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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 The Andes: 50 years Later Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 25, 2022 Directed by: Chris McNaughton Written by: Chris McNaughton Starring: Eduardo Strauch The backdrop and title of the short film chosen by the director Chris Mcnaughton get the film to right away appeal to the emotions of the masses. The opening sequence of the documentary has a message about the importance of love. In the very first shot, the camera tracks the museum to flush the audience with memories of the 1972 real-life incident. The use of the projector to showcase the old photos of the people who were present at the time transports the viewers to the same timeline. The musical track by Simon Daum and Yo Yo Ma complements the theme of the short film and assists the makers to bring out the range of emotions all of the people involved are feeling. The storyline of the cinematic piece is based on a true event. The plane carrying a rugby team from Montevideo Uruguay crashed into the high Andes Mountain. The film tells the extra- ordinary tale of the 16 survivors beating all the natural hurdles for straight 72 days. These people who battled through all the terrifying circumstances and miraculous events deserved to be remembered and document their struggles so that the audience gets to know about their bravery. The short film/documentary takes the form of a firsthand narration from one of 16 survivors- Eduardo Strauch. The use of a real survivor in the buildup of the narrative and the natural lighting in each frame of the movie and newspaper article in the museum provides a sense of realism to the documentary. The introduction and voice modulation of Eduardo Strauch highlights the pain, struggle, conflict and, misery. It is very difficult to relive the tormenting experience again and again. Eduardo is brave to do so and share his experience with us through this beautiful film. The camera-man manages to capture the magnificent landscape of the sight of the crash. The beautiful location chosen for the shooting of the movie by the cast and crew is a great choice so that they enjoy the picturesque view while absorbing the moving storyline of the cinematic piece. The makers also showcase the model of the planes used in 1972 with the help of the old clips available to them. This was done so that the topic of the movie becomes relatable to the audience and they don’t get bored with the historical event the film sheds light on. The documentary reminds us of a few very important life lessons that we tend to forget/ take for granted. It tells how crucial it is to be adaptive to the given situation. The film also reiterates the importance of nature, the presence of love in one's life, and the power of the human mind. Both love and the mind become critical factors for pushing oneself towards survival. It also teaches us that looking for happiness in consumerism rather than within oneself is the wrong way and then blaming the world for the mindset isn’t right. The short film gives out even the minute details of the real life plane crash giving importance to continuity in the creative piece so that the audience knows all about heroic tale of the event. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Frannie Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 14, 2022 Directed by: Alan Cameron Written by: Alan Cameron Starring: Emily Brolin, Dawn Brolin, Eli O'Brien, Bryant Daugherty, Marvin Novogrodski A young woman returns to her family home after a long absence and deals with her dysfunctional relatives. After spending several years away from her family, Frannie (Emily Brolin) is asked to come back and help her mother (Dawn Brolin), who is going through difficult times. Frannie dislikes her relatives and is eager to leave. However, as time passes, she gets to know them better and begins to appreciate them more. And she also starts a relationship with Luke (Daugherty), a friendly neighbour. This comedy drama takes a look into family values and the idea of finding a purpose in life. Frannie has unconventional family that includes her mother whose emotional state has gone downhill after her husband left a few months ago, her clumsy brother Teddy (O'Brien) and her uncle Rob (Novogrodski), who is a heavy drinker and spends a great deal of time on a sofa, on the house's lawn. As the story progresses, Frannie interacts more and more with her relatives and, although they have their differences, things between them improve as they begin to care for each other. The screenplay has funny and awkward moments, some adult humour, revelations and there are moving scenes and scenes of confrontation and reconciliation. As the titular character, Emily Brolin delivers a strong performance a woman in her twenties who is estranged from her family and is at a point in her life where she does not know which would be the best choices for her. Her character is intelligent and strong and goes through significant character development throughout the story. Dawn Brolin also does a great job as her mother, who uses a megaphone as a means to let her emotions out. Arnaud Drieu makes a wonderful contribution by developing music that is beautiful and dramatic and accompanies the scenes very effectively. This feature is an emotional and humorous story that deals with family, reconciliation and self-discovery. It reveals the significance of having a caring family and the joys that come with that. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Scaring Women At Night - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 30, 2023 Directed by: Karimah Zakia Issa Written by: Karimah Zakia Issa & Ace Clamber Starring: Izaiah Dockery, Kavita Musty, Dashawn Lloyd Blackwood “While grappling with his own fears, moving through the world as a trans man, he does his best to navigate his new dynamic with women.” Having had its world premiere at TIFF in 2022 and part of BFI Flare’s 2023 selection, Scaring Women At Night is an impactful short film that speaks to the lived experiences of one transgender man. As he presents as masculine, he seeks to understand how he can be more approachable to women without making them fearful of him. This is particularly prevalent at night, when the film’s storyline takes place, as he is walking behind a woman who believes that he is following her. In trying to not appear threatening, this is an interesting introspective film that considers an entirely different perspective to the trans male identity and experience. Cinema has seldom considered stories and narratives in this way, and so it is refreshing to see a very contemporary issue handled in such an incredibly authentic way. The story focuses on protagonist Ash having a conversation with himself about who he is now after his transition, particularly concerning his relationships with women. As he walks home alone, he encounters a woman also walking alone, leading the film to openly confront their individual fears. Filmmaker Karimah Zakia Issa explores how Ash has lived experiences from each side and is the guiding force for audiences to see an all-too-familiar event differently. He has adapted to survive, yet is confronted by these additional societal challenges. There is a real sense of unease created that extends throughout the short, with fears that many can relate to, particularly the reality of being followed. The filming is excellent, with scenes being spliced together often with jarring jump cuts to keep the viewer alert. Placing a trans character into this action allows these fears and issues to be considered in a new way. Ash attempts to make his appearance less scary, for example, in realising that he may now be considered a threat by presenting as male. It is a truly raw inner conflict, as the resolution is unclear. Scaring Woman At Night is a fantastic beginning of a conversation that leaves the viewer wanting to learn more. As this is a pre-feature short film, it is exciting to consider how the film will be developed into a feature. It is a refreshing perspective to be considered on screen and not one to be missed. About the Film Critic Amber Jackson LGBTQ+, Short Film, Film Festival < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Where the Flowers Bloom Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 1, 2023 Directed by: Olivia Luying Wang Written by: Olivia Luying Wang Starring: Dina Selimovic, Erik Scilley, Danilo Crovetti In a challenging and emotional short drama, Olivia Luying Wang’s Where the Flowers Bloom tackles trauma, depression, and anti-war sentiment in a well-acted and produced but at-times surface-level and melodramatic account of one woman’s attempts to come home from battle. Former soldier Diana (Dina Selimovic) has returned home from war with haunting accounts of tragedy a sinister accomplice. Her husband Max (Erik Scilley) makes efforts to reclaim normality for the pair, but Diana’s PTSD creates a barrier between them. When their neighbour’s child Oleg (Danilo Crovetti) visits, Diana’s life reaches a crossroads as she realises her struggle to make human connection. Where the Flowers Bloom is an intense and emotionally heavy short that pulls no punches with a harrowing account of the damage that the unresolved traumas of war can inflict on soldiers. The film is unafraid to portray the horrors of war or to portray the realities of suicide and self-harm (for which viewers should be aware). Diana’s grief is brought to life by a spectacular performance from Dina Selimovic, who portrays the character with complexity, compassion and respect – and utterly convinces the audience that untold pain resides behind her striking eyes. The film looks great as well, with cool tones seeped over the screen that pull the viewer into Diana’s sadness-tainted world. Diana and Max’s home forbodes over the pair and further creates a sense of darkness and distance with the select sources of light only penetrating in brief moments to match the protagonist’s emotional state. The script does let the film down, with clunky and expository dialogue that never really convinces despite impressive delivery. Viewers are whacked over the head with story beats and thematics, which unintentionally create a sense of insecurity on the filmmakers’ part that audiences wouldn’t keep up with the plot. This is not to say that the film isn’t moving or touching, and it is clear that the filmmakers’ hearts are in the right place. But melodrama is the result of the attempt to punch straight through the viewer’s ribcage and tug as hard as possible at their heartstrings. The film’s final image is the ultimate embodiment of this mindset, and is sure to be divisive. Audiences must be left to their own decision as to whether they think it is necessary or appropriate (I stray on the side that thinks it is just about justified), but regardless, it is certainly evidence that the mantra of ‘less is more’ has been left by the wayside. Where the Flowers Bloom is ultimately a brave and memorable short film that does have imperfections. It is imperfect, but its compassionate message is admirable and unashamed. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS No More Inner Voice Film Review average rating is 4 out of 5 Critic: Julian Gaskell | Posted on: Jun 13, 2022 Directed by: Jozef Raiche Written by: Jozef Raiche Starring: André LeMire, Rob Lundholm, Robin Bargo A short film about a young boy Nathan (André LeMire) working in a local store for a horrible boss (Rob Lundholm) to save money to help his sick grandfather (Robin Bargo) whose savings are taken by his brother (Isaac Aderman). Nathan then ends up grappling with his inner voice to decide how he is going to get more money quickly in order to buy the medical equipment his grandfather needs. Written and directed by Jozef Raiche it’s a clever depiction of life in reality versus what is going on in the inner consciousness. By combining colour with black and white cinematography he creates two separate worlds. In colour we see the world as it is and in black and white we see his inner voice being played out in conversation with a friend in the neighbourhood. Switching between serene neighbourhood landscapes to more frantic arguments we see how he and his consciousness respond to the changing circumstances. It is nicely directed using plenty of variety of framing and movement, cutting quickly between shots to good effect. The camera follows the actor from location to location not worrying about getting a perfectly framed shot each time, which gives a dynamic feel of being there in the person's shoes, here following Nathan around his suburban neighbourhood, at his mundane job, caring for his sick grandpa and having a difficult time with his boss and brother. For me the music doesn’t quite match as a means of building tension with an overly creepy slow organ keyboard sound more in tune with an eerie futuristic horror than a psychological drama. On the flip side the dialogue and wild tracking is clear and adds to the sense of being there with Nathan as we see him battling his reality and consciousness. The actors put in good ordinary folk performances that manage to pull off this microcosm of a quaint neighbourhood consisting of Nathan’s boss, his grandpa, his brother and his consciousness friend. Josef Raiche himself plays Nathan’s consciousness and brings a friendly normality as the local neighbourhood Matrix like guide and the neighbourhood gives an extra feel of being inside someone’s consciousness by being unusually deserted in the shots. Nathan’s disillusionment with his inner voice is most powerful when he considers how he has got to this point, but it quickly escalates into trouble when he chooses to ignore it. It’s a smartly put together short that explores the internal activity of the mind by trying to visually show its emotions vis à vis what is happening in reality. It would be interesting to see if it would be successful in a longer format … but you probably don’t need me to tell you that. About the Film Critic Julian Gaskell Short Film < 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 Playing With Fire Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 27, 2022 Directed by: Aaron Bishop Written by: Aaron Bishop Starring: Mohammed Mansaray, Calum Carr, Emily Olum Two gangsters find themselves dealing with more than they can handle while helping an associate get even with someone. It is night-time and three criminals are up to no good. They are inside a parked car and one of them exits and goes after a guy who wronged him. The other two still in the vehicle are Jay (Mansaray) and Calvin (Carr). Some time passes and their friend, whose name is Kyle, has not returned, so they go out to look for him. As they search, they end up speaking to a prostitute who might know something, encounter some thugs and begin to realise that they might be in danger. This short dark mystery crime thriller contains elements often seen in these type of films, including dangerous people, guns, murder, threatening behaviour and double-crossing. The atmosphere is rather bleak and there is a constant feeling that things are going to turn bad. The narrative effectively paints an image of the lives of criminals that are filled with danger and uncertainty. The screenplay explores the relationship between Jay and Calvin and indicates that the two of them are close. Basically, the audience follows the two crooks as they act like detectives, trying to figure out what happened to Kyle and as the story progresses, the tension rises and rises. The acting is rather strong. Mansarary in particular is very convincing as a determined, no-nonsense criminal, who can be threatening and aggressive when required. Olum does a great job as the sleazy lady of the night. As the director of photography, Nzimah Akpan creates a look that is dark and moody, which goes very well with the general atmosphere. Savfk composes music that sounds dramatic and sinister, making the scenes more impactful. With his directorial debut, Bishop brings to life a story that shows the consequences of living a life of crime and making unwise decisions. It is a hard-hitting look into crime and points out that such a lifestyle will lead to devastating events and that criminals can be menaced by even those closest to them. 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 >

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 >