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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 Stop Making This Hurt Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 13, 2022 Directed by: Susie Kimnell Written by: Susie Kimnell Starring: Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta A man meets his former partner in a restaurant and they discuss the past. A man (Swift) is sitting at a restaurant table by himself. Closing time is approaching and the place is quiet and a bit darkened. Eventually, he is joined by a woman (Collins), with whom he used to have a relationship. The two of them have a conversation and it becomes apparent that things between them ended up badly. The man attempts to apologise and make things better, however, it becomes evident that he did something terrible. This dark short film begins as a drama about a broken relationship and as the story progresses and more and more clues are brought to light, things move towards thriller territory. The main element is the conversation between the two protagonists, which tells a lot about their lives, particularly about the man's life, about what kind of person he is and the findings are not positive and just keep getting worse and worse. Swift delivers a chilling performance as an individual who has very dark secrets and a very sinister hidden personality. Although, he can appear charming and cheerful, it is obvious that ultimately, he is a bad person. Collins does a terrific job as a his ex-partner who was a victim to his actions and knows what he really is. The film is free from music, apart from the ending, which is where Duncan Pittock and Richard Lacy make their contribution with a sinister score that makes an effective closing. Ben Mann also deserves commendations for the work on the cinematography. This short has a very-well-structured screenplay that starts with more or less normality and revelation after revelation lead to a devastating truth. Through well-written dialogue and strong acting, this film tells a dark and memorable story. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Cikgu Hana Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Nov 23, 2023 Directed by: Wan Dinnie Written by: Wan Dinnie Starring: Charlene Jane, Herlea Titieanna Tasked with an assignment to write about the history of their country, two students are transported back to the past where they learn all about their country’s rich history and how it has shaped their lives today. Malaysian short-film Cikgu Hana: Director’s Cut , the version that was submitted for this review, prefaces itself with an apology. It seems that in post-production many of the films production files stored on an external hard drive were lost or damaged, meaning that only ten percent of the files were recoverable. What is presented here is a re-edited version of what was salvageable with very mixed results. What we do get to enjoy in what is presented over the films six-and-a-half-minute runtime is a beautifully created visual spectacle of rotoscoping, a process animators use where live-action footage is traced over frame by frame to create some truly wonderful animated works of art that add depth and flourishes to sequences that otherwise couldn’t have been achieved. And that is where Cikgu Hana really shines. The animation here looks amazing, really bringing the whole piece alive, awash with vibrant colour and pure imagination that is a joy to watch. Much like the film's predecessor Hana , the previous offering from D-Mulsion Productions that is equally remarkable visually, Cikgu Hana is a feast for the eyes. But unfortunately, given the state of the rest of the film, this is a re-edit that is very rough around the edges and with simply way too many pieces missing. Narratively there are clear gaps, plot points jump suddenly from one to another and it becomes hard to keep a grasp on what exactly is going on, although the animation does help a lot to convey the intended story as best as it can. Editing is choppy and jarring, which is of course to be expected given so little to work with, but it does undeniably have a big impact, even hindering the fabulous artistry at times. On the positive side, the film does manage to showcase the obvious talent these filmmakers have, a fact all the more confirmed by looking at what was achieved with Hana , so it’s really frustrating and saddening to know that here there would have been definite quality, that if troubles hadn’t occurred this film could have really sang. One does sympathise of course with what must be a heartbreaking loss of a lot of quality work, especially if the aforementioned and fully completed Hana is anything to go by, but one can also only judge what they are presented. And unfortunately, this film in this state doesn’t have enough. It’s a real shame that what would have been clearly a lot of hard and considered work hasn’t been able to make it to the finished product. If Cikgu Hana can one day be fully realised as it was meant to and deserves to be, it could be something special. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Carmen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 17, 2023 Directed by: Benjamin Millepied Written by: Loic Barrere, Alexander Dinelaris, Lisa Loomer Starring: Melissa Barrera, Paul Mescal For this latest reimagining of the classic story, director Benjamin Millepied credits inspiration from Prosper Mérimée’s original novella from 1845, and Alexander Pushkin’s poem “The Gypsies” from 1824. Flashing more modern vibrancy through culturally rich music and dance, this new Carmen arrives as a wonder of visionary composition that struggles to find an equally compelling connection to its characters. The writing team of Loic Barrere, Alexander Dinelaris and Lisa Loomer crafts a surface-level tale of lovers on the run. Aidan (Paul Mescal) is a troubled Marine veteran volunteering on a night patrol along the Mexican border, while Carmen (Melissa Barrera) is trying to cross after the death of her mother. A violent altercation leads to casualties, and the two are soon trying to stay one step ahead of authorities. Millepied (choreographer and co-star of Black Swan ) knows his way around a dance number, getting an assist from flamenco specialist Marina Tamayo for sequences that sport some thrilling fluidity. The acclaimed talents of cinematographer Jörg Widmer (The Tree of Life, V for Vendetta ) and composer Nicholas Britell (Moonlight, If Beale Street Could Talk ) are also on full display, rounding out a veteran stable of technical skill that consistently lifts the film’s imagery and scope. Mescal (Aftersun ) continues to show a gift for quiet nuance, Barrera (In the Heights, Scream , Scream VI ) finally breaks out of her reliance on posing, and the veteran Rossy de Palma (various Almodóvar projects) steals scenes as a savvy nightclub owner, but the script seems content to keep depth at a distance. Pushkin’s centuries-old themes of noble savages and the tragedy of life are too often given a heavy hand, needing a rescue by the visual poetry on display. This Carmen tells us “dancing will you heal you.” Indeed, it’s one of the cures for what ails a less than passionate romance. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

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HOME | FILMS | REVIEWS Influencer Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 3, 2024 Directed by: Kurtis David Harder Written by: Kurtis David Harder, Tesh Guttikonda Starring: Cassandra Naud, Emily Tennant, Rory J Saper, Sara Canning A young woman murders online influencers in Thailand and steals their money. This feature-length thriller has a screenplay that moves from one character to the other. It begins with an American online celebrity named Madison (Tennant) who travels to Thailand for business as well as leisure. There she meets CW (Naud), another foreign woman and the two of them form a friendship. However, Madison's hotel room is burgled and her passport is stolen. Stranded in Thailand while she waits for a temporary passport, CW offers to take her on a tour around the country. CW's true intentions are brought to light when she takes Madison to a remote small island via boat and leaves her there to die. As CW pursues her next victim, another online celebrity named Jessica (Canning), things get complicated with the unexpected arrival of Ryan (Saper), Madison's boyfriend. As mentioned the story goes from one character to another, allowing the viewers to see the events from their perspective, kind of like Psycho . Initially, it is assumed that Madison is the main character, then she falls victim to CW's vile scheme and things then focus on exploring how she takes over her victims' online accounts in order to acquire their money and how she searches for new ones through social media, eventually choosing Jessica and trying to lure her into another trap. Then Ryan shows up and the audience follows him as he starts being a detective, attempting to locate Madison. As well as being a story about a criminal and her victims, the film explores the world of online influencers and points out the dangers of being a social media celebrity, how people can find out information about them and use them in order to commit fraud. CW makes a rather intriguing character and she is played superbly by Naud. A foreigner living in Thailand, preying on online influencers so she can gain their trust, murder them and get their money. She is basically a loner and a ruthless, cunning and remorseless individual living a life of luxury due to her crimes. It should be pointed out that the opening credits do not begin until approximately twenty-five minutes after the film has started. This is not necessarily a negative thing, just unusual and therefore awkward. The feature is supported significantly by Harder's skilful directing that includes some wonderful establishing shots that reveal the beauty of Thailand and David Schuurman's stunning cinematography is a big plus. This is a dark story about murder, deception and cybercrime. It is an entertaining psychological thriller whose highest qualities are the suspense, the interesting plot and Naud's character. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Lottery Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 26, 2023 Directed by: Ryan J. Smith Written by: Ryan J. Smith Starring: Mitchell Fisher, Niamh Branigan, Neizan Fernandez, Ryan Davies, Harry McLafferty A man wins the lottery and has his lottery ticket stolen. Attempting to retrieve it ends up having terrible consequences. Lee (Fisher) is an unmotivated young man who gets himself into trouble and enjoys riding his bike. One day, while buying a lottery ticket, he meets newsagent Ruby (Branigan) and the two of them develop a rapport. Lee soon finds out that he has actually won millions due to his ticket. However, Ruby's former partner Will (Fernandez) disapproves of her new relationship and after assaulting Lee, he takes his winning ticket, because Ruby's number is written on it. Now Lee, along with the help of his friend Darren (McLafferty), must find a way to get it back. This feature begins as a romantic drama about a guy meeting a girl and then things take a dramatic turn and the story becomes a thriller. Initially, it seems that Lee is going to become rich and spend his life with aspiring dentist Ruby. When things start going downhill, they keep going from bad to worse, leading to events such as beatings, murder and betrayal. The lottery ticket is the cause of the trouble, there are plot twists and a femme fatale, placing this movie into the category of blood money film noir. There is a lot of suspense throughout, tense moments, life-or-death situations and also moving scenes. The strong screenplay contains interesting characters. Lee wants to find happiness and purpose in his life and he is willing to do the right thing. Ruby is a decent person who unwillingly gets involved into a nasty situation. Davies is great in his role as Lee's father, a police officer who cares about his son and Fernandez is quite convincing as the aggressive and menacing Will. All the main cast deliver strong performances. There are some wonderful establishing shots and the filmmakers utilise creative lighting techniques. The beautiful and dramatic music also deserves commendations. This movie will most likely keep the viewer intrigued with the plot and the suspense. On the surface, this is a tense thriller about a man finding himself in a very bad situation. However, there is more to this film than that. It is also a romance, it is also about finding someone special and it is also about the will to move on to better things. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Corsage Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 3, 2023 Directed by: Marie Kreutzer Written by: Marie Kreutzer Starring: Vicky Krieps Neither hero worship nor maudlin tale of objectification, Corsage delivers a daring reimagining of the life of Empress Elisabeth of Hungary, played with mischievous relish by Vicky Krieps. This is hardly the first fanciful reworking of a historical biopic. Director Pablo Larraín has reconsidered two such lives as tragic cinematic poems – 2021’s Spencer and 2016’s Jackie . Just last year, Andrew Dominik turned America’s most recognizable icon into the object of punishment porn (Blonde ). While two of those films are lovely and one is unwatchable, it took filmmaker Marie Kreutzer to reimagine one iconic life without simplifying the tale’s heroine to a tragic beauty to pity. Kreutzer’s year-in-the-life is fictional, though Empress Elisabeth was certainly real. Her presence clearly influences this picture, but Kreutzer’s fantasy – replete with the most gloriously misplaced modern songs – looks askew at the renowned and misunderstood beauty. As Sofia Coppola did with her empathetic and under-appreciated portrait, Marie Antoinette , Kreutzer and Krieps establish the startling aloneness facing a royal woman, particularly a foreign sovereign married into royalty abroad. Krieps excels in particular during scenes where Elisabeth struggles to leverage what power is available to her. The audacity of Elisabeth’s behavior unveils a fiery joy and brittle vulnerability in Krieps’s performance. Wonderfully refreshing are the vanity and selfishness that are allowed to creep into the portrait. Corsage ’s hero is no saint. She’s a free spirit to be admired, as well as a self-centered brat willing to require the sacrifice from others she’s disinterested in making herself. Here again, Krieps is a superstar. Elisabeth’s flaws are outrageous, her strengths enviable, her oppression great. In Krieps’s hands, the composite is an endlessly compelling conundrum, as frustrating as she is fascinating. The film sees power as freedom and acknowledges how little of it there is for women, even women who seem to have it all. In the end, it’s the film’s and Krieps’s humanity ­that make the final moment of freedom feel earned and victorious rather than fraught with compromise. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Bootleg Film Review average rating is 5 out of 5 Critic: Isaac Parkinson | Posted on: Mar 18, 2022 Directed by: Conrad Dela Cruz Written by: Conrad Dela Cruz Starring: Louie Fuentes, Jake Montajes, Kevin Gongob, Kayle Baculi, Philip Jay Kho With Bootleg , Dela Cruz enriches and strengthens themes of capitalist cruelty from his earlier portraits of brutal cities in Eskina and Once Upon a Time in Davao City . Again we are thrown in the bustling world of Davao, bathed in saturated colours of warm green and yellow. The formal style is reminiscent of Wong Kar Wai’s work, with close push-ins on faces and quick cuts through the city streets around the characters. The world feels tight yet expansive. The street scenes themselves are made lively by the real individuals working on the market. Food is being cooked in front of us. It’s lived-in and intimate. Our protagonists are Jim (Jake Montajes) and ‘The Pirate’ (Louie Fuentes), two young men involved in the business of bootlegging DVDs. One of their mothers has lymphoma and needs money desperately for her treatment. Returning to this theme of family sickness again, Dela Cruz understands that the most personal is always the most tragic. We are drawn in to sympathise deeply with their journey, understanding the riskier and riskier decisions they make. Even in the world of bootlegging, the tension of exposure is clear, as he looks over his shoulder constantly, wary of people seeing his camera. He moves into a dark alley to follow a man, and the muted colour palette reflects his turn from recording the bright cinema screen to a back-street mugging. The bustling world of the city streets is contrasted by the expansive vista of the beach. But even this is under threat, as a resort for rich people is being constructed. The gentrification of their space will only increase displacement and lead to further slipping conditions. The downward trajectory of life without capital is unavoidable, and the turn to drugs is framed as the only way to facilitate any financial security. Moving from the profession of films to drugs, their sphere becomes exponentially more illicit. Chasing public desires means there’s no more money to be made in DVDs. Their switch from one illegal activity to another is merely a business-savvy pivot. The world is changing, and they’re forced to change with it. The seedy underground environment is darker and hidden away from the bright neon lights and markets we were shown at the beginning. Jim trades in his camera for a gun, marking a very clear turn from creativity to violence. The explosive ending is to be expected; the story cannot end well for our protagonists. Yet the real tragedy is found in a quieter moment after. Despite the death of his close friend, and traumatic experience, he ends on the decision to return to DVD piracy. This frames the dangerous foray into the world of drugs as merely a failed experiment. He appears numb to the brutality of the city, even when a witness to, and perpetrator of, murder. The world is as violent and cruel as it has ever been for Dela Cruz, yet he seems more resigned to it. About the Film Critic Isaac Parkinson Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Hazard Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jun 15, 2022 Directed by: Daniel Bergeson Written by: Daniel Bergeson Starring: Nicholas G Sims, Jay Dukes, Alonzo Hester In America fewer than 2% of the people who visit national parks are black or African American. In his new short film Hazard , writer/director Daniel Bergeson suggests a few reasons why this may still be the case and offers a hopeful vision of the future where the natural splendour of the countryside is able to be enjoyed by all. Naturally, the history of Hollywood hasn't helped in showcasing the pleasures, pastimes and outdoor pursuits of the average black family. From It Happened One Night (1934) through Easy Rider (1969), to National Lampoon's Vacation (1983) and Planes, Trains and Automobiles (1987), then Road Trip (2000), Little Miss Sunshine (2006), Sex Drive (2008) and now Nomadland (2020), it's been goofball loners, stoners and moaners; families, friends and would be lovers who are the sole concern of road trip movies and all almost exclusively white. Bergeson has now tried to redress the balance a little, imagining a simple scenario of what it might be like for a black family – father, son and uncle – to take a road trip out into the countryside and try to commune with nature for a couple of days. Marcel (Sims) has bundled his tech-wired son Xavier (Hester) into the back of the car and has also roped in his brother Kevin (Dukes) to come along for the ride. The conversation seems pretty natural and true to life as they head out on the open highway, and even though not everyone is jazzed about a couple of days away from the bright lights of the big city, they all seem to want to make the best of the situation they now find themselves in. America though has different ideas. When the car suddenly cuts out, what has up to now been fun family times, immediately becomes three black males sitting in a vehicle by the side of the road. Bergeson is careful not to drift into sensationalism as the scenario plays out, managing to walk a tight line between ramping up the tension and keeping the simple humanity of the situation alive. His focus is always on the family and it is a strength to see each character work out how to be around the others so that a common love can be expressed. This theme continues throughout the rest of the film and into the campsite, where new challenges and characters are introduced. Split into a series of small discrete scenes, Hazard takes its time to round out its characters and build on its premise. The use of comedy to balance out the more serious themes works well and everything is underpinned throughout by a strong sense of togetherness. Everybody does a good job to ensure the quality of the production and it's easy to see that the message at the heart of the film is a large motivator for that. From top to bottom the characters are perfectly cast, with Jay Dukes as Kevin being a standout performer in amongst a strong group of actors. The cinematography from Bobby Peacock is eye-catching and colourful while Daniel Bergeson's direction offers us a slew of well chosen shots, ranging from a nice wide-angle, down to a frog's eye view and then somehow onto a tree trunk split screen. Hazard wins on all counts as a feel good film, and even manages to give some of the old, classic, family road trip movies – the white ones – a run for their money. It has all the right elements in all the right measure and has a subject at its heart that speaks more to a modern audience. Hazard dreams of a more inclusive America; somewhere where the margins of statistics about population and culture don't sit at 2%; and it is a very enjoyable experience to witness the imagery of that dream, if even for the little time that we get it. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Attachment Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 7, 2023 Directed by: Gabriel Bier Gislason Written by: Gabriel Bier Gislason Starring: Josephine Park, Sofie Grabol, Ellie Kendrick There are not nearly enough horror films based in Jewish folklore. Have you ever seen a dybbuk movie? You should. So far, I’ve seen three – Marcin Wrona’s beautiful 2016 haunting, Demon ; Keith Thomas’s 2021 horror, The Vigil ; and writer/director Gabriel Bier Gislason’s latest, Attachment . The thing about dybbuk stories is that I’ve never seen one go well for anyone. Fun! On the surface – and even just below – Attachment is an astute observation on being new to the family, particularly in a situation where the relationship itself is probably not that welcome. All families are weird, but they are weird in such individual ways. Gislason picks that scab effectively, as does his cast. Josephine Park is Maja, a Danish actress best known – really, only known – for playing Santa’s Elf in a long-defunct TV series. She literally runs into Leah (Ellie Kendrick) at a bookstore. Leah is in from London doing some research, the two fall quickly in love, and after Leah is injured during a seizure, Maja offers to return with her to London and her mother’s care. There is something quietly astute about the way Gislason sets up the dynamic: the willfully oblivious love interest, the domineering parent (Sofie Gråbøl) unwilling to be gracious, and the insecure new love unsure how to make herself fit into the family. All of it feels authentic, even if the stakes and weirdness are clearly ratcheted up a few notches. Attachment delivers slow-burn horror that repays close attention but never falls to gimmickry. Yes, the situation is absurd, but everyone behaves in a way that is rooted in real-world expectations and experiences. When the film changes its point of view, you realize where its compassion really lies. Attachment is a nightmare about parenting, about releasing your everything – your beautiful, tender baby – into a vast and brutal world. At the center of the entire nightmare is love, of course, because there is no real horror unless love is at stake. It’s that knowledge that makes the film hurt. Hug your mom. About the Film Critic Hope Madden Digital / DVD Release, LGBTQ+ < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Influenced Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 8, 2022 Directed by: Asad Panjwani Written by: Asad Panjwani Starring: Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins An online celebrity is pursued by an obsessed fan. While walking home one night, social media influencer Amber (Nikolaiets) is approached by Dane (Cochlan), a man who claims to be one of her followers. He proceeds to speak to her and offer her chocolates and refuses to leave her alone, causing her to panic and run to her house. He runs after her and enters her property by force. What follows is a nasty confrontation that goes from bad to worse. This short is a stalker thriller that explores the world of internet personalities, particularly the bad side of it. It suggests that social media celebrities can affect certain individuals the wrong way and that can have very unfortunate consequences. It also points out that sometimes influencers can be double-faced and pretend to have a certain personality, in the interest of gaining followers. The film is tense and has plenty of nail-biting moments. Dane chases Amber through a street and the two of them get into a physical confrontation inside her home. Things get more and more out of hand and become life-threatening. However, there are also comedic moments, such as when the crazed fan removes his shoes once he has entered Amber's property. It is not clear whether the story is also meant to be a dark comedy, however the comical feeling is there. The acting is not the best, but that does not spoil the film. Nikolaiets plays an internet celebrity whose job has ended up getting her more than she bargained for. Cochlan is the one who steals the show with his vivid portrayal of a disturbed individual who is obsessed with Amber. Praise goes to the dynamic, tense and sinister score, which works rather effectively during the opening, where Dane is introduced, making it clear that he has sinister intentions. Special mention also goes to fight choreographer Holly Prentice, who makes the hand-to-hand fight scenes tense and vicious. The stylised closing credits also deserve commendations. This short is definitely interesting and keeps the viewer on the edge of their seat. It is a story about obsession, mental health and the dangers of being an online celebrity. The fact that it ends on a cliffhanger may be unsatisfying for some, but may be approved by others. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >