuthering Heights was always a conundrum of Gothic literature. It is mean, its tragedies ugly, its heroes selfish and boorish. It’s a dark and misanthropic piece of fiction often mistaken as romance. Lucky for all of us, Frances O’Connor appreciates the twisted nastiness of the novel and suggests a vividly unusual inner life for its author in her feature debut, Emily. Emma Mackey stars with an understated but authentic weirdness as the misfit Brontë sister. Emily doesn’t seem suited for teaching, or for much of anything. The stories she tells are childish and they embarrass her sisters, and she won’t let anyone read what she’s writing. She seems to disappoint everyone around her except her brother, Branwell (Fionn Whitehead). In O’Connor’s loose biopic, Emily finds the space to explore once her sisters are gone off to teach and she is alone with Branwell. The filmmaker slyly inserts memorable scenes from Brontë’s novel as moments, here more innocent, between brother and sister. These moments work on many levels, but mainly because writers draw from their own lives. The dynamic complicates and Emily’s transformation deepens as an unexpected, almost involuntary suiter comes into the picture. Untethered by the judgments of her sisters, Emily is free to determine her own course and the journey is intoxicating to witness. Mackey glows as her character slowly, finally comes into her own, giving us a dimensional, tender and delicately genius young woman you yearn to know better. Whitehead charms in a slightly underwritten but nonetheless poignant role. Oliver Jackson-Cohen – so different than the unrelenting narcissist of The Invisible Man – delivers the greatest arc of any character as assistant parson William. His performance is never showy, but moments of vulnerability give the film its heartbeat and heartbreak. O’Connor breathes life with all its chaos, misery and joy into the Brontës’ 19th century. Emily feels less like the vision of a newcomer than the product of a passionate kindred spirit. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Genocidium Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Jul 14, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Eva Langlet, Alexandre David Lejuez CONTENT WARNING: Rape, Suicide. When Angèle (Eva Langlet) leaves the house one day without a face mask she is kidnapped by a killer known as The Dictator (Alexandre David Lejuez). Once held captive in his dingy loft The Dictator then forces a mask onto her and proceeds to torture and rape her. In the intervals between torture, Angèle fantasizes about her death, be it by her own hand or by her captor. What director Alexandre David Lejuez presents here is anti-mask, anti-vax rhetoric in a wrapping of misogynistic violence. He seems to conflate the needs of the public health system with genocide, religious persecution, and martyrdom. The film opens with a quote from political philosopher and Holocaust survivor Hannah Arendt, as if the Holocaust and wearing a face mask are comparable!? From there Lejuez, fittingly both playing The Dictator and being the film’s director, forces Angèle to be sick in her own mask, beats her repeatedly, and engages in a prolonged rape scene that lasts for five whole minutes. Then after seeing Angèle die many violent deaths we are left with the closing image of Christ on the cross. Staggering. To be clear Genocidium is not challenging or culturally significant like the films associated with New French Extremity. Nor does it have the constructs of a Lars Von Trier or Michael Haneke film. And it does not meet the grade of lo-fi pulp that is associated with Rob Zombie. It is simply a flimsy and insulting allegory shot mostly at a Dutch angle and accompanied by classical music in order to disguise itself as being capable of containing a credible idea. Watch the trailer here . About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

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HOME | FILMS | REVIEWS Naughties Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Nov 30, 2023 Directed by: Olivia D'Lima Written by: Olivia D'Lima Starring: Olivia D'Lima, Nalân Burgess, Conor Tahir Humans have a tendency to look back at the past with hazy eyes that remember it as a far better time than it actually was. This is because it is a safe place, no matter the hardships, one which has passed and in which we can revel in the memories of a supposedly glorious yesterday. Each generation tends to have their own nostalgic lens through which they view the age in which they were adolescents, and this in turn permeates the cultural zeitgeist, bringing ideas thought to be lost to the bowels of time back to the forefront of popular culture. ‘Naughties’, is, as the title suggest, a nostalgic view of the 2000s, though in truth, it falls flat in depicting the period, let down by an overall lack of focus in its writing. In recent years, jettisoned by the seismic impact of ‘Stranger Things’, nostalgic romanticism has largely focused on the 1980s, with films such as ‘It’, ‘Everybody Wants Some’, and ‘Top Gun: Maverick’, following suit and taking us back in time. To a lesser, but nonetheless growing extent, both the 90s and the 00s have enjoyed similar revivals in popular culture, as those who grew up and matured in those decades have come to an age in which they can significantly alter what is popular in wider society. The revival of flip phones (albeit at a much higher level of technology), pleated skirts and cargo pants point to the comeback of 2000s trends, and ‘Naughties’, a web series - itself an extremely 2000s concept - reflects that. ‘Naughties’ follow teenage girl Olivia (Olivia D’Lima) across six mini episodes that depict her fairly exciting life growing up in the 2000s. Nothing, extraordinary happens during these six episodes, but for a school age teenager, these are definitely some of the cherry picked memorable best moments. Throughout these six episodes, Olivia goes through something of a journey of self discovery around herself and her body, with episode one beginning with her engaged in a web chat with a man on the Internet, who wants to webcam and see her naked. There’s also insecurities over the size of her breasts, questions over the legitimacy of female masturbation, and mixed feelings over what she’s attracted too. All this with plenty of shouting at her mother, normally over her barging into her room, as parents are bound to do. Whilst such a narrative through line across the six episodes is good and helps the viewer associate to a greater extent with Olivia as a character, it only has an impact on three episodes of the narrative - the first, last, and an episode in the middle - and thus the other episodes feel like filler, which you should not have in a six episode web series in which episodes are three minutes, and are irrelevant towards Olivia’s overall arc. Nevertheless, Olivia D’Lima’s directing shows moments of creativity that outstrip the ability of her writing and makes a scene in which she is pretending to drink and smoke, just about tolerable enough to get through. ‘Naughties’ is a glimpse into the past through rose-tinted glasses, a nostalgia burst which shows promise in some areas, but is otherwise let down by both its format, which was left in the era in which it is set for a reason, and by inconsistent writing. About the Film Critic Joe Beck Web Series < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Decrypted Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 4, 2021 Directed by: Tom Sands Written by: Mick Sands Starring: Sophia Myles, David Hoflin, Don Gilet, Akie Kotabe, Talisa Garcia, Clive Francis, Amanda Abbington, Kevin McNally Members of the National Security Agency kidnap the creator of Bitcoin and bring him to an apartment for interrogation. However, things do not go according to plan, leading to outrageous consequences. Due to the issues it might cause in the financial world, the Trump administration categorizes its developer as a terrorist and the NSA takes action. Special officer Beth Barnes (Myles) and captain Buck Johnson (Hoflin) have been assigned to capture Satoshi Nakamoto (Kotabe), the man who created Bitcoin and extract valuable information from him that will eliminate cryptocurrencies. In London, Nakamoto and his associate Sofia (Garcia) are taken by Barnes and Johnson and brought to an apartment, where they plan to make them cooperate. Unbeknown to them, they are being spied on by two members of the MI5, who are staying in the building opposite them. The two NSA members report their progress to Colonel Pike (McNally), who is in the United States. The mission swiftly goes downhill as Johnson finds himself unable to resist Sofia and loses his patience with Nakamoto. Eventually, the people in the apartment are injected with a substance that makes them tell the truth, leading to all sorts of shenanigans. Most of the story in this adult dark comedy takes place inside the London apartment, following the situation as it spirals out of control. The operation begins OK, then Johnson's behaviour turns things around, as he becomes sexually involved with Sofia and viciously beats Nakamoto and repeatedly waterboards him. The administration of the truth serum drugs is what leads the story to its catastrophic conclusion. It should be mentioned that this movie is not for sensitive viewers. There is often very strong language, a very strong sex scene and a great deal of sex talk. The part where Nakamoto is assaulted and tortured might be quite upsetting to some. The protagonists deliver entertaining performances as mostly awkward individuals. Hoflin's character is the one who steals the show with his over-the-top performance as a person who ignores his mission and is more interested in pursuing his sexual desires and goes berserk as he attempts to make Nakamoto talk. Myles is the one who is focused on her duty and tries to keep it together. McNally also has an interesting role as a nervous military man who is constantly sitting at his desk, trying to put together a miniature battleship. Recognition also goes to Francis who plays a resident of the building where the interrogation is taking place and finds himself getting caught in the middle of it. Haydn West develops wonderful cinematography that works particularly well during the flashbacks. Richard Morson makes a great contribution with the music that is dramatic, atmospheric, tense, mesmerising and entertaining. Decrypted is not for everyone. It contains a lot of profanity and a great deal of dialogue about sex. One could also argue that the film is a bit overlong. Nevertheless, those who enjoy dark and adult humour will probably not be disappointed. About the Film Critic Jason Knight Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Phantom of the Open Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Mar 19, 2022 Directed by: Craig Roberts Written by: Simon Farnaby, Scott Murray Starring: Mark Rylance, Sally Hawkins, Rhys Ifans Mark Twain once called it a good walk spoilt; Roger Daltrey thought it was an old boy's game. An unknown wag once explained the rules 'You hit the ball as far as you can, and if you find it the same day you've won'. However you define that dark world inhabited by loud trousers and scary jumpers, golf has a never ending fascination for those who see it as much more than a game. True stories about British eccentrics are arriving by the shed load on the big screen; but where Phantom of the Open fits on the quality scale is open to debate. It tells the true story of Maurice Flitcroft (Mark Rylance), a soon to be unemployed crane driver who decides not only to take up golf but enter for the British Open. His enthusiastic wife Jean (Sally Hawkins) completes the entry form and inadvertently ticks 'professional'. Through a series administrative errors he ends up in the qualifying rounds of the Open in 1976. Course official Keith Mackenzie (Rhys Ifans) is far from convinced and keeps a close eye on him. It was the year golf found its first rock star in Severiano Ballesteros who would finish 2nd that year. But it was a different story for Flitcroft who shot the worst round in Open history. He quickly attained cult status and would inveigle his way into subsequent championships. For a film badged as a comedy drama it has few laugh out loud moments. It feels like an extended sketch from Little Britain as a befuddled Flitcroft explains his philosophy of life. This often backfires as he looks like a simpleton and Flitcroft in real life was anything but. The closing titles feature real clips and show him as more assertive than the character portrayed in the film. The pseudo Forrest Gump routine comes undone far too easily as he slips into caricature. With balls and clubs flying in multiple directions there is a level of slapstick that defeats the narrative. However, the film is saved by the charming performances of Rylance and Hawkins. A banging 70s soundtrack pins down the era and brings back a flood of happy memories. The portrayal of Maurice Flitcroft invites the audience to laugh at him too frequently for my liking, but this remains a highly likeable and watchable film. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dhulo (The Scapegoat) Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Jan 3, 2023 Directed by: Tathagata Ghosh Written by: Tathagata Ghosh Starring: Payel Rakshit, Shimli Basu, Bimal Giri, Ali Akram The India we see in ‘Dhulo (The Scapegoat)’ may appear distant and unrecognisable to our western eyes, which, for the most part, thankfully see a world of religious and racial unity, where people are treated equally irrespective of gender or sexuality. As we progress towards that heady idealised society we, unforgivably, tend to ignore the fractured and prejudiced religious situation in countries such as India. ‘Dhulo (The Scapegoat)’ is a painful film to watch, but only because it does such a remarkably good job of highlighting the current climate of hostility and persecution towards Muslims in India. The film begins with a shot of a decapitated goat’s head on the ground - highlighting the central plot device in the opening frame ensures that the viewer is instantly hooked to the outcome of the story, filled with questions as to how, and why, the goat’s head lies on the ground. Perhaps even more decisively the first person we see isn’t a persecuted Muslim, rather it is Neeta Dutta (Payel Rakshit), wife to the villain of the film. Most of the film follows Neeta, as she seeks to reconcile the religious divisions with a local Muslim family, leading to boiling tensions with her abusive husband (Bimal Giri). Neeta is a likeable protagonist, good-hearted yet repressed by her husband, she nonetheless tries to help a Muslim couple, of which the woman, Topu (Shimli Basu) is pregnant. Indeed, it is Neeta who alerts the couple to the fate of their goat, and comforts Topu, offering food and support. Of course, we quickly realise that Neeta is in serious need of support herself, as her husband violently abuses her. In a country where the patriarchy is still very much upheld this is a plight that many women undoubtedly continue to find themselves in. On the radio, there is a broadcast from the Indian prime minister in which he adamantly defends the Citizenship Amendment Bill (which was passed in 2019 and has been labelled a ‘clear violation’ of ‘international human rights law’ by Amnesty International India). The PM says that the bill isn’t discriminatory and that there are no detention centres, declaring that any accusations otherwise are all a manufactured lie against his governance. That is the state of religious tensions in India, with the Hindu nationalist party in power, and enforcing ever more stringent measures against Muslims. In early 2022 the founder of the Genocide Watch group warned of an impending genocide of Muslims in India. As a rallying call for unity in the face of ever-growing tension, ‘Dhulo’ is provocative, raw, and, at times, heartfelt. Writer-director Tathagata Ghosh passionately addresses the issue, but doesn’t rely purely on the audience’s morals to create a moving picture. Ghosh’s direction is wonderfully effective, from close-ups of tear-stricken faces, to wider shots of the landscape. He perhaps best demonstrates his technical ability when using a handheld POV shot, though not the most significant to the plot, it exhilarates the viewer. Ghosh’s script is muscular, blending a critique of religious persecutions with an equally damning critique of the patriarchy. It is the women, repressed by their husbands in different ways, who are ultimately the central figures to the plot and the driving forces of unity. ‘Dhulo (The Scapegoat) is an illuminating film, highlighting the growing issues in India today with a technical prowess befitting a more experienced filmmaker. It is an important film, yes for its performances and direction, but more so because of the context in which it is released. As we begin a new year full of hope, we should consider that not all are afforded that same luxury. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS 2 Truths & a Lie Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Oct 2, 2023 Directed by: Brandon Haynes Written by: Brandon Haynes Starring: Shawn Mathis Gooden, Jelani Pitcher, Arielle Siler, Chris Rothbauer Finding themselves unable to tell even the simplest of lies, which in turn is starting to affect their day-to-day lives, Courtney (Siler), Jonathan (Pitcher) and Frank (Rothbauer) are all seeking help from Melissa (Gooden), a therapist specialising in helping her patients learn how to be a bit more fast and loose with the truth, starting first and foremost with the titular game where one must tell two truths and one lie about themselves. Simple. But while Melissa has a reputation for getting results, the means in which she achieves these breakthroughs is a little unorthodox to say the least. Surreal comedy short 2 Truths & a Lie from writer/director Brandon Haynes explores an interesting hypothesis, is there such a thing as being too honest? The proposition of one being unable to lie is not new to film, but Haynes, along with a knack for comedic writing and a very capable cast delivering it manage to make the idea feel fresh, unique and most of all, very fun. In all honesty, 2 Truths & a Lie is a film that really scores high marks right across the board. The film looks slick and clean and precise, its well-lit, well-scored and well-shot, paced brilliantly to settle us all in nicely at the start before taking the film towards a brilliant crescendo after sixteen minutes that will leave you reeling and as if that wasn’t enough, it’s a script that’s incredibly tight to boot, filled with plenty of moments to laugh, wince and gasp all the way through. But while Haynes has certainly got the script bang on in terms of comedy, it’s the films distinct and enjoyable characters that make it sing, and they come alive all the more thanks to a cast that is absolutely spot on embolden all that hard work. Siler's bullish lawyer Courtney, Rothbauer’s neurotic and submissive poker player Frank and Pitcher’s endearing influencer are all given their moments to shine and seize it with both hands. However, it’s the wonderfully over-the-top Shawn Mathis Gooden as mad therapist Melissa who steals the show with impeccable comedic timing and expression and much like the film itself, is disarmingly funny, dark and simply brilliant to watch. With a couple of deserved awards to prove it, 2 Truths & a Lie is a silly yet truly funny, real good time. Dark humour seems to be right in Haynes’ wheelhouse. If there is more to come, I want to be there. Believe me. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS L. U. N. A. Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Jan 25, 2022 Directed by: Blake Vaz Written by: Roman Arabia & Mike Bane Starring: Fernanda Romero, Lauren DeShane, Lauren Bair Chilling and confronting, L. U. N. A. is a short film behaving like a snapshot in time as character and viewer explore an old house with secrets hidden in its depths. Protagonist Lillian’s job is to inspect an issue with a L. U. N. A. device within the house and, in the process, accidentally discovers far more than she bargained for. The film itself has a ‘classic’ type of horror vibe to it, with the look and score reminiscent of series like Stranger Things in terms of the nostalgia that it creates. Technology aside, it feels almost old-timey to watch and the plot certainly fits this structure. Arguably, the best horror stories are the ones that keep the story simple and timeless and, as Lillian enters the creepy old house, tension is built very effectively and creates equal measures of fear and intrigue. When inside, Lillian meets an unassuming couple, Jamie and Sarah, who inherited the house from Sarah’s great-grandfather. They seem like a really friendly and loving couple, which is refreshing as it is always great to see positive queer representation especially in a genre like horror. The three women have great chemistry with each other, as they seek to discover the mystery of the L. U. N. A. device, and make the content of the film equally believable and terrifying through their performance. L. U. N. A. behaves like the fourth character in the piece as it is like a virtual technology assistant. Jamie and Sarah are both convinced that it is spookily speaking to them in Spanish without being prompted. Luckily for them, Lillian is able to act as translator and help uncover the deep unsettling aspects of the house. This idea makes the story memorable as it begs the question concerning if people should be so reliant on technology. In this instance, the device makes the women question if maybe it has its own agenda. As the film plays out, the viewer begins to question this too. Camera work around the house is excellent and observes its contents carefully and creepily without being too invasive. It does this with several tracking shots surrounding the house and therefore making it feel really three-dimensional. This compares with the different – and not always upright – angles used in the interior scenes to help to build suspense well, along with plenty of red imagery to make viewing all the more intense. Including these types of shots with jump-scares adds another thrilling layer to viewing as Blake Vaz ensures that every aspect of the film is unexpected. All things considered, L. U. N. A. feels like a film that is just beginning. It is a fantastic, well-written and adventurous watch, as well as containing some sinister moments that are unsettling, but intelligent. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Inheritance, Italian Style Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 23, 2021 Directed by: Doug Bremner Written by: Doug Bremner Starring: Zoe Myers, Dawn Campion, Caroline Granger, Concetta DeLuco, Tori Montgomery, Maggie Henry A family get-together in Sicily leads to all sorts of unexpected consequences. Five sisters, Seconda (Myers), Natascia (Granger), Duplecia (DeLuco), Tristana (Montgomery) and Fulvia (Henry) travel from abroad to their mother's villa in Catania, Sicily, in order to divide between them the furniture that is inside, that primarily consists of expensive paintings and fine furnishings. The sisters who are married have brought their husbands and children along. However, what starts off as a more or less straightforward family event turns into much more as it is revealed that some people have been unfaithful to their partners and other secrets are brought to light. This comedy drama features an ensemble cast that play characters who each have their own issues and after they meet in Catania, their lives become involved with each other, creating a series of events that has its own impact on each character. The script does a good in introducing the characters and their situations and although the pace is a bit slow for a while, things start to pick up when actions regarding infidelity are revealed, creating quite a lot of drama for the family. As more and more complications take place, the dividing of the belongings is pushed aside as members of the family try to deal with the revelations that they are faced with. The narrative explores family values, being a responsible parent, infidelity, depression and self-discovery. There are funny moments, awkward conversations and situations, dark humour, adult humour and there are also emotional scenes. When it comes to the characters, there are plenty of them, some of which are interesting, others less so. Campion is amusing as the mother of the sisters, friendly, welcoming but also naive. Rob Maniscalco has good role as Natascia's husband, a psychiatrist who does not know how to help himself. Arguably, Montgomery plays the most dramatic character, which is the depressed and suicidal Tristana. Composer James Stone does a great contribution with the score. The music that is heard throughout the movie is lighthearted and entertaining and it goes well with the environment that the story is set in. Bremner creates wonderful establishing shots that show the beauty of Sicily. This feature may not be outstanding and sometimes the acting gives the impression that it could had been better. Nevertheless, it does provide an experience that is entertaining enough. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >