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Prey Listen to our review on the film podcast What our film review said: READ FULL REVIEW The acting is very strong and Turk is quite convincing as an angry, suicidal man who also believes that there might still be hope in his life. Webster is great as the determined 'older man' who is convinced that his life has no meaning and must end. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS It's A Beautiful View Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Sep 2, 2022 Directed by: Anthony Aitman Written by: Joe Facer, Bradley Mell Starring: Anthony Aitman, Joe Facer, Bradley Mell There are moments in ‘It’s A Beautiful View’ which threaten to be interesting - indeed it features a fairly intriguing baseline story - however, it never shifts out of first gear, and instead just trundles along at the same monotonous pace for its eight-minute runtime. ‘It’s A Beautiful View’ tells a generational story, with Charlie (Bradley Mell) at it’s forefront, as he visits a peaceful beach where he used to spend each Sunday with his grandfather. The two had a close relationship, and as Charlie reminisces about that bond, John (Joe Facer), and George (Anthony Aitman) also pop up on the beach, seemingly as Charlie’s forefathers. It’s a concept which could have been fresh and intriguing, but is instead turgid, too plodding and sentimental for its own good, becoming bogged down in poorly written ruminations. Aitman directed the short, whilst Facer and Mell wrote the script, so this is a tight-knit production, and whilst it’s always evident that the trio care about what they’re doing, you do wonder whether perhaps they gave themselves slightly too long a leash. The decision to tell most of the dialogue through voiceover is disappointing, given that the actor is left staring out into the admittedly beautiful view. Perhaps we could have seen the different actors interact, as though united on some spiritual plain which connects the living and dead, but alas, they just stand there staring wistfully out to sea. ‘It’s A Beautiful View’ may look good - the title fits the picture - but it doesn’t play good. An idea which undoubtedly works better on paper than on screen, it’s a film which could have been so much more, and invited so much more emotion than the bland shrug of the shoulders which it garners. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Circus Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 20, 2024 Directed by: Mohsin Tariq Written by: Mohsin Tariq Starring: Syed Saad Farrukh, Mustafa Zeeshan The writer director Mohsin Tariq presents a conversation between two male protagonists Syed Saad Farrukh and Mustafa Zeeshan giving us a different perspective on life and happiness therefore increasing audience engagement with the content. The plot of the short film revolves around the coming back of the circus in the city, and so does a roadside mascot costume artist who hopes for a change in his otherwise monotonous and tedious life. Circus begins with a series of long shots of a busy street cut to the mascot costume artist busy with his day-to-day schedule of going to work and entertaining the children. The set design, location, colour pallet, lighting, sound, dialogues, costume, hair, makeup, and props are kept natural to provide depth to the topics being discussed in the film and also give the viewers a sense of being involved with it. The makers utilise the visual imagery and symbolism to convey the challenges and inner turmoil of keeping up with his monotonous routine adding a sense of realism and relatability in the minds of the viewers making the story inspiring for them even when the running time of the film is short. In terms of performance, Syed Saad Farrukh plays the roadside mascot costume artist who is extremely busy with daily life and he grapples with the need to maintain his image as a happy go lucky performer while struggling with his inner turmoil. Farrukh utilises voice modulation, body language, facial expression, and eyes to portray the calm demeanour the costume artist maintains to depict and complement the theme/situations in the script. Mustafa Zeeshan plays the small child who meets the roadside mascot costume artist and discusses happiness and life in general. Zeeshan beautifully provides an innocent viewpoint into this discussion making it interesting for the audience even if the topic was a serious one. Circus compares life to be similar to a play where people tend to come finish their act and leave and God is the supreme director who is responsible for the smooth functioning of life. The short film talks about the importance of being honest and loyal to one’s work commitment because people have certain expectations from the person both in short/long term. The cinematic piece explores the corelation between being happy and also being rich. The creative piece highlights that everyone tends to choose their definitions of happiness as per the changing situation in their respective lives and it tends to be dissimilar for different people. Circus also sheds light upon the fact of the survival of the fittest one should always try to overcome all the apprehensions and be ready to fight as well as survive every day to combat new challenges life puts us through. Circus talks about how crucial it is to spend time with oneself alone to understand what one wants to do because everyone is unique. To conclude, I would like to appreciate the writer/director and the creative team for giving us the opportunity to think about happiness and life and many other things related to the same because we tend to be so busy in life that we don’t find time to discuss it and be thankful for what we have received from the Almighty. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Nanny Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 30, 2022 Directed by: Nikyatu Jusu Written by: Nikyatu Jusu Starring: Anna Diop, Michelle Monaghan, Singua Walls Senegalese transplant Aisha (a transfixing Anna Diop) cares for a little girl whose mother works too much and whose father is often away. Aisha’s care is tinged with her own deep well of sadness and guilt at handing the care of her own son Lamine over to a friend back in Senegal. But this job will allow her to finally pay for the flight to bring Lamine to NYC, and just in time for his birthday. Writer/director Nikyatu Jusu’s feature debut employs fantastical elements, but her Nanny is never an outright horror film. Aisha’s visions, though thoroughly spooky and potentially dangerous, speak to the fear, powerlessness and profound sadness facing a woman forever making impossible choices, regardless of the country. Jusu gives these folklore-rooted images purpose as Aisha awakens to the real nightmare that the American Dream so often becomes. As self-pitying employer Amy (Michelle Monaghan) works long hours to compete in a man’s world, she shorts Aisya’s pay while taking advantage of her time. Reuniting with Lamine feels less and less likely. Helplessness, hopelessness and anger grow. Jusu’s lighthanded with true horror, a choice that benefits the film because its honesty is horror enough. Diop conveys more with a glance or a sigh than any scaly monster or hairy spider could ever display. Her command of this character’s melancholy and rage is extraordinary. The addition of Leslie Uggams as Aisha’s love interest Malik’s (Singua Walls) grandmother introduces exposition and explanations that feel slightly forced, particularly compared to the nuance defining the rest of the film. But it’s a slight fault in an otherwise beautiful, devastating movie. Like Jenna Cato Bass’s Good Madam , Nanny identifies the uneasy social structure that guarantees inequity, and all the accompanying horror it produces.. Jusu’s tale sidesteps the true genre punch, though, which may leave some viewers unsatisfied. But, even for its diabolical sirens and eight-legged tricksters, it’s Nanny ’s naked honesty that makes it so scary. About the Film Critic Hope Madden Theatrical Release, Amazon Prime < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Legend of McCarthy and Little Bill Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 9, 2022 Directed by: Thomas Wheeler Written by: Thomas Wheeler Starring: Jack Waldouck, Stan Morgan, Bella Maclean The Legend of McCarthy and Little Bill is an ambitious comedy-western which plays with common tropes and character types to produce a hit-and-miss short film with some genuine laughs, though moments of drift prevent it from achieving its full potential. Petty thieves McCarthy (Jack Waldouck) and Little Bill (Stan Morgan) accidentally achieve notoriety when an encounter with famous bounty hunter Buddy Love (Matthew Moorhouse) ends in bloodshed. The pair go on the run, hopelessly unequipped to evade the law, and fellow hunters out for their heads. Their journey across States leads them into encounters with an eccentric cast of characters, as it becomes more and more evident, that they cannot outrun their fate forever… McCarthy and Little Bill clearly borrows lovingly from the western genre, as well as from Tarantino’s own spaghetti-western inspired films to produce a fun and enjoyable short. The film is brought to life by its colourful characters and impressive cast, all of whom relish in putting on their finest cowboy drawl in a way that infects viewers with the same enthusiasm. The characters themselves are classic staples of wild-west media, and there’s no points for originality to be dished out. But as a fun cowboy romp, it’s hardly a detriment. The States-spanning story feels largely a vehicle to introduce said characters and move the titular McCarthy and Little Bill into new set pieces with the rest of the cast. The film does stumble upon certain themes and meanings, like loyalty, choosing between love and friendship, and living up to society’s expectations. But by and large, there is little for audiences to sink their teeth into outside of the characters themselves. What the viewer takes out from the film will largely depend on their level of passion for Westerns going in. Production of the film varies, with the costume design of the characters feeling overly clean and polished as opposed to the gritty, muddy and weathered Wild West the story is supposed to be set in. The sets are also an issue – with one scene in particular very clearly filmed in a modern hotel room which completely kills the immersion. These are the challenges many films with budget restrictions face. However, it is made all the more noticeable by the fact that the film actually has some seriously impressive moments elsewhere. The open landscapes and cabin set are beautiful and scenic, whilst the town in which the film’s big finale takes place is also wonderfully realised. It is an unfortunate reality of filmmaking that negatives often stand out more than positives. Inconsistencies go beyond the production, with certain chapters of the film balancing its pace and story progression far better than others. The opening of the film with Buddy Love is an engrossing and tense game of cat-and-mouse – which is the film’s highlight. It’s conclusion also provides a rip-roaring and satisfying end. But between these, the film seems to lose focus and drift away from its strengths in chapters 3 and 4 with moments that meander rather than advance, and dialogue that loses the edge demonstrated elsewhere. There’s a lot of fun to be had with The Legend of McCarthy and Little Bill, and whilst a certain degree of buy-in is required from the audience to forgive its flaws, it will resonate with anyone looking for a colourful cowboy adventure. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Web Series < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Bobo Touch Helpline: The Kisser Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jan 14, 2022 Directed by: Brian Bonz & Mike Rizzo Written by: Brian Bonz Starring: Brian Bonz, Mike Rizzo, Nicholas M. Garofolo Quirky, surrealist comedies walk a fine line between laugh-inducing absurdist farce, and edgy ‘sO rAnDuM XD!!’ try-hardism. Usually, the line parallels with a deeper meaning behind the humour – those with tending to fare better than those designed to be weird for the sake of it. I can’t quite identify anything substantial in the subtext of The Kisser, an episode of web series Bobo Touch Helpline, but the performances of its stars salvage this short from being an easily discardable oddity. A mysterious creep is stalking the New York subway planting kisses on unsuspecting cheeks, and horrifyingly, dropping cockroaches into the open mouths of sleeping passengers. The Bobo touch helpline, a ragtag team handling the strange and unusual cases the police can’t solve, decide to take on the case. But tracking ‘the kisser’ may take the services of a hardened criminal associate, whose methods are beyond the team’s imagination… As an episode of the Bobo Helpline web series, The Kisser does an admirable job of taking pre-established characters and allowing the comedic talents of its performers to flourish. The plot is ridiculous, but this is to be expected. It is the charisma, confidence and charm of stars Brian Bonz, Mike Rizzo, Nicholas Garofolo and Mike Strandberg which really sell this episode (and their extravagant array of wigs and facial hair). The performers project a real sense of warmth into a truly bizarre concept which could have otherwise descended into uncomfortable or awkward territory. The troupe have echoes of The Lonely Island in how they expertly embrace the inanity and command the buy-in from the audience. The episode suffers when the main cast are not on screen however, with an uninteresting plot which aims for little more than advancing story progression. ‘The Kisser’ himself is a relatively uninteresting antagonist, and his bizarre relationship with his mother (Bonnie Schneider) is frustratingly unexplored. His methods exist seemingly for gross-out purposes only, with only brief indications towards why he prowls the subway looking for unsuspecting victims. His creepiness is kept relatively light for humour purposes – which works in the context of the episode but does prevent it from really speaking to more serious insinuations. Production values are strong, with some fine camerawork and direction from Bonz and Rizzo which adds to the whimsy when the Bobo team are riffing with their plots, and amplifies the creepiness when ‘The Kisser’ is on the prowl. Visual effects manage to be impressive and clean enough to convince when used, yet also induce laughs from their ‘b-movie’ style roughness. You sense the Ghostbusters- style finale was reliant on the dual-edged absurdity provided by the VFX’s ability to land between these 2 qualities. Bobo Touch Helpline’s meaningless absurdity just about works thanks to its cast’s energetic performances. There is not much more to The Kisser beyond this though, and fans of their style of humour will find funnier offerings elsewhere which manage to hit upon more meaningful beats. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Web Series < All Reviews Next Film Review >

Ruth Listen to our review on the film podcast What our film review said: READ FULL REVIEW Ruth is one of many films exploring dementia, and the effects it has on those afflicted and their families. However, the clever decision to film in one take sets it apart. It is a fascinating experience, at once keenly empathetic and distant, acknowledging how we can never truly understand something like this unless we, too, experience it. The single take attempts to put us in Ruth’s shoes, and it definitely succeeds. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS The Wheel of Heaven Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 25, 2023 Directed by: Joe Badon Written by: Joe Badon, Jason Kruppa Starring: Kali Russell The Wheel of Heaven delivers oddball charm and horror in equal measure. What’s it about? That’s an excellent question, and not a simple one to answer. We seem to be stuck on late night, all access TV, which is running through a wild set of programs and sponsors. (My favorite sponsor is Rad Abrams, Skateboard Attorney.) And my favorite show is undoubtedly The Uncle Bobbo Show, which was also the focus of director Joe Badon’s 2021 short, The Blood of the Dinosaurs. Kids’ TV host Uncle Bobbo (an eerily unblinking Vincent Stalba) wants to teach us where oil comes from. With assistance from his vampire puppet co-host Grampa Universe (voiced by John Davis) and his young helper Purity (Stella Creel), he seeks to enlighten and entertain. And misinform. It’s sort of a Pee-wee’s Playhouse for sociopaths. If that does not seem like a ringing endorsement, you’re not reading it correctly. So, we’re watching highly local TV programming. Or are we? Maybe each story is a little diorama dreamt up by local artist Margaret Corn (Kali Russell)? Or perhaps we may instead be reading along with Marge the Mechanic (Russell again), who picked up a “choose your adventure” book at a thrift store. Russell plays at least half a dozen distinct but related characters, each a fully formed and often bizarre individual. Her range and effortless skill with characterization ground the segments in something tangible, however goofy the character. Whether these characters are part of a book, TV programming or one artist’s imagination is irrelevant. Badon’s upended the concept of a framing story for what is essentially an anthology of short films. Every tale, including the framing stories, morph and mutate and as each folds in on itself, Badon and his crew appear to emphasize the illusion versus reality of this absurdist storytelling. What else does Badon hit on? Birth. Death. Choice. 3D glasses. Kitch. Homage. Dinosaurs. Storytelling. But mainly creation and how the act of creating is linked to all of these. The Wheel of Heaven throws a lot at you and not all of it hits, but Badon’s instinct for the bizarre, humorous and horrific generate a wonderfully oddball effort. About the Film Critic Hope Madden Indie Feature Film, Film Festival < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Of Souls & Secrets Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 27, 2021 Directed by: Uttaran De Written by: Uttaran De Starring: Sujoy Prosad Chatterjee A mesmerizing journey through nature, accompanied by a man's thoughts. An unknown person speaks about his views regarding life, his voice working as a voice-over, while shots of wilderness are shown. These terrific shots consist of mountains, many trees, waterfalls, lakes and rivers. The colour green plays a significant part in this film, as it pretty much dominates nearly the entire viewing. However, there is also civilization to be seen, including people with backpacks walking in the woods and street lights illuminating a road. De is also responsible for the editing and does a wonderful job, utilizing dissolve techniques to great effect. The editing is very constructive, putting the images together in a way that reveals the wonders of nature. With the exception of a few shots, there are no people here and the protagonist could be nature. The beauty and magic that it possesses is vividly shown in the outstanding shots that this film contains. Shooting took place in West Sikkim, India and nearly all the shosts are of wilderness. Chatterjee's voice-over is another plus. His voice is gentle and calm as he speaks about his character's perspective on various things, including secrets and whether he is living his life the way he is supposed to. He talks about trees and compares them to secrets, emotions and clouds. His words give the impression that he is dealing with regrets and has lost his way. The score consists of beautiful flute and piano music and listening to it while looking at the magical scenery adds further value to the experience. The audience will also hear the peaceful sounds of birds chirping and water flowing. The camera work makes watching this short is a rather calm experience. The camera is almost constantly stationary and the movement that is seen often belongs to acts of nature, whether that is leaves moving due to the wind or the river flowing. This achievement is twelve minutes of beauty. De's outstanding directing shows how breathtaking natural environments are and the addition of Chatterjee's words create a thoughtful viewing. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Noel Clarke promotes EE Rising Star Award Chris Olson Wednesday, March 31, 2021 at 8:30:41 AM UTC AWARD-WINNING ACTOR NOEL CLARKE STARS IN LATEST ‘EE FILM STORY’ AHEAD OF THE 2021 EE BAFTA FILM AWARDS The only category at the EE BAFTAs voted for by the British public 2009 EE BAFTA Rising Star Award winner, Noel Clarke stars in the latest short film in the EE Film Stories series, released today. Reflecting on his life since taking home the “special” accolade twelve years ago, the film sees Clarke credit technology for helping him to build and stay connected to his network, with a cameo from former co-star Arnold Oceng. The EE Rising Star Award is now in its 16th year and is the only category at the EE BAFTA Film Awards to be voted for by the public. The public can vote for the 2021 nominees until midday on 9th April: Bukky Bakray, Conrad Khan, Kingsley Ben-Adir, Morfydd Clark and Ṣọpẹ́ Dìrísù at ee.co.uk/BAFTA The winner will be announced at the EE BAFTA Film Awards on Sunday 11th April 2021 on BBC One. Ahead of the 2021 EE British Academy Film Awards weekend across Saturday 10th and Sunday 11th April, title sponsor EE has debuted its latest EE Film Story, which stars 2009 EE Rising Star Award winner, actor, director, writer and producer, Noel Clarke. The short film is screened online just days before voting for the much-anticipated EE Rising Star Award closes at midday on 9th April 2021. As the only award voted for by the public, and widely recognised by the film industry for championing up-and-coming film actors, Clarke captured both the public’s interest and their vote 12 years ago for his starring role in Kidulthood. Following the win in 2009, Clarke joked that the Award was “Better than any other BAFTA”, crediting the “double whammy” of gaining support from both industry peers and the public. The short film begins with Clarke alone in the ODEON Luxe Leicester Square Cinema. As he reminisces on the moment, the viewer watches on as Clarke relives the moment where he took to the podium to accept the iconic BAFTA EE Rising Star Award in 2009. Clarke’s narration continues “I’ve dedicated my life to film making. I just knew that I wanted to be one of the people that I saw on the screen”. Upon leaving the cinema and exploring the London Southbank, Clarke recognises the support he has had throughout his career and praises his film-making network of friends and colleagues for helping him achieve his dreams. With many strings to his bow, Noel understands the importance of staying connected. Clarke credits technology, such as EE’s award-winning 5G network, for enhancing performances and productions in the film industry, noting that “being able to stay in touch and connect easily is essential”. As the viewer is welcomed into a luxurious café setting, we see Clarke on the latest Samsung Galaxy Z Fold2 5G making a video call and discussing a piece of work with fellow actor Arnold Oceng. We hear Clarke say: “I think it’s really important to give up-and-coming actors a platform and some recognition to set them on their way”. As the film comes to a close, viewers are left with a message from the award-winning actor: “To any young aspiring filmmakers or actors out there, my advice would be to work hard and have belief in yourself. Because if you don’t, who will?”. Since winning the EE Rising Star Award in 2009, Clarke has made over 20 feature films and has gone on to win two National Film Awards and a Screen Nation Award for Brotherhood, which saw Clarke write, direct and star in. Clarke will also be honoured at the 2021 EE BAFTA Film Awards Opening Night ceremony for the Outstanding British Contribution to Cinema Award on Saturday 10th April. Noel Clarke, actor, director, writer, producer and winner of 2009 EE Rising Star Award comments: “Winning the EE Rising Star Award was a catalyst moment in my career. It was an amazing honour, knowing that the award held such weight – the recognition of the industry, my peers and, of course, ultimately the public who showed up for me. Looking back at that moment on the big screen for the first time in a long time, I had to take a minute. I have so much respect for the 2021 nominees and can say with authority that good things are coming, as long as they continue to work hard”. Pete Jeavons, Marketing Communications Director at BT and EE, comments: “As our daily lives get busier and working-on-the-go becomes more normalised, it’s never been more important to have the tools to collaborate and connect, wherever you are. Technology continues to play a huge role in many of our lives and professions, and as Noel shares, the film industry is no different. It’s great to know that our network continues to keep the film industry connected through change, so that they can keep doing what they love – and in that, we continue to enjoy their talents”. Louise Robertson, Executive Director of Partnerships at BAFTA, comments: “As we enter our 24th year of partnership with EE, it is wonderful to see their continued support of the industry brought to life through the EE Film Stories series. Actor, director, writer and producer Noel Clarke is a huge talent and to see this snapshot of his journey to success, starting with his Rising Star win back in 2009, is both powerful and inspiring. In light of his amazing journey, it is no surprise that we will also be awarding Noel the Outstanding British Contribution to Cinema Award this year. I can’t wait to see what lies ahead for the brilliantly talented 2021 nominees.” The public-voted EE Rising Star Award honours up-and-coming performers who have demonstrated exceptional talent and ambition. The 2021 nominees are Bukky Bakray, Conrad Khan, Kingsley Ben-Adir, Morfydd Clark and Ṣọpẹ́ Dìrísù. Voting for the EE Rising Star Award 2021 is now open at ee.co.uk/BAFTA until 12PM, April 9th 2021, and the winner will be announced at the EE BAFTA Film Awards on Sunday 11th April 2021 on BBC One. EE has been a long-standing partner of BAFTA’s Film Awards, working with BAFTA to bring film fans closer to the awards through the magic of technology. Since the partnership began, EE has not only worked with BAFTA to introduce the EE Rising Star Award but also used its award-winning network to create new and exciting opportunities for film fans to be part of the action. 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. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. 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 Deadly-C Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Nov 24, 2021 Directed by: Ashish Bisht Written by: Ashish Bisht Starring: Ashish Bisht The title of the film, tagline and, the black and white theme used for the poster has the connotation of something dangerous, horrible approaching fast towards all of us. Deadly-c justifies the horror genre to an extent. Various camera angles like the mid-shot and close-up shots create the fear and torment Corona Virus caused in 2020. Every person in the world wanted to delete 2020 from their memory forever. The short film Deadly C comes across as PSA (Public service announcement). It is trying to communicate the precautionary message from the Indian government to the people in India. The language used in the cinematic piece is simple so that the masses understand the narrative and act according to the guidelines issued by the authorities. The short film narrates the story of a home invaded by the virus. The short film showcases the conversation between a human and a virus. The virus targets careless people, not taking necessary measures to fight and safeguard themselves from the disease. In the concluding moments, the individual sprays the sanitizer indicating that keeping basic hygiene around oneself is the only solution to scare the virus away. The movie talks about being alert and careful when dealing with the lethal Corona virus. The short film ends with a voice-over of the virus howling and highlighting the word "mistake". It teaches us a very significant lesson relating to not committing any silly mistakes that could prove to be an entry point of Covid in our homes. Ashish Bisht intends to keep the plot confined to a single room to get the required engagement from the audience. He used various camera angles, set up and expressions to highlight the importance of the situation amidst the outbreak. The film also discusses the strength of the invisible enemy. It acknowledges that even the most powerful countries like America, England, France and Italy could not battle the virus. There are a few shortcomings in this creative piece. Deadly-C uses subtitles in two languages- making it difficult for the masses to follow the crucial matter. Next, I want to highlight that the film appears to be a short warning clip telecasted before the actual movie in the cinema halls rather than a full-fledged short film. The opening scene of the short film gets the audience fearful of the subject in the movie. It loses the essence, the grip and, becomes a recorded directive as it reaches the closure of the film. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Ashkal: The Tunisian Investigation Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Aug 22, 2023 Directed by: Youssef Chebbi Written by: Francois-Michel Allegrini, Youssef Chebbi Starring: Fatma Oussaifi, Mohamed Grayaa The haunting visual poetry of a cityscape littered with abandoned buildings and new developments is home to Youssef Chebbi’s latest, Ashkal: The Tunisian Investigation. The apt title describes not only the film’s plot – a mystery concerning a string of suspicious suicides – but also the identity of a country itself. As Fatma (Fatma Oussaifi) and Batal (Mohamed Grayaâ) investigate the apparent self-immolation of a security guard at a high-rise construction site, they uncover evidence of an earlier, similar death that had been hidden by their police department colleagues. Why hide it? In a country where self-immolation – that astonishing act of defiance – triggered a revolution in 2010, these deaths feel particularly ominous. Especially for the corrupt. As tyranny and its allies, police and corporate corruption, once again thwart justice, an epidemic of self-immolation spreads like a contagion through the city. Oussaifi delivers a quietly fierce performance, one that Grayaâ counters with unexpected tenderness. Both actors are given plenty of room to breathe, Chebbi lingering with each in their private moments to allow for introspective, patient character development. Those quiet moments look amazing, too. Ashkal is gorgeously filmed, Chebbi finding symmetry in the bones of the buildings and unexpected beauty in the fire. An evocative use of color, shadow and light create a hypnotic fusion of supernatural fantasy and police procedural. The context is specific to Tunisia, but the themes are universal. As greed and corruption overwhelm a city, victimizing the poor and the powerless, political protest blends with cultural grief. Simultaneously pessimistic and hopeful, grim and beautiful, Ashkal is a meditation on modern times. About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >