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HOME | FILMS | REVIEWS Stealing Chaplin Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 16, 2021 Directed by: Paul Tanter Written by: Doug Phillips, Simon Phillips Starring: Simon Phillips, Doug Phillips, Bianca Katz, Al Sapienza, Anne-Carolyne Binette, Liliana Vargas A dark comedy crime film with a rather eerie plot that was inspired by real-life events. Two crooks decide to excavate the coffin that contains the body of actor and filmmaker Charlie Chaplin and hold it for ransom. It should be mentioned that although in real life the theft of Chaplin's coffin took place in 1978 in Switzerland, this story takes place in present-day Las Vegas. Cal (Simon Phillips) and Terry (Doug Phillips) are two English small-time criminals who are currently residing in Las Vegas. Through clumsy actions they have gotten themselves into serious debt with dangerous gangsters and come up with the idea of digging up Chaplin's body with the intention of demanding a large sum of money for its return. Their decision to do so leads to further complications as the theft reaches news headlines, a reward is offered for information and the authorities (and money-hungry people) close in on them. This feature has quite an intriguing plot that contains interrelated storylines with characters who each have their own plans regarding the stolen coffin. Cal and Terry are brothers and their criminal lifestyle is about to be the end of them. They do not have much success in crime and just end up getting into trouble due to their silliness. They do not think things through and once they have Chaplin's body in their possession, they are unsure how to proceed and end up focusing on other things instead such as a scam involving leprosy. Other characters include a police detective named Goddard (Vargas), who gets closer and closer to the siblings, Billy (Sapienza), a homicidal mobster who is after the brothers for the money that they owe and Helen (Katz), a waitress with whom Cal is trying to have a romantic relationship. Generally this movie is an enjoyable viewing. Cal and Terry provide the funniest parts, particularly due to the way they constantly have disagreements and tend not to acknowledge the life-threatening situations they get themsleves into and neither do they really take into account the fact that they are carrying around a coffin that has a dead person inside. There is a great deal of profanity, plenty of dark humour and adult humour and a bit of romance as well. There is also nasty violence as hoodlums harm anyone who gets in their way. There are some rather interesting characters, the most significant of which is probably Terry who is not the sharpest tool in the shed, believes he knows more than he actually does and tends not to think before he acts or speaks while his brother appears to have more brain and tries to be more careful. Sapienza delivers a chilling performance as a cold-blooded criminal. The film contains footage of scenes from movies in which Chaplin acted, either when the brothers visit a cinema, watch television or during the opening credits. Occasionally, a title card appears on screen that presents a quote by Chaplin, announcing a new chapter of the narrative. The cinematography by Cory Warner looks great and there is infrequent narration. There are also terrific establishing shots that show various areas of Las Vegas. This feature will most likely appeal to viewers who enjoy dark humour and crime themes. The acting is strong, the dialogue is well written and amusing and the plot will probably maintain the audience's attention until the end. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Ragged Heart Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 28, 2022 Directed by: Evan McNary Written by: Debrah McNary, Evan McNary Starring: Eddie Craddock, Declan Purcell An aching poem to a culture that once was, Evan McNary’s indie Ragged Heart takes root in Athens, Georgia and blossoms with nostalgia, longing, grief and regret. One-time musician Wyatt Galloway (Eddie Craddock) now rambles the county with Better Day Salvage, taking the old and disused and finding ways to turn them to art. It’s an apt metaphor – though not overwrought, thanks to McNary’s light touch. Wyatt’s daughter Miranda (Willow Avalon) is the real talent. After a European tour, she’s back in Athens for her birthday and Wyatt’s hoping to reconnect. She leaves him a song, then leaves this earth. Avalon’s voice and presence echo the melancholy nature of her character, helping the film straddle the space between natural and supernatural. Craddock offers a rugged, world-weary and deeply human presence, although he’s not always charismatic enough to carry the film. A supporting cast populated by professionals and nonprofessionals, many of them musicians, contribute to the film’s authentic vibe. Joshua Mikel (The Walking Dead ) is particularly strong, embodying the conflict between music and money – the battle for a soul. Ragged Heart has the organic feel of an unscripted, evolving feature, and on the whole that works. It’s not without its rough patches, but the loose narrative structure suits a tale that values art over commerce, messy as that can be. It loses momentum more than once, mainly because of its fragmented structure, but it also consistently surprises and never loses its way. McNary’s script, co-written with sister Debrah McNary, offers no easy answers for the grief and regret Wyatt faces. Neither do they pretend that remaining true to your art will bring your joy or peace. But they definitely develop an atmosphere rich with symbolism, heady with art and music, and haunted with regret. About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Adieu Godard Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 22, 2021 Directed by: Amartya Bhattacharyya Written by: Amartya Bhattacharyya Starring: Choudhury Bikash Das, Sudhasri Madhusmita, Dipanwit Dashmohapatra, Abhishek Giri In a small village in India, an elderly man becomes obsessed with the French-Swiss filmmaker Jean Luc-Godard and decides to organise a film festival in his honour. Ananda (Bikash) is an old, married man and has a daughter named Shilpa (Madhusmita). Ananda constantly buys pornographic films and watches them at his home with his friends. One day, instead of a sex film, he accidentally ends up with a movie by Godard. His friends dislike it, however Ananda finds himself being mesmerised by what he sees and becomes a different person. He convinces his friends to help him bring together a festival that will be dedicated to Godard, in the hope that the experience will make the narrow-minded villagers more open-minded. This dark comedy drama was filmed in Odisha, India and pays tribute to the acclaimed filmmaker. The movie has a narrative that keeps cutting between the past and the present. The past consists of Ananda's efforts to make the festival a reality. The present concentrates on Shilpa as she tells the story about her father to her filmmaker boyfriend Pablo (Giri). Shilpa is also the narrator. It is the preparation for the festival that is the highlight of the film, with Ananda and his friends enthusiastically working towards their goal. The story is interesting to follow and Bikash is great in his portrayal of an awkward person who develops a new passion and wishes to share it with others. Madhusmita is convincing in her role as Ananda's intelligent daughter. It should be mentioned that the film includes profanity and sexual content and, therefore, is not for sensitive viewers. The film utilises colour as well as black-and-white cinematography. The scenes that take place in the present are in colour and the ones that take place in the past are almost entirely in black-and-white. As director, Bhattacharyya creates wonderful establishing shots. There is effective use of slow motion and Kisaloy Roy makes a good contribution with the music. This feature is an intriguing achievement. It explores the joys of discovering something new and having a dream to pursue. It also suggests that sometimes not everyone has the same opinion. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Brenda and Billy and the Pothos Plant Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: May 12, 2023 Directed by: Dave Solomon Written by: Dave Solomon Starring: Sarah Stiles, Santino Fontana, Beethovan Oden A Freudian buffet, filmmaker Dave Solomon’s short comedy film Brenda and Billy and the Pothos Plant captures the rarely explored urge for daughters to kill their mothers with deadpan wit and impressive physical comedy. Sarah Stiles plays the titular Brenda and our Oedipal assassin, who is driven to murder her mother in her New York apartment with a frying pan when she cannot take any more criticism. She calls her brother Billy (Santino Fontana) - a magician from Las Vegas - to help her dispose of the body and avoid detection from the cops (Beethovan Oden). Solomon peppers his script with painfully funny moments of dry indifference from the siblings that their mother is lying bloody and dead in a nearby bedroom. Whilst Brenda does seem anxious about the situation, it seems to be more about her avoiding detection than any maternal loss she has just experienced. One genuinely brilliant throwaway line sees Brenda regale Billy with the criticism their mother was giving her moments before the “slip and fall”, about her lack of everything, including “empathy” - a nod of the head to the audience that could almost slip under the radar. Billy seems more preoccupied with Brenda’s methods than with any sorrow for his mother either, acting like a cool detective and fixer. The arrival of an officer who is called to investigate the loud noises coming from Brenda’s apartment amps up the tension somewhat and is also the catalyst for us to find out more about Billy, with a few interesting secrets being revealed. The sequence where we see the actual moments of their mother’s murder (frying pan, vomit and spurting neck injury) is terrifically executed, akin to an Edgar Wright quick edit. There are other great filmmaking moments, such as a brilliantly framed shot of the siblings on a park bench (as seen above) or Brenda’s maniacal bashing that was so good it was added again to the end of the credits! The vomiting was particularly fun to watch too, reminiscent of the classic UK comedy Bottom. The chemistry between Stiles and Fontana works well. Her passionate energy is duly softened by his calm nonchalance. This could easily work as a comedy series. Exploring Billy’s hatred for David Blaine alone would be worth a few episodes. Brenda and Billy and the Pothos Plant is full of zany charm and likeable characters and it is in the physical comedy where it really peaks. Not enough filmmakers value practical effects when it comes to on-screen vomit but Solomon gives it its day in the sun. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

The Wonderful: Stories From The Space Station UK Release Date Chris Olson Monday, August 23, 2021 at 3:38:02 PM UTC The Wonderful: Stories from the Space Station UK Trailer Release Drawing on breathtaking archive and interviews with astronauts, cosmonauts, colleagues and family members, THE WONDERFUL: STORIES FROM THE SPACE STATION brings together personal testimonies from the men and women who have been part of this extraordinary project - a remarkable achievement of technology, international collaboration, scientific endeavour and human bravery. The International Space Station is completely unique – continuously occupied since November 2000, it is a triumph of engineering and cooperation and the largest peacetime international project in history. Assembled by space walkers flying around the earth at 17,500 miles per hour, the length of a football pitch, its solar arrays stretching out for more than an acre, the work of 15 nations over 20 years. But the film is not about the 450 tonnes of silver spaceship orbiting earth - THE WONDERFUL is the story of the men and women who live inside it - their stories played out against the vast, beautiful, bottomless, darkness of the Universe. For every astronaut who risks their life to go into space there is a chain of people who help them get there. From the family members saying goodbye through protective glass at the launch site, to the engineers, flight directors and dedicated teams at NASA, Roscosmos, JAXA, ESA, and CSA - to the teachers who inspired them, to the pioneers of space exploration, to the pilot who taught a young Peggy Whitson to fly on her farm in Iowa. This is a story of human connection. THE WONDERFUL remains a constant reminder of mankind’s vulnerability but also our ability to reach beyond the unimaginable, to life in space. In a world of compromise and uncertainty the ISS is a triumph of engineering and cooperation. As an example of what man can achieve when we put aside our differences, it is more relevant now than ever. The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.) and produced by BAFTA and Emmy-nominee George Chignell (Citizen K, Searching for Sugar Man, I Am Ali ). The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date ​ Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. 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Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. 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HOME | FILMS | REVIEWS Boundless Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 25, 2021 Directed by: Julie D. Dunn, Sean Higgs, Victor Lockhart Written by: Katy Jordan Starring: Katy Jordan, Kirsty Peacock, John Paul McGilvary Boundless is a plucky and ambitious series self-penned by star Katy Jordan which has gone on an impressive journey from a 7-minute stage performance, to a sprawling multi-series crime drama. It outperforms its limits impressively with committed performances from its cast, but still suffers from clunky dialogue and a story which begins to become convoluted as it progresses. The series follows a pair of best friends, Danielle (Jordan) and Julie (Kirsty Peacock) who are victims of a break-in. When Julie kills the thief, the pair are thrust into the middle of a shocking conspiracy which delves deep into the past. Assisted by police detective Greg Millar (John Paul McGilvary), Danielle realises there is far more to the story – and that the pair’s involvement is no coincidence. Boundless is very clearly a freshman project. The series’ rough edges are there to see, and imperfections do stand out. However, the series does have moments where it shines, and nails down some of the basics better than far more expensively-financed counterparts. The premise of the show is engaging, and the central mystery one which will keep viewers intrigued for the most part. The questions surrounding the break-in are explored consistently and are paced well throughout episodes. These do begin to wilt a little as the series goes on however, and the lack of production value cheapens some of the bigger revelations, which lack some of the impact a curated score could provide for instance. As the plot becomes more complex, audiences will have to keep track of many moving pieces in order to feel the real significance of the plot twists, which fail to really stick the landing too often. Performances are generally of good quality – particularly from Katy Jordan and Kirsty Peacock. Their chemistry as best friends Danielle and Julie is derived from their real-life bond, which translates effectively into their roles. Jordan’s chemistry with John Paul McGilvary also drives a growing love angle between the pair as they go about uncovering the truth of Danielle’s life. It’s a shame however that these performances don’t always match up with characterisation. Moments in which the lead pair do not share key information with one another comes across as strange given their supposed trust. Other characters appearing later in the series are lazy classic Scottish gangster stereotypes, pulled from the blandest ITV dramas you can imagine. It feels like the series ran out of steam with some of these personalities. There are some other notable flaws such as poor lighting in certain scenes, and the camerawork never really tells the story in any imaginative way. However, for all of these, the series does impressively stay focused on its premise and the directors choose to allow interactions between the cast to drive the plot – a wise choice given that the acting is one of the series’ stronger elements. Given that the series ends with a cliff-hanger, it also is difficult to judge the plot without knowing its ending. Hints in the finale suggest some major developments – which leaves the series we are presented with as something of an enigma. Boundless is flawed, and clearly suffers in parts due to its lower budget. However, with what she has accomplished with such restricted terms, promising creator Katy Jordan deserves the chance to continue this story – and with some crucial experience under her best – to iron out the kinks. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Glacial Ways Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 17, 2023 Directed by: Max Millstein Written by: Max Millstein Starring: Edlyn Gonzalez, Teresa Patel, Elle Nizzardo, Steven Gregory An environmental scientist goes through a mental health crisis while at a restaurant's outdoor dining area. It is a hot, sunny day and Noa (Gonzalez) is sitting at a table at the exterior part of an eatery, trying to work on some notes, surrounded by other diners. She is a famous environmental scientist and her knowledge regarding how humans are destroying themselves and the world with pollution and unhealthy lifestyles has led her to become anxious and apprehensive. She interacts awkwardly with those around her and struggles to control her actions. Eventually, she appears to let go and indulge in the pleasure of smoking and drinking alcohol, before a dramatic revelation. The beginning of this short drama is worth exploring. It begins with a title card containing a quote by American artist John Lurie, before the camera enters the outdoor dining area, moving around characters that Noa will interact with, before approaching her, as she nervously struggles to write. While this is happening, there is a voice-over conversation between two people discussing global warming and people's simple everyday actions that unknowingly harm them. This conversation is actually a recording that Noa is listening to on her device. All this is a rather effective way to introduce the heroine, revealing her interests and troubled state of mind. The story is told through Noa's perspective, which reveals the unique and maybe frightening way that she looks at the world, with animation, sound effects and camerawork playing a key role in this. She is knowledgable about what her body consumes, with animation sequences showing bacteria from alcohol or smoking damaging her system. She is rather observant, with close-ups showing what caught her eye and montages, along with her voice-over disclosing her dramatic thoughts. She interacts awkwardly with others, telling her eating habits to a waiter (Gregory) and being concerned about a little girls's (Nizzardo) well-being in the presence of her mother (Patel). Generally, her profession has ended up making her very worried and she seems to be near the point where she cannot take all the stress anymore and feels that she should let go. Gonzalez's performance is convincing, which is vital in order for the film to work. This short is a character study that utilises the filmmaking techniques mentioned above and also slow motion, fast motion, split screen and fast cutting in order to place the viewer inside the mind of an individual who is troubled by her environmental knowledge, which seems to be doing her more bad than good. With this in mind, the film also works as a commentary on self-reflection and mental health and raises awareness of unhealthy living and the damage that people do to the planet. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Goons Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Mar 22, 2023 Directed by: Alexis White Written by: Jose Duran Starring: Chad Anderson, Roberto Arrizon, Severen Cole, Chad Meisenheimer Funny films make us laugh for a multitude of reasons. Sometimes it’s because they’re so utterly insane that it’s impossible not to laugh, other times it may because it makes a fart joke, and at that moment we feel as though we’re ten years old. More often than not, however, we laugh because the characters offered to us in comedies are endearing, perhaps sometimes when they shouldn’t be, and because the humour, however bonkers, has a level of grounding in the human experience. ‘Goons’ has neither compelling characters nor a solid level of grounding in the human experience, and as a result most of its jokes fall flat, leaving a dull, if harmless, film. Leaning heavily into the mockumentary sty a slight 23 minutes ‘Goons’ sometimes feels like a knocked-down version of ‘The Office’, no doubt an influence on it’s creators Alexis White and Jose Duran, who sometimes use the offbeat interviews to the camera popularised by the iconic show. Naturally, of course, you also have the character prone to the ‘Jim-stare’ directly at the camera, in this case Johnny (Chad Anderson), who plays the part of group leader. He introduces himself as the CEO of the sanitation department at a well-known, mouse-related, company, in the film’s first, and possibly funniest bit. Johnny is joined by his ‘goons’, Andy (Roberto Arrizon) - the gym buff with dubious gang ties, Drew (Severen Cole) - the ‘looks of the group’ and a male stripper, and Sal (Chad Meisenheimer), the tech-savvy kid (grown man) loitering in parents basement’s across America. The introduction segment is as good as ‘Goons’ gets - a solid, and quite funny introduction to a seemingly interesting, if a little broad, collection of characters. From here the film could have explored the dynamic between the group, but the most we learn is that they’ve known each other for fifteen years. Alternatively, they could have been taken down a zany path, enriching their characters and endearing themselves as we see them confront a set of strange events, but instead the plot is relatively safe and uninventive. This means that we’re left with a set of stagnant characters trapped inside a tame plot, and so we become bored. Even the addition of a couple of side characters fails to add to spice up the group dynamic, they’re all beset with money woes in the face of their eviction notice but that’s pretty much all the insight we’re offered into them. This stagnancy isn’t helped by the the forced nature of Duran’s dialogue, which becomes loquacious and tiresome, giving a bad reflection of the actors, who come across as irritating more often than endearing. Though it doesn’t reflect tremendously in quality, it is evidently clear the passion which both cast and crew put into ‘Goons’, with Alexis White’s directing competent, and the actors always appearing just moments away from bursting into laughter themselves. The chemistry between the quartet feels natural, and is genuinely warming to see, making a not-so-good film at least put a small smile on this critic’s face. That’s all very nice, but it doesn’t take away from the simple fact that ‘Goons’ is lacking a great deal in actual quality, and most importantly it’s lacking in laughs. It’s as though they filmed a bunch of guys having fun together, without ever actually letting us in on the joke - funny to themselves perhaps, but everyone else is clueless as to why they’re laughing. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dead Silence Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Dec 9, 2021 Directed by: Duane D'Souza Written by: Duane D'Souza Starring: Duane D'Souza, Michael Jerome, Roby George Roy Opaqueness in filmmaking is an important tool for telling an effective story – and some of the best films of all time refuse to bare their inner meanings and themes just for clarities sake. However, it is vital that the film remains legible enough for viewers to actually WANT to ponder wider truths. Dead Silence fails to keep this in mind, and ends up confusing and difficult to understand. A young man (Duane D’Souza) begins to have dreams about a mysterious graveyard, and an imposing figure raking leaves within it. The next day, a local newspaper covers a similar story, and hints that the burial ground could be linked to multiple disappearances. He sets out to investigate, and uncovers unnerving truths about his own connection to the area. Dead Silence is a short centred around a disturbing mystery. However, its plot fails to adequately explore the questions it raises, or energise audience intrigue around these to keep viewers on the edge of their seats as its protagonist sets out to uncover the truth. It is not scary enough to be a horror, and not coherent enough to be a thriller – and ends up floundering between the two. The film fails to adequately explain key character elements, such as dynamics, backgrounds and relationships left entirely absent – and therefore leaving important plot developments meaningless and empty to viewers. A level of exposition would have been welcome, even at the cost of awkward dialogue, just to ensure the audience had enough information to come on board with the story. Director (and star) Duane D’Souza seeps the film in sepia, with a flickering camera effect imposed throughout. This is a particularly unwanted distraction during the opening credits, but thankfully eases off during the story. The effect conjures thoughts of traditional horror techniques, and does add a level of unease and fear to the film (though little would have been lost in toning it down somewhat). As a lower-budget production however, some imperfections may have been ironed out with the addition. Beyond the above there is little about the film that truly stands out. Performances are ‘meh’, and there is little in the way of innovative camera work or visual storytelling to write home about. Editing is slightly shoddy, with some awkward and amateurish cuts at moments which unfortunately stand out. It should be kept in mind that this is a small-scale production when pointing out these flaws, but when they are going to apparent, it is vital that the basics are in place. Unfortunately, it cannot be said to be the case. It is unlikely that Dead Silence will make much of an impression with audiences. The film does not take enough care when setting up or exploring its plot, and fails to develop characters anywhere near the level required. As a smaller production, its flaws can be forgiven to an extent – however many other similar scale films have accomplished much more with less. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Night Explorers: The Asylum Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 28, 2024 Directed by: John K. Webster Written by: John K. Webster Starring: Craig Edwards, Charlie Rich, Hannah Al Rashid ‘Night Explorer’ sounds like an entry-level job for a Springwatch presenter – and not the ominous pursuit of the online thrill-seeker. ‘The asylum’ part of Night Explorers: The Asylum ’s title is your clue that this is a grizzly horror – one that looks great and has an intriguing twist, but lacks in the character or originality department. Ghost hunters Ozi (Craig Edwards) and Jimboy (Charlie Rich) are looking for their next video location. Having faked footage for their previous work, the pair want something authentic – and an abandoned asylum seems like the perfect place. Too perfect. As they arrive with their crew, remnants of the asylum’s barbarity are everywhere. And as they delve deeper into the site, they discover that remnants are not the only thing that reside. The most striking takeaway from Night Explorers: The Asylum is how visually impressive it is. For a lower budget B-movie with big ambitions, the costume designs and set look great – with the titular asylum exuding threat and brutality that means intensity levels are already sky-high before the slashing starts. The film is dark, but thankfully doesn’t follow the recent trend of oversaturation or blacking out the screen to a degree that events are imperceptible. Director John Webster has a real knack for ramping up the tension – placing the audience in a stalker-esque vantage point over the crew before getting up close and personal when the hunters strike. Despite great visuals, the film is ultimately another story about wannabe YouTube stars biting off more than they can chew, which has charged at superspeed from vogue to tiresome in the horror sphere. There are differentials in the film, such as the identity of the sinister force hunting the crew, that do at least make it stand out a little from its contemporaries. But the same pitfalls are present – what is the film actually trying to say with its massacring? The notion that pursuing fame is a folly is surface level and played out at best. Ozi and Jimboy’s arrogance leading to a horrific collective punishment similarly lacks much punch. It’s premise over purpose – fine if you’re just looking for some gore but a hindrance for a deeper emotional connection. Craig Edwards gives a solid enough performance as Ozi. His hard-headed stubbornness makes him intentionally unsympathetic as a protagonist which adds layers of complexity as he does what he can to escape the asylum. Charlie Rich’s Jimboy comes closer to playing the emotional heart, and the softer performance makes him the more relatable of the leads. Much of the remaining cast bring little else beyond half-hearted bellowing – which given that we spend plenty of time with the crew as an ensemble, results in a glaring weakness as it is hard to truly become invested in their fates. Impressive visuals and staging prevent Night Explorers: The Asylum from being a totally generic slasher hunt. The story and characters fail to resonate emotionally and there’s little depth to be considered amidst the mayhem. The sound you heard just then is plenty of horror enthusiasts shrugging their shoulders – as well-shot slaughter is more than sufficient. But anyone after something really memorable will need to explore further than this. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Hallelujah: Leonard Cohen, A Journey, A song Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Aug 2, 2022 Directed by: Daniel Geller, Dayna Goldfine Written by: Daniel Geller, Dayna Goldfine Starring: Leonard Cohen, Nancy Bacal, Steve Berkowitz For longtime fans of Leonard Cohen, the continued pop culture embrace of “Hallelujah” can sometimes feel bittersweet. Other times it just makes you want to scream. Jeff Buckley didn’t write it! It’s not a Christmas song! And for God’s sake, stop messing with the lyrics! And even though that’s satisfying to yell when another TV talent show contestant attacks Cohen’s masterpiece with more bluster than feeling, you can’t deny you’re guilty of an equally false claim of ownership. As singer/songwriter Brandi Carlile rightly points out, by now the song “Is its own person. It has a life of its own.” So, how’d that happen? Back in the early 80s, “Hallelujah” was DOA, buried on a Cohen album that Columbia Records dismissed outright as unworthy to release. Alan Light first tracked the song’s ascent in his 2012 bestseller “The Holy or the Broken,” and Light serves as a consultant to co-directors Daniel Geller and Dayna Goldfine for their documentary examination. Straddling the line between biopic and expose, the film gives the uninitiated an overview of Cohen’s background while indulging veteran admirers with a deeper dive into his most acclaimed composition. Geller and Goldfine interview fans, friends and journalists, tracking Cohen’s unique troubadour life alongside the gradual wave of “Hallelujah” cover versions. It seems only right that Bob Dylan was one of the first to recognize the song’s genius, and it’s a treat to hear his interpretation set the stage for the mainstream breakthrough that came via Jeff Buckley and Shrek (John Cale in the film, Rufus Wainwright on the soundtrack). But the film’s strongest moments come through the intimacy of hearing from Cohen himself, and getting closer to his often tortured songwriting process (“If I knew where songs came from, I would go there more often”). We see notebook after notebook full of lyrics, while handwritten lines appear and disappear as guesses are made as to just how many verses (100? 180?) Cohen wrote for “Hallelujah” alone. At times Geller and Goldfine lean back on biography just when the musical detective work is cooking, but A Journey, A Song ultimately connects the two with a resonant thread. Leonard Cohen was a seeker, always striving to reconcile the primal with the spiritual. The process may have taken several years, but he wrote a song that lays that search bare with unparalleled eloquence. And though Cohen himself admitted before his death that “too many people sing it,” Geller and Goldfine are smart enough to include plenty of footage of Cohen performing the song himself, and to close with k.d. lang’s goosebump-time version that Cohen hinted was his favorite. About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Bezonians Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 26, 2021 Directed by: Savvas D. Michael Written by: Savvas D. Michael Starring: Andreas Karras, Vinnie Jones, Jamie Crew, Marina Sirtis, Lois Brabin-Platt, Jason Duff A bunch of people in London spend a great deal of their time at a social club named The Bezonians. Then a change of circumstances puts their lives at risk. Plato (Karras) is the proud owner of the social club and a family man. He enjoys socializing with the various individuals who frequent his business, some of which include Anthony (Crew), an intellectually disabled young man with a tragic past, Achilles (Michael) a quiet and dangerous bloke and Taz (Duff) a wild fella with a mohawk. Things are going smoothly for them, however a careless act of gambling puts them up against a ruthless debt collector named Willard (Jones). This crime drama centers on a Greek-themed establishment and the people who go there often. The characters are interesting and the narrative explores their lives well. There is violence, people being killed and a lot of profanity and beatings and there is brief nudity and a sex scene. The dialogue is sharp and the cast deliver convincing and entertaining performances. The movie also has humorous moments and drama. Although a large number of criminal activities take place, the film also explores other aspects of life, including the values of family and friendship and the importance of sticking together and supporting each other and overcoming obstacles. The cinematography by John Hoare looks great and the soundtrack is entertaining and includes frequent use of Jazz music and traditional Greek music. Michael's directing contains well executed long takes. Karras also provides narration and he does so effectively. Credit also goes to the stylized letters during the opening and closing credits and the use of freeze-frame technique. This is a crime film that will most likely appeal to fans of movies such as Snatch . The characters are intriguing and the screenplay will probably grab the viewer's attention. This is an achievement that is worthy of praise and attention. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >